Posts Tagged ‘American art

20
May
18

Exhibition: ‘Stephen Shore’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 19th November, 2017 – 28th May, 2018

Stephen Shore is organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, MoMA.

 

 

Stephen Shore (American, b. 1947) 'West 9th Avenue, Amarillo, Texas, October 2, 1974'

 

Stephen Shore (American, b. 1947)
West 9th Avenue, Amarillo, Texas, October 2, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

 

The truth in the detail of day-to-day life

1970s colour photography is the key period in the work of Stephen Shore. These classical, formal colour photographs capture “mundane aspects of American popular culture in straightforward, unglamorous images.” They are what made him famous. They are, historically, conceptually and emotionally, his most effective means of communication as an artist.

American Surfaces and Uncommon Places made Shore “one of the most prominent figures of the American New Color movement,” showing colour just as colour.

I know that is a strange thing to say, but Shore was showing the world in a different light… and he was using an aesthetic based on the straight forward use of colour. Colour is just there, part of the form of the image. Of course there are insightful subjective judgements about what to photograph in American surburbia, but this subjectivity and the use of colour within it is subsumed into the song that Shore was composing. It all comes back to music. Here’s a Mozart tune, this is his aesthetic, for eternity.

I remember seeing two vintage Stephen Shore chromogenic colour prints from 1976 where the colours were still true and had not faded in the exhibition American Dreams: 20th century photography from George Eastman House at Bendigo Art Gallery. This was incredible experience – seeing vintage prints from one of the masters of colour photography; noticing that they are not full of contrast like a lot of today’s colour photographs – more like a subtle Panavision or Technicolor film from the early 1960s. Rich, subtle, beautiful hues with the photograph containing this amazing presence, projected through the construction of the image and the physicality of the print.

Shore has a fantastic eye and his colour photographs are beautifully resolved. The subjectivity is not pushed, because his song was in tune, and he just sang it. Like his contemporaries, Wiliam EgglestonRichard Misrach and Joel Meyerwitz, there are some artists who just know how to play the tune.

Marcus

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

 

Stephen Shore encompasses the entirety of the artist’s work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. One of the most significant photographers of our time, Stephen Shore (American, b. 1947) has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, switching from cheap automatic cameras to large-format cameras in the 1970s, pioneering the use of colour before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing, and social media.

The artist’s first survey in New York to include his entire career, this exhibition will both allow for a fuller understanding of Shore’s work, and demonstrate his singular vision – defined by an interest in daily life, a taste for serial and often systematic approaches, a strong intellectual underpinning, a restrained style, sly humour, and visual casualness – and uncompromising pursuit of photography’s possibilities.

 

 

Stephen Shore (American, b. 1947) 'New York, New York' 1964

 

Stephen Shore (American, b. 1947)
New York, New York
1964
Gelatin silver print
9 1/8 × 13 1/2″ (23.2 × 34.3 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) '1:35 a.m., in Chinatown Restaurant, New York, New York' 1965-67

 

Stephen Shore (American, b. 1947)
1:35 a.m., in Chinatown Restaurant, New York, New York
1965-67
Gelatin silver print, printed c. 1995
9 × 13 1/2″ (22.9 × 34.3 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Kanab, Utah, June 1972'

 

Stephen Shore (American, b. 1947)
Kanab, Utah, June 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8″ (7.8 × 11.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Amarillo, Texas, July 1972'

 

Stephen Shore (American, b. 1947)
Amarillo, Texas, July 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8″ (7.8 × 11.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Washington, D.C., November 1972'

 

Stephen Shore (American, b. 1947)
Washington, D.C., November 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8″ (7.8 × 11.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Second Street, Ashland, Wisconsin, July 9, 1973'

 

Stephen Shore (American, b. 1947)
Second Street, Ashland, Wisconsin, July 9, 1973
1973. Chromogenic colour print, printed 2017
17 × 21 3/4″ (43.2 × 55.2 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'U.S. 97, South of Klamath Falls, Oregon, July 21, 1973'

 

Stephen Shore (American, b. 1947)
U.S. 97, South of Klamath Falls, Oregon, July 21, 1973
1973
Chromogenic colour print, printed 2002
17 3/4 x 21 15/16″ (45.1 x 55.7 cm)
The Museum of Modern Art, New York. The Photography Council Fund
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Breakfast, Trail's End Restaurant, Kanab, Utah, August 10, 1973'

 

Stephen Shore (American, b. 1947)
Breakfast, Trail’s End Restaurant, Kanab, Utah, August 10, 1973
1973
Chromogenic colour print
16 7/8 × 21 1/4″ (42.8 × 54 cm)
The Museum of Modern Art, New York. Purchase
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'West Third Street, Parkersburg, West Virginia, May 16, 1974'

 

Stephen Shore (American, b. 1947)
West Third Street, Parkersburg, West Virginia, May 16, 1974
1974
Chromogenic colour print
8 × 10 1/2″ (20.3 × 26.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Lookout Hotel, Ogunquit, Maine, July 16, 1974'

 

Stephen Shore (American, b. 1947)
Lookout Hotel, Ogunquit, Maine, July 16, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

 

The Museum of Modern Art presents the most comprehensive exhibition ever organised of photographer Stephen Shore’s work, on view from November 19, 2017, until May 28, 2018. The exhibition tracks the artist’s work chronologically, from the gelatin silver prints he made as a teenager to his current work with digital platforms. Stephen Shore establishes the artist’s full oeuvre in the context of his time – from his days at Andy Warhol’s Factory through the rise of American colour photography and the transition to large-scale digital photography – and argues for his singular vision and uncompromising pursuit of photography’s possibilities. The exhibition will include hundreds of photographic works along with additional materials including books, ephemera, and objects. Stephen Shore is organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, MoMA.

Born in 1947, Shore spearheaded the New Color Photography movement in the United States in the 1970s, and became a major catalyst in the renewal of documentary photography in the late 1990s, both in the US and Europe, blending the tradition of American photographers such as Walker Evans with influences from various artistic movements, including Pop, Conceptualism, and even Photo-Realism. Shore’s images seem to achieve perfect neutrality, in both subject matter and approach. His approach cannot be reduced to a style but is best summed up with a few principles from which he has seldom deviated: the search for maximum clarity, the absence of retouching and reframing, and respect for natural light. Above all, he exercises discipline, limiting his shots as much as possible – one shot of a subject, and very little editing afterward.

Shore started developing negatives from his parents when he was only six, received his first camera when he was nine, and sold prints to Edward Steichen, then director of MoMA’s Department of Photography, at the age of 14. In the early 1960s Shore became interested in film, both narrative and experimental, and he showed his short film Elevator in 1965 at the Film-Makers’ Cinematheque, where he first met Andy Warhol. That spring, he dropped out of high school and started photographing at Warhol’s studio, The Factory, initially on an almost daily basis, then more sporadically, until 1967. Elevator has been restored by conservators and will be screened in the exhibition for the first time since the 1960s.

In 1969, Shore used serial black-and-white projects to deconstruct the medium and rebuild it on a more detached, intellectual foundation. In these works, many shot in Amarillo, Texas, with his friend Michael Marsh as his main model, Shore was striving to free himself from certain photographic conventions: the concept of photography as the art of creating isolated and “significant” images, and the related cult of the “decisive moment”; perfect framing; and the expressive subjectivity of the photographer. The principle of multiplicity prevails in Shore’s work of that period – series, suites, and sequences that resist all narrative temptation. In their attempt to eliminate subjectivity, these series are related to a number of Conceptual photographic works by other artists of the same period.

In November 1971 Shore curated an exhibition called All the Meat You Can Eat at the 98 Greene Street Loft. Embracing a century of photography, the show was composed largely of found images collected by Shore and two friends, Weston Naef, then a curator at The Metropolitan Museum of Art, and Michael Marsh. It also included images by Shore, such as shots taken with a Mick-a-Matic camera and colour photos that would serve as the basis for the postcards in his series Greetings from Amarillo, “Tall in Texas.” Stephen Shore will include a reconstructed version of this display, using material from Shore’s archives – some that was originally in the exhibition and some that has been selected by Shore for this installation.

In the early 1970s Shore turned to colour photography, a format that at that time was still largely overlooked by art photographers. In March 1972, he started taking snapshots of his daily life, embarking in June and July of the same year on a road trip to the southern US. For two months he photographed his everyday life in an almost systematic way – unremarkable buildings, main streets, highway intersections, hotel rooms, television screens, people’s faces, toilet seats, unmade beds, a variety of ornamental details, plates of food, shop windows, inscriptions, and commercial signs. In September and October 1972, images from the series were shown at Light Gallery in New York under the title American Surfaces. The MoMA display of this work echoes that initial presentation, in which the small Kodacolor prints were attached directly to the wall, unframed, in a grid of three rows.

Begun in 1973 and completed almost 10 years later, Shore’s next project, Uncommon Places, inhabits the same world and deals with the same themes as American Surfaces. Yet because of Shore’s move from a handheld 35mm camera to a large-format one, Uncommon Places features fewer details and close-ups and a more detached approach. Appearing in the context of accelerated change in the national landscape, especially in areas of suburban sprawl, it betrays a more contemplative reading of individual images. Before being published as a book in 1982, the series was exhibited both in the US and abroad, especially in Germany, making Shore one of the most prominent figures of the American New Color movement. Though he is best known for his large-format work of this period, Shore was at the same time experimenting with other photographic formats. The exhibition will include a selection of stereo images he made in 1974 that were never published, and have not been exhibited since 1975.

While working on what would become Uncommon Places, Shore began to accept photographic commissions, not only for editorial work but also for institutions and companies. If some of these commissions seem quite distant from Uncommon Places, most of them still show some affinity with the series in their attention to architecture and exploration of “Americanness.” He took photographs focusing on contemporary vernacular architecture that the architects Robert Venturi and Denise Scott Brown used in their 1976 exhibition Signs of Life: Symbols in the American City. This exhibition will feature some of the original, gridded transparencies from Signs of Life that incorporate images by Shore and other photographers, not seen since 1976. Finally, some commissions he did for magazines alternate between urban landscapes, portraits, and architectural details in a direct extension of Uncommon Places. Shore would include a number of commissioned photographs in his personal body of work, showing how porous the borders were between the two groups of images, and Stephen Shore will include examples both of the photographs in context in books and periodicals, and of others that were not subsequently published.

Starting in the late 1970s, Shore gradually abandoned urban and suburban areas and turned to the natural landscape, a subject he would concentrate on almost exclusively during the next decade. These included the landscapes of Montana (1982-83), where he settled with his wife in 1980, Texas (1983-88), and the Hudson Valley (1984-86), where he moved in 1982, but also more international locations: the Highlands of Scotland (1988); Yucatán, in Mexico (1990); and finally the Po Valley, with a series in Luzzara, Italy (1993). This period corresponds also to a reduced public visibility of his photographic work, marked by fewer exhibitions, publications, and commissions.

In the early 2000s Shore began experimenting with digital tools and technologies that had only recently become available. Between 2003 and 2010, he made dozens of print-on-demand books, which were each printed in limited editions of 20 copies, making them similar to artist’s books. But the ease of production, speed of execution, democratic nature of the technique used, and modesty of the finished product are in direct line with the snapshots of American Surfaces and the immediacy of Polaroid images. In the choice of subjects and approaches, the series of books seems both literally and figuratively to be a mini-version of Shore’s entire oeuvre, blending and reworking the themes that have always been important to him – an exhaustive exploration of a particular subject or place, a penchant for the vernacular, an interest in sequence, a tendency toward autobiography, a search for a kind of immediacy, and a dry sense of humour – while still retaining its autonomy and specificity. A few years later he created Winslow, Arizona in a single day in 2013. The precise temporal duration of the series – one day from sunrise to sunset – links it to some of Shore’s print-on-demand books, but it takes on a new performance-based dimension. Over 180 of the pictures Shore took that day were presented, unedited and in the order in which they were shot, in a slide show, projected on a drive-in screen in Barstow, California, a few days after he took them.

In 1996 and 1997 Shore, who had always been fascinated by archaeology, undertook photographic projects around excavation sites in Israel and Italy, shooting solely in black and white. Within the archaeological remains of these vanished cities, Shore was especially interested in the human dimension, both domestic and secular, seen in bones, pottery, and vestiges of dwellings and shops. Then, between September of 2009 and the spring of 2011, Shore returned to the region five times, photographing throughout the entire territory from north to south, or From Galilee to the Negev, as he titled the book he published of a selection of his photographs in Israel and the West Bank. As indicated by the title and structure of the book, with chapters organised geographically, the project was guided by a topographical exploration. It mixes various temporalities – which are echoed by the diversity of the images – bringing together the “short term” of people and events with and the “long term” of the landscape and planet.

The photographs Shore took in Ukraine in the summer of 2012 and the fall of 2013 have as their subject the country’s Jewish community, specifically survivors of the Holocaust who are assisted today by the Survivor Mitzvah Project. Following three years of photographing primarily in Israel, the series provided Shore with the opportunity to continue working with subjects related to his Jewish roots. In a break from his norm, Shore structured the Ukraine series around the human figure. Survivors in Ukraine, the book of photographs he published in 2015, provides accounts of 22 survivors, all more than 80 years old, through a wide range of images: close-ups, busts, and full-length portraits; fragmentary portraits of hands, arms, and legs; views of dwellings and interiors; and still-life details of meals, belongings, and memorials to departed family members.

In the summer of 2014 Shore decided to devote most of his photographic activity to Instagram, where he posts images almost every day. While he continues to take on commissions, the bulk of his personal production over the past three years has been through the social networking app; he considers this output his current “work.” With Instagram Shore has reestablished a rapid, instantaneous practice, one that requires him to be on constant alert. It also presents a new, dual aesthetic challenge for Shore in the square format and the small size of the image. These constraints encourage a simplification of the picture, making it more a “notation” than a constructed image. Tablets will be stationed within a gallery of the exhibition, allowing viewers to scroll through Shore’s Instagram feed, which will feature new images as Shore continues to post them.

Press release from MoMA

 

Stephen Shore (American, b. 1947) 'Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975'

 

Stephen Shore (American, b. 1947)
Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975
1975
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Thomas and Susan Dunn
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'U.S. 93, Wikieup, Arizona, December 14, 1976'

 

Stephen Shore (American, b. 1947)
U.S. 93, Wikieup, Arizona, December 14, 1976
1976
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Thomas and Susan Dunn
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Giverny, France, 1977'

 

Stephen Shore (American, b. 1947)
Giverny, France, 1977
1977
Chromogenic colour print
7 11/16 x 9 5/8″ (19.5 x 24.5 cm)
The Museum of Modern Art, New York
Gift of the Estate of Lila Acheson Wallace
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Graig Nettles, Fort Lauderdale, Florida, March 1, 1978'

 

Stephen Shore (American, b. 1947)
Graig Nettles, Fort Lauderdale, Florida, March 1, 1978
1978
Chromogenic colour print
7 11/16 x 9 11/16″ (19.5 x 24.6 cm)
The Museum of Modern Art, New York
Acquired with matching funds from Blanchette Hooker Rockefeller and the National Endowment for the Arts, 1978
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Merced River, Yosemite National Park, California, August 13, 1979'

 

Stephen Shore (American, b. 1947)
Merced River, Yosemite National Park, California, August 13, 1979
1979
Chromogenic colour print, printed 2013
35 7/8 x 44 15/16″ (91.2 x 114.2 cm)
The Museum of Modern Art, New York. Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Gallatin County, Montana, August 2, 1983'

 

Stephen Shore (American, b. 1947)
Gallatin County, Montana, August 2, 1983
1983
Chromogenic colour print, printed 2017
36 × 45″ (91.4 × 114.3 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'County of Sutherland, Scotland, 1988'

 

Stephen Shore (American, b. 1947)
County of Sutherland, Scotland, 1988
1988
Chromogenic colour print
35 1/2 × 45 1/2″ (90.2 × 115.6 cm)
The Museum of Modern Art, New York
Gift of Susan and Arthur Fleischer, Jr.
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Sderot, Israel, September 14, 2009'

 

Stephen Shore (American, b. 1947)
Sderot, Israel, September 14, 2009
2009. Chromogenic colour print
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Peqi'in, Israel, September 22, 2009'

 

Stephen Shore (American, b. 1947)
Peqi’in, Israel, September 22, 2009
2009. Chromogenic colour print
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Uman, Cherkaska Province, Ukraine, July 22, 2012'

 

Stephen Shore (American, b. 1947)
Uman, Cherkaska Province, Ukraine, July 22, 2012
2012
Chromogenic colour print, printed 2017
16 × 20″ (40.6 × 50.8 cm)
Courtesy the artist
© 2017 Stephen Shore

 

 

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27
Apr
18

Exhibition: ‘In the Beginning: Minor White’s Oregon Photographs’ at the Portland Art Museum Phase 1, Part 2

Exhibition dates: 9th December 2017 – 6th May 2018

Curated by Julia Dolan PhD, the Minor White Curator of Photography

 

Over two postings, Phase 1 of this exhibition which features one of the greatest collections of early photographs by Minor White!

 

Minor White (American, 1908-1976) 'Untitled (Dock)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Dock)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

 

Catching fire

It is a memorable experience to be able to observe a great artist experimenting with his craft, which is exactly what MW is doing in the photographs in these two postings. Here is an artist at the start of the path, honing his skills as a “creative photographer”: for these are creative, public photographs not expressive, private ones.

The photographs are a strange mix… part modernism, part romanticism, with a large dose of Pictorialism (dare I mention the word!) thrown in for good measure. I can see influences of the night work of Brassaï; the architectural photographs of Charles Sheeler; the photographs of Albert Renger-Patzsch and the German New Objectivity; the urban and urbane photographs of Walker Evans (The Customer, c. 1939 and Joseph, Oregon (Joseph Cemetery) c. 1940 below); the spatiality, surrealism and detail of Eugene Atget’s Paris photographs; and the landscape work of Ansel Adams. Overlay these influences with feelings of spirituality, sexuality and the atmosphere of place and you have a heady mix. And yet these photographs are purely his own.

What a time MW was having when he made these photographs. There were no limits to where he could point his camera.

As I talk to my friend and mentor about photography, we have brave conversations about artists, vision, looking, previsualition, representation, the print, and more generally life, words, spirit. He observed of this group of photographs:

.
“There were things that looked like photographs that other people had made.
There were things that were naively interesting to him for what they were.
There were things that allowed him to experiment with ideas of metaphor.
There was a combination of subject matter and light that enabled him to touch upon a world of symbol and ritual without him ever really being confident
in that world (at this time).

There were also affirmations of how he could organise the world through his camera. He knew he was really accomplished with organising the edges of his image (particularly the right hand edge) and how this segued into the centre of his images where he hoped he could also organise subject matter – but he was not as skilled with this. He was still learning his craft.

He also knew that he could escape reality by changing scale, changing the lightness of his subject matter, changing the mood of his images with print colour (cold events printed warm) and then affirming the mood of his images with print colour. He knew there must be more with how he printed – was he beginning to understand that there his knowledge of printing chemistry could also be applied to film chemistry? Maybe there was an inkling of this but he was never extremely skilful with this. And he was not trying to expose and change film development techniques according to the subject matter – but there were emerging confused questions about this that would be exceptionally refined later.

I don’t think he applied labels like modernist or romantic to himself – but he was burningly aware of his authorship – and it excited him to the bone. Sometimes he was aware that he was walking an edge between various worlds and this was starting to take a form where he was both teacher and student – he could sense it starting to appear in his images and this made him secretly full of delight.”

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My friend has such a tremendous knowledge of the work of MW and of photography and life in general. I most appreciate the passing on of these observations to me. You really can feel that the artist is walking an edge between various worlds and that the photographs embody a critical shift in consciousness, from “truth in appearances” to a longing for transcendence. The work is full of symbolic and metaphorical allusions/illusions.

That MW’s photographs still offer these affirmations to the viewer nigh on 80 years later show’s the intensity of their visualisation. They are a gift from the cosmos to one human being and back to the cosmos (in the form of an ensō, or Zen circle), and should be accepted as such.

Marcus

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

 

“A banquet of frustration”: Minor White penned the phrase in 1939, after reading T. S. Eliot’s 1922 poem The Waste Land. “I perceived that if one could put out the energy to produce a banquet of frustration, then frustration had power,” White commented. “It was worth pursuing.”(1)

(1) Minor White, “Memorable Fancies,” 1932-37; quoted in Peter C. Bunnell, Minor White: The Eye That Shapes (Princeton and Boston: The Art Museum, Princeton University; Bulfinch/Little, Brown, 1989), 19.

“The duplicity one senses in White’s career, in both his writing and his images, stems certainly from this frustration about sexuality (as Peter Bunnell has written,”White’s sexuality underlies the whole of the autobiographical statement contained in his work”),(6) but it also mirrors a much larger countertradition found within modernism itself, a romantic tradition that draws from Romanticism, Symbolism, Dada, and Surrealism. More specifically, White’s frustration coincides with the collapse of modernist ideals during the postwar era. This passage in the history of photography, if examined at all, is normally pinned to the arid vision of Robert Frank.(7) Aesthetically, White’s vision was less dark than Frank’s, and in no sense nihilistic. Yet White’s work embodies a critical shift in consciousness, from the heroic modernist notion of “truth in appearances” toward the acknowledgment – and even the cultivation – of illusion, deception, and buried meanings. White’s banquet of frustration would look like a tea setting compared to the theoretical abattoirs of generations of later artists; nevertheless, the historical narrative of photographic modernism’s dissolution owes an early chapter to White and his longing for transcendence, which he seems not to have attained.”

Extracts from Kevin Moore. “Cruising and Transcendence in the Photographs of Minor White,” on the Aperture website [Online] Cited 27/04/2018

 

 

Minor White (American, 1908-1976) 'Untitled (Propeller)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Propeller)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Freight Depot' c. 1939

 

Minor White (American, 1908-1976)
Freight Depot
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Girder)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Girder)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Portland Lumber Mills)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Portland Lumber Mills)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Log Boom' c. 1940

 

Minor White (American, 1908-1976)
Log Boom
c. 1940
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Boats at Dock' c. 1939

 

Minor White (American, 1908-1976)
Boats at Dock
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'East Side of Willamette' c. 1939

 

Minor White (American, 1908-1976)
East Side of Willamette
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Boards' c. 1939

 

Minor White (American, 1908-1976)
Boards
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Lily Pads and Pike' c. 1939

 

Minor White (American, 1908-1976)
Lily Pads and Pike
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'The Patch' c. 1939

 

Minor White (American, 1908-1976)
The Patch
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Horsetail and Skunk Cabbage' 1940

 

Minor White (American, 1908-1976)
Horsetail and Skunk Cabbage
1940
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Tree Root' c. 1939

 

Minor White (American, 1908-1976)
Tree Root
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Detail (California Foundry)' c. 1939

 

Minor White (American, 1908-1976)
Detail (California Foundry)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Detail (227 Southeast Front Street)' 1938

 

Minor White (American, 1908-1976)
Detail (227 Southeast Front Street)
1938
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Front and Burnside' c. 1939

 

Minor White (American, 1908-1976)
Front and Burnside
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Ladd and Tilton Bank (1868 Southwest First and Stark Streets)' c. 1939

 

Minor White (American, 1908-1976
Ladd and Tilton Bank (1868 Southwest First and Stark Streets)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Pioneer Post Office and Portland Hotel Gate' c. 1939

 

Minor White (American, 1908-1976)
Pioneer Post Office and Portland Hotel Gate
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Southwest Fourth and Salmon Streets, Courthouse' c. 1939

 

Minor White (American, 1908-1976)
Southwest Fourth and Salmon Streets, Courthouse
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Kamm Building (Southwest Pine near First Avenue)' c. 1939

 

Minor White (American, 1908-1976)
Kamm Building (Southwest Pine near First Avenue)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Fifth at Yamhill (Public Service Building)' c. 1939

 

Minor White (American, 1908-1976)
Fifth at Yamhill (Public Service Building)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'New on Old (Southeast Corner, First and Burnside)' c. 1939

 

Minor White (American, 1908-1976)
New on Old (Southeast Corner, First and Burnside)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'The Iron Fronts' c. 1939

 

Minor White (American, 1908-1976)
The Iron Fronts
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Front Street' 1939

 

Minor White (American, 1908-1976)
Front Street
1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Arches of the Dodd Building (Southwest Front Avenue and Ankeny Street)' 1938

 

Minor White (American, 1908-1976)
Arches of the Dodd Building (Southwest Front Avenue and Ankeny Street)
1938
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, no known copyright restrictions

 

 

In 1939 White was living at the Portland YMCA, where he had organised a camera club and had built a darkroom and modest gallery for exhibiting pictures. White’s photographs from this period concentrate on the environs of Portland, particularly the area of the commercial waterfront, which was undergoing demolition for redevelopment. Hired by the Oregon Art Project, an arm of the Works Progress Administration (WPA), White trawled the city’s Front Avenue neighbourhood, documenting the nineteenth-century buildings with cast-iron façades that were about to be torn down.(8) White’s photographs are anything but clinical. His street views, many taken at night, have a ghostlike quality, with the occasional lone figure haunting the wet pavement; boarded-up doorways are cast in deep shadow; and mercantile objects, heaped onto the sidewalk before emptied warehouses, take on a forlorn anthropological character.(9)

Among these pictures is a group of five depicting a handsome young man leaning in a doorway on Front Avenue. He is dressed like a labourer in jeans, work shirt, and boots, but there is something of the dandy in the raffish positioning of the man’s newsie cap, the tight cut of his trousers, pulled high and cinched at the waist, and the studied nonchalance of his pose. In one image, his hand is shoved into a pocket, leaving the index finger exposed and pointing downward toward a prominent bulge. Most importantly, he gazes – not at the photographer but down the street – intently and expectantly, as if anticipating something that has not yet come into view. A second photograph shows the man from behind, revealing the nape of his neck, a pair of rounded buttocks, and white stains splashed down the right thigh of his trousers. The pose suggests that he is urinating in this abject doorway with its peeling paint and debris underfoot; he could be taken for a plasterer relieving himself during a break. Another image, taken in a different boarded-up doorway, shows the man leaning with one arm raised and smiling coyly (again, not at the photographer), with his thumbs slipped under his belt and his fingers cupped, calling attention once again to his bulge. An “Air Circus” poster behind him advertises “Tex Rankin and other famous flyers” as well as “stunts” and “thrills.”

The scene is both explicit and coded, even to contemporary eyes. This handsome loitering man might have been taken by certain passersby for an ordinary labourer, on break or looking for work. Others might have recognised him as a man looking for sex (or for another kind of work) with other men. White’s sexual interest in men and his approach to looking at things “for what else they are” stratify the two narratives, establishing layers of meaning on parallel planes. This man is both a labourer and a cruising homosexual. He is, then, just what the photographic image in general would come to signify for White: a common trace from the visible world, transformed into another set of charged meanings.(10)

.
Extract from Kevin Moore. “Cruising and Transcendence in the Photographs of Minor White,” on the Aperture website [Online] Cited 27/04/2018

 

Minor White (American, 1908-1976) 'Doorway, Dodd Building' c. 1939

 

Minor White (American, 1908-1976)
Doorway, Dodd Building
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

 

White’s earlier Portland series, by contrast, is the darker product of a romantic turn of mind and conveys not the affirmative, civic-minded Whitman of poems such as “A Broadway Pageant” but the melancholy, searching Whitman of the “Calamus” poems.(13) In Portland, we see White engaging Front Avenue for its sense of mystery and possibility, an investigation among darkened doorways and in the silhouettes of passing strangers for moments of revelation. More than simply a celebration of the manifold aspects of the city, the desired charge might be specified as the possibility of an erotic connection, however ephemeral, as proposed by Whitman in “City of Orgies”:

City of orgies, walks and joys,
City whom that I have lived and sung in your midst will one
   day make you illustrious,
Not the pageants of you, not your shifting tableaus, your
   spectacles, repay me,
Not the interminable rows of your houses, nor the ships
   at the wharves,
Nor the processions in the streets, nor the bright windows
   with goods in them,
Nor to converse with learn’d persons, or bear my share in
   the soiree or feast;
Not those, but as I pass O Manhattan, your frequent and
   swift flash of eyes offering me love,
Offering response to my own—these repay me, 
Lovers, continual lovers, only repay me.(14)

.
Extract from Kevin Moore. “Cruising and Transcendence in the Photographs of Minor White,” on the Aperture website [Online] Cited 27/04/2018

 

Minor White (American, 1908-1976) 'Pilaster and Hood Molding, Dodd Building (Southwest Front and Ankeny)' c. 1939

 

Minor White (American, 1908-1976)
Pilaster and Hood Molding, Dodd Building (Southwest Front and Ankeny)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Door of Iron - First Brick Building in Portland, 1852 (Ladd and Tilton Building)' 1939

 

Minor White (American, 1908-1976)
Door of Iron – First Brick Building in Portland, 1852 (Ladd and Tilton Building)
1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'China Town' c. 1939

 

Minor White (American, 1908-1976)
China Town
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Morrison Bridge - Winter' 1938

 

Minor White (American, 1908-1976)
Morrison Bridge – Winter
1938
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'St. Johns Bridge' c. 1939

 

Minor White (American, 1908-1976)
St. Johns Bridge
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Catherine Creek' c. 1941

 

Minor White (American, 1908-1976)
Catherine Creek
c. 1941
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Joseph, Oregon (Joseph Cemetery)' c. 1940

 

Minor White (American, 1908-1976)
Joseph, Oregon (Joseph Cemetery)
c. 1940
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Hurricane Creek (Trees and Rock)' 1941

 

Minor White (American, 1908-1976)
Hurricane Creek (Trees and Rock)
1941
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Ice Lake' 1940

 

Minor White (American, 1908-1976)
Ice Lake
1940
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'The Customer' c. 1939

 

Minor White (American, 1908-1976)
The Customer
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) '1323-29 Southwest First Avenue' 1939

 

Minor White (American, 1908-1976)
1323-29 Southwest First Avenue
1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Young Man)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Young Man)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Shipmates Visit the Photographer' c. 1939

 

Minor White (American, 1908-1976)
Shipmates Visit the Photographer
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Woman Sitting)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Woman Sitting)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Man Praying)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Man Praying)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

 

Portland Art Museum
1219 SW Park Avenue
Portland, OR 97205

Opening hours:
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Thurs – Fri 10am – 8pm
Closed Monday

Portland Art Museum website

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15
Apr
18

Exhibition: ‘In the Beginning: Minor White’s Oregon Photographs’ at the Portland Art Museum Phase 1, Part 1

Exhibition dates: 9th December 2017 – 6th May 2018

Curated by Julia Dolan PhD, the Minor White Curator of Photography

 

 

Minor White (American, 1908-1976) 'Untitled (Union Station Loading Platform)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Union Station Loading Platform)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

 

Phase 1 of this exhibition, over two postings on Art Blart, features one of the greatest collections of early photographs by Minor White!

In this posting it’s so nice to see the great man metaphorically getting his hands dirty – feet in the water, hand cupped to the eye looking through it to gauge the composition (his previsualisation), before getting under the black cloth to make final adjustments to his 4×5 view camera.

Other things to note in the Minor White During a Workshop photographs of MW using his camera are this:

  • MW has tilted forward the front of the camera to extend the depth of field that recedes away from him, for example the sand or the surface of the water
  • MW has also raised the front of the camera slightly
  • MW is using a large Majestic tripod
  • MW is possibly using a Weston light meter, for which he gave specific instructions in the first edition of his Zone System manual. The light meter can be seen still in it’s leather case with hanging strap in various images, with MW’s thumb on the dial in two images. In one image you can see him calculating his light meter exposure
  • His glasses case is in his top shirt pocket, and he is wearing a well used hat (so important when taking photographs) with sweat stains on its brim

.
In these valuable pictures, the 51 year-old Minor White is making tiny adjustments to the camera movements to control the depth of field.

Paul Caponigro, a student of Minor White, observed that watching MW use the view camera was more than instructive, it was a joy. The very last sentence in the Fourth Sequence colophon reinforces the notion that the camera’s strongest point was its photographic authenticity, that is, a faithful camera technique leads to an authentic photograph, or to authenticity.1

“For technical data – the camera was faithfully used.” ~ MW

Further comment on the photographs in Part 2 of the posting.

Marcus

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

  1. Andrew E. Hershberger. “White’s Theory of Sequential Photography, ” in Anna-Teresa Tymieniecka (ed.,). Analecta Husserliana: The Yearbook of Phenomenological Research Vol. LXXXVII. Human Creation Between Reality and Illusion. Springer, 2005, p.212.

 

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

Maxwell Allara (American, born Italy, 1906-1981) 'Untitled (Minor White During a Workshop)' 1959

 

Maxwell Allara (American, born Italy, 1906-1981)
Untitled (Minor White During a Workshop)
1959
Gelatin silver print
Gift of the artist by his family: Helen D. Allara, Morgan F. Allara, and Mitchell W. Allara
© Maxwell Allara

 

 

Long before co-founding Aperture magazine or establishing the groundbreaking photography program at Massachusetts Institute of Technology, renowned modernist photographer Minor White (American, 1908-1976) moved to Portland, where he sowed the seeds of what would become a forceful artistic vision. This exhibition of White’s rarely exhibited early works celebrates the artist’s influence on the region, and honours the Portland Art Museum’s dedication to acquiring and exhibiting photography as the institution enters its 125th year.

In 1937, after traveling to Portland from Minnesota and taking up residence at the downtown YMCA, White joined the Oregon Camera Club, using its darkroom and library to hone his photography skills. He instituted a darkroom, education, and exhibition program at the YMCA, and in 1938 was hired as a “creative photographer” for the Oregon Art Project, a division of the federal government’s Works Progress Administration. Charged with documenting the Front Avenue buildings slated for demolition as well as the waterfront factories, he captured the beauty of iron-front facades, the distinct forms of industrial architecture, and the cultural undercurrents of a city under transition. These photographs, much more than straightforward government documents, mark a critical period in Portland’s history and hold clues to White’s mature modernist approach.

In 1942, after touring the nation, White’s WPA images returned to Portland and became the first photographs to be accessioned into the Museum’s permanent collection. That same year, the Museum gave White his first solo exhibition and commissioned him to photograph two historic Portland homes. White was drafted into the Army later that spring, and although he never returned to live in the city, his bonds to the community remained strong, resulting in multiple Oregon-based workshops in the 1950s and 1960s. To this day he remains a significant influence on photographic practice in the Northwest and beyond.

The first phase of In the Beginning (on view December 9, 2017, through May 6, 2018) presents approximately 60 photographs of waterfront industrial buildings, Portland Civic Theatre portraits, night scenes, and images of Minor White teaching workshops in Oregon during the late 1950s and early 1960s. The second phase of the exhibition (on view May 6 through October 21, 2018) will feature downtown and Front Street scenes, photographs of Eastern Oregon, and images of two historic houses that White photographed for the Museum in 1942.

Text from the Portland Art Museum website

 

 

Minor White (American, 1908-1976) 'Plane Study' c. 1939

 

Minor White (American, 1908-1976)
Plane Study
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Plane Study' c. 1939

 

Minor White (American, 1908-1976)
Plane Study
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Grain Elevators)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Grain Elevators)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Grain Tanks' c. 1940

 

Minor White (American, 1908-1976)
Grain Tanks
c. 1940
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Grain Loading Depot' 1939

 

Minor White (American, 1908-1976)
Grain Loading Depot
1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Elevator, Tree, Car)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Elevator, Tree, Car)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Grain Elevator from the Water)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Grain Elevator from the Water)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Ship and Grain Elevator)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Ship and Grain Elevator)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Dagmar Salen)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Dagmar Salen)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Water Street, Portland' 1939

 

Minor White (American, 1908-1976)
Water Street, Portland
1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'After the Fire Architecture (1211 Southwest First Avenue at Madison)' c. 1939

 

Minor White (American, 1908-1976)
After the Fire Architecture (1211 Southwest First Avenue at Madison)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (House at 27th Southwest Hall Street)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (House at 27th Southwest Hall Street)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Houses at Hall and First Street)' 1940

 

Minor White (American, 1908-1976)
Untitled (Houses at Hall and First Street)
1940
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Jacobs House (Jacobs-Dolph House, Southwest Park and Montgomery)' c. 1939

 

Minor White (American, 1908-1976)
Jacobs House (Jacobs-Dolph House, Southwest Park and Montgomery)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (St. Mary's Academy, Third Avenue Entrance)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (St. Mary’s Academy, Third Avenue Entrance)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Beach and Pilings)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Beach and Pilings)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Portland' 1939

 

Minor White (American, 1908-1976)
Portland
1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Hand Forge' c. 1939

 

Minor White (American, 1908-1976)
Hand Forge
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Sawdust)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Sawdust)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Municipal Market, from a Barge on East Side of the River)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Municipal Market, from a Barge on East Side of the River)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Untitled (Pier B Municipal Terminal No. 1)' c. 1939

 

Minor White (American, 1908-1976)
Untitled (Pier B Municipal Terminal No. 1)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Design (Portland Dry Docks)' c. 1939

 

Minor White (American, 1908-1976)
Design (Portland Dry Docks)
c. 1939
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

Minor White (American, 1908-1976) 'Design' 1939

 

Minor White (American, 1908-1976)
Design
1939
Gelatin silver print
Image: 13 1/2 in x 10 3/8 in; sheet: 13 1/2 in x 10 3/8 in
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration. Commissioned through the New Deal art projects

 

Minor White (American, 1908-1976) 'Design (Cable and Chain)' c. 1940

 

Minor White (American, 1908-1976)
Design (Cable and Chain)
c. 1940
Gelatin silver print
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration
Commissioned through the New Deal art projects, public domain

 

 

Portland Art Museum
1219 SW Park Avenue
Portland, OR 97205

Opening hours:
Tues – Wed, Sat – Sun 10am – 5pm
Thurs – Fri 10am – 8pm
Closed Monday

Portland Art Museum website

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04
Mar
18

Exhibition: ‘Richard Prince: Untitled (cowboy)’ at the Los Angeles County Museum of Art (LACMA)

Exhibition dates: 3rd December 2017 – 25th March 2018

 

Richard Prince. 'Untitled (cowboy)' 2015

 

Richard Prince
Untitled (cowboy)
2015
Dye coupler print
59 3/4 × 90 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

 

Appropriation as a form of self aggrandizement.

Discuss.

Marcus

.
Many thankx to the Los Angeles County Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

 

Richard Prince: Untitled (cowboy) presents two photographic series from the 2010s that are being publicly exhibited for the first time at LACMA. Continuing the artist’s career-long engagement with the motif of the cowboy, Untitled (cowboy), recently acquired by LACMA, and Untitled (original cowboy) achieve the grandeur of 19th-century history painting while also deconstructing the iconography of the American West. Once again challenging the conventional meanings and limits of the photographic medium, Prince reignites debates he sparked some 40 years ago.

In the mid-1970s, Prince was an aspiring painter working in Time Inc.’s tear sheet department, clipping texts for magazine writers. After he removed the articles, he was left with advertisements: glossy pictures of commodities, models, and other objects of desire. Between 1980 and 1992, Prince paid particular attention to the motif of the cowboy, as depicted in a series of advertisements for Marlboro cigarettes. Prince began to rephotograph the advertisements, cropping and enlarging them to make limited-edition prints as artworks of his own. Prince’s re-photography had an explosive effect on the art world, provoking lawsuits and setting auction records. With this controversial practice, he redefined what it means to “take” a photograph.

For his 2015-16 Untitled (cowboy) photographs, Prince revisited copies of TIME from the 1980s and 1990s using contemporary technology. In contrast to this studio-based manipulation, for the 2013 series Untitled (original cowboy) Prince went to Utah, seeking out quintessential viewpoints established by legions of photographers – tourists and artists alike – who preceded him. Extending his interrogation of this particular American protagonist into the era of Instagram, Prince demonstrates that the stakes around originality, appropriation, and truth in advertising are as high as ever.

Press release from LACMA

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 3/4 × 55 1/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
82 × 60 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
79 1/2 × 60 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

 

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
T: 323 857 6000

Opening hours:
Monday, Tuesday, Thursday: 11am – 5 pm
Friday: 11am – 8pm
Saturday, Sunday: 10am – 7pm
Closed Wednesday

LACMA website

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02
Feb
18

Exhibition: ‘Walker Evans’ at the San Francisco Museum of Modern Art (SFMOMA)

Exhibition dates: 30th September 2017 – 4th February 2018

Curator: Clément Chéroux

 

 

Walker Evans (1903-1975) 'Self-Portrait' 1927

 

Walker Evans (1903-1975)
Self-Portrait
1927
Gelatin silver print
Collection of The Metropolitan Museum of Art, New York, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

I have posted on this exhibition before, when it was at the Centre Pompidou in Paris, but this iteration at SFMOMA is the exclusive United States venue for the Walker Evans retrospective exhibition – and the new posting contains fresh media images not available previously.

I can never get enough of Walker Evans. This perspicacious artist had a ready understanding of the contexts and conditions of the subject matter he was photographing. His photographs seem easy, unpretentious, and allow his sometimes “generally unaware” subjects (subway riders, labor workers) to speak for themselves. Does it matter that he was an outsider, rearranging furniture in workers homes while they were out in the fields: not at all. Photography has always falsified truth since the beginning of the medium and, in any case, there is never a singular truth but many truths told from many perspectives, many different points of view. For example, who is to say that the story of America proposed by Robert Frank in The Americans, from the point of view of an outsider, is any less valuable than that of Helen Levitt’s view of the streets of New York? For different reasons, both are as valuable as each other.

Evans’ photographs for the Farm Security Administration (FSA) documenting the effects of the Great Depression on American life are iconic because they are cracking good photographs, not because he was an insider or outsider. He was paid to document, to enquire, and that is what he did, by getting the best shot he could. It is fascinating to compare Floyd and Lucille Burroughs, Hale County, Alabama (1936, below) with Alabama Tenant Farmer Floyd Bourroughs (1936, below). In the first photograph the strong diagonal element of the composition is reinforced by the parallel placement of the three feet, the ‘Z’ shape of Lucille Burroughs leg then leading into her upright body, which is complemented by the two vertical door jams, Floyd’s head silhouetted by the darkness beyond. There is something pensive about the clasping of his hands, and something wistful and sad, an energy emanating from the eyes. If you look at the close up of his face, you can see that it is “soft” and out of focus, either because he moved and/or the low depth of field. Notice that the left door jam is also out of focus, that it is just the hands of both Floyd and Lucille and her face that are in focus. Does this low depth of field and lack of focus bother Evans? Not one bit, for he knows when he has captured something magical.

A few second later, he moves closer to Floyd Burroughs. You can almost hear him saying to Floyd, “Stop, don’t move a thing, I’m just going to move the camera closer.” And in the second photograph you notice the same wood grain to the right of Floyd as in the first photograph, but this time the head is tilted slightly more, the pensive look replaced by a steely gaze directed straight into the camera, the reflection of the photographer and the world beyond captured on the surface of the eye. Walker Evans is the master of recognising the extra/ordinary. “The street was an inexhaustible source of poetic finds,” describes Chéroux. In his creation of visual portfolios of everyday life, his “notions of realism, of the spectator’s role, and of the poetic resonance of ordinary subjects,” help Evans created a mythology of American life: a clear vision of the present as the past, walking into the future.

With the contemporary decline of small towns and blue collar communities across the globe Evans’ concerns, for the place of ordinary people and objects in the world, are all the more relevant today. As the text from the Metropolitan Museum observes, it is the individuals and social institutions that are the sites and relics that constitute the tangible expressions of American desires, despairs, and traditions. And not just of American people, of all people… for it is community that binds us together.

Marcus

.
Many thankx to the San Francisco Museum of Modern Art for allowing me to publish the text and photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Walker Evans is one of the most influential artists of the twentieth century. His elegant, crystal-clear photographs and articulate publications have inspired several generations of artists, from Helen Levitt and Robert Frank to Diane Arbus, Lee Friedlander, and Bernd and Hilla Becher. The progenitor of the documentary tradition in American photography, Evans had the extraordinary ability to see the present as if it were already the past, and to translate that knowledge and historically inflected vision into an enduring art. His principal subject was the vernacular – the indigenous expressions of a people found in roadside stands, cheap cafés, advertisements, simple bedrooms, and small-town main streets. For fifty years, from the late 1920s to the early 1970s, Evans recorded the American scene with the nuance of a poet and the precision of a surgeon, creating an encyclopaedic visual catalogue of modern America in the making. …

Most of Evans’ early photographs reveal the influence of European modernism, specifically its formalism and emphasis on dynamic graphic structures. But he gradually moved away from this highly aestheticized style to develop his own evocative but more reticent notions of realism, of the spectator’s role, and of the poetic resonance of ordinary subjects. …

In September 1938, the Museum of Modern Art opened American Photographs, a retrospective of Evans’ first decade of photography. The museum simultaneously published American Photographs – still for many artists the benchmark against which all photographic monographs are judged. The book begins with a portrait of American society through its individuals – cotton farmers, Appalachian miners, war veterans – and social institutions – fast food, barber shops, car culture. It closes with a survey of factory towns, hand-painted signs, country churches, and simple houses – the sites and relics that constitute the tangible expressions of American desires, despairs, and traditions.

Between 1938 and 1941, Evans produced a remarkable series of portraits in the New York City subway. They remained unpublished for twenty-five years, until 1966, when Houghton Mifflin released Many Are Called, a book of eighty-nine photographs, with an introduction by James Agee written in 1940. With a 35mm Contax camera strapped to his chest, its lens peeking out between two buttons of his winter coat, Evans was able to photograph his fellow passengers surreptitiously, and at close range. Although the setting was public, he found that his subjects, unposed and lost in their own thoughts, displayed a constantly shifting medley of moods and expressions – by turns curious, bored, amused, despondent, dreamy, and dyspeptic. “The guard is down and the mask is off,” he remarked. “Even more than in lone bedrooms (where there are mirrors), people’s faces are in naked repose down in the subway.”

Extract from Department of Photographs. “Walker Evans (1903-1975),” in Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000- (October 2004)

 

Walker Evans (1903-1975) 'Truck and Sign' 1928-1930

 

Walker Evans (1903-1975)
Truck and Sign
1928-30
Gelatin silver print
Private collection, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art, New York
Walker Evans (1903-1975) 'Floyd and Lucille Burroughs, Hale County, Alabama' 1936

 

Walker Evans (1903-1975)
Floyd and Lucille Burroughs, Hale County, Alabama
1936
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Floyd and Lucille Burroughs, Hale County, Alabama' 1936 (detail)

 

Walker Evans (1903-1975)
Floyd and Lucille Burroughs, Hale County, Alabama (detail)
1936
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Alabama Tenant Farmer Floyd Bourroughs' 1936

 

Walker Evans (1903-1975)
Alabama Tenant Farmer Floyd Bourroughs
1936
Gelatin silver print
22.9 x 18.4 cm
Collection particulière, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © Fernando Maquieira, Cromotex

 

Walker Evans (1903-1975) 'Allie Mae Burroughs, Wife of a Cotton Sharecropper, Hale Country, Alabama' 1936

 

Walker Evans (1903-1975)
Allie Mae Burroughs, Wife of a Cotton Sharecropper, Hale County, Alabama
1936
Gelatin silver print; private collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

“These are not photographs like those of Walker Evans who in James Agee’s account in Let Us Now Praise Famous Men took his pictures of the bare floors and iron bedsteads of the American mid-western sharecroppers while they were out tending their failing crops, and who even, as the evidence of his negatives proves, rearranged the furniture for a ‘better shot’. The best shot that Heilig could take was one that showed things as they were and as they should not be. …

To call these ‘socially-conscious documentary’ photographs is to acknowledge the class from which the photographer [Heilig] comes, not to see them as the result of a benign visit by a more privileged individual [Evans], however well-intentioned.”

Extract from James McCardle. “Weapon,” on the On This Day In Photography website [Online] Cited 29/01/2018

 

Walker Evans (1903-1975) 'Sidewalk and Shopfront, New Orleans' 1935

 

Walker Evans (1903-1975)
Sidewalk and Shopfront, New Orleans
1935
Gelatin silver print
Collection of the Museum of Modern Art, New York, gift of Willard Van Dyke
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Fish Market near Birmingham, Alabama' 1936

 

Walker Evans (1903-1975)
Roadside Stand Near Birmingham/Roadside Store Between Tuscaloosa and Greensboro, Alabama
1936
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Penny Picture Display, Savannah' 1936

 

Walker Evans (1903-1975)
Penny Picture Display, Savannah
1936
Gelatin silver print
Pilara Foundation Collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York
Walker Evans (1903-1975) 'Subway Portrait' January 1941

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans. 'Subway Passengers, New York' 1938

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans. 'Subway Passengers, New York' 1938

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (American, St. Louis, Missouri 1903–1975 New Haven, Connecticut) '[Subway Passengers, New York City]' 1938

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Subway Portraits' 1938-1941

 

Walker Evans (1903-1975)
Subway Portraits
1938-1941
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

Exhibition Displays Over 400 Photographs, Paintings, Graphic Ephemera and Objects from the Artist’s Personal Collection

The San Francisco Museum of Modern Art (SFMOMA) will be the exclusive United States venue for the retrospective exhibition Walker Evans, on view September 30, 2017, through February 4, 2018. As one of the preeminent photographers of the 20th century, Walker Evans’ 50-year body of work documents and distills the essence of life in America, leaving a legacy that continues to influence generations of contemporary photographers and artists. The exhibition will encompass all galleries in the museum’s Pritzker Center for Photography, the largest space dedicated to the exhibition, study and interpretation of photography at any art museum in the United States.

“Conceived as a complete retrospective of Evans’ work, this exhibition highlights the photographer’s fascination with American popular culture, or vernacular,” explains Clément Chéroux, senior curator of photography at SFMOMA. “Evans was intrigued by the vernacular as both a subject and a method. By elevating it to the rank of art, he created a unique body of work celebrating the beauty of everyday life.”

Using examples from Evans’ most notable photographs – including iconic images from his work for the Farm Security Administration (FSA) documenting the effects of the Great Depression on American life; early visits to Cuba; street photography and portraits made on the New York City subway; layouts and portfolios from his more than 20-year collaboration with Fortune magazine and 1970s Polaroids – Walker Evans explores Evans’ passionate search for the fundamental characteristics of American vernacular culture: the familiar, quotidian street language and symbols through which a society tells its own story. Decidedly popular and more linked to the masses than the cultural elite, vernacular culture is perceived as the antithesis of fine art.

While many previous exhibitions of Evans’ work have drawn from single collections, Walker Evans will feature over 300 vintage prints from the 1920s to the 1970s on loan from the important collections at major museums including the Metropolitan Museum of Art, the Getty Museum, the Museum of Modern Art, the Art Institute of Chicago, the National Gallery of Art, Washington, D.C., the National Gallery of Canada, the Musée du Quai Branly and SFMOMA’s own collection, as well as prints from private collections from around the world. More than 100 additional objects and documents, including examples of the artist’s paintings; items providing visual inspiration sourced from Evans’ personal collections of postcards, graphic arts, enamelled plates, cut images and signage; as well as his personal scrapbooks and ephemera will be on display. The exhibition is curated by the museum’s new senior curator of photography, Clément Chéroux, who joined SFMOMA in 2017 from the Musée National d’Art Moderne of the Centre Pompidou, Paris, organizer of the exhibition.

While most exhibitions devoted to Walker Evans are presented chronologically, Walker Evans‘ presentation is thematic. The show begins with an introductory gallery displaying Evans’ early modernist work whose style he quickly rejected in favour of focusing on the visual portfolio of everyday life. The exhibition then examines Evans’ captivation with the vernacular in two thematic contexts. The first half of the exhibition will focus on many of the subjects that preoccupied Evans throughout his career, including text-based images such as signage, shop windows, roadside stands, billboards and other examples of typography. Iconic images of the Great Depression, workers and stevedores, street photography made surreptitiously on New York City’s subways and avenues and classic documentary images of life in America complete this section. By presenting this work thematically, the exhibition links work separated by time and place and highlights Evans’ preoccupation with certain subjects and recurrent themes. The objects that moved him were ordinary, mass-produced and intended for everyday use. The same applied to the people he photographed – the ordinary human faces of office workers, labourers and people on the street.

“The street was an inexhaustible source of poetic finds,” describes Chéroux.

The second half of the exhibition explores Evans’ fascination with the methodology of vernacular photography, or styles of applied photography that are considered useful, domestic and popular. Examples include architecture, catalog and postcard photography as well as studio portraiture, and the exhibition juxtaposes this work with key source materials from the artist’s personal collections of 10,000 postcards, hand-painted signage and graphic ephemera (tickets, flyers, logos and brochures). Here Evans elevates vernacular photography to art, despite his disinclination to create fine art photographs. Rounding out this section are three of Evans’ paintings using vernacular architecture as inspiration. The exhibition concludes with Evans’ look at photography itself, with a gallery of photographs that unite Evans’ use of the vernacular as both a subject and a method.

 

About Walker Evans

Born in St. Louis, Walker Evans (1903-1975) was educated at East Coast boarding schools, Williams College, the Sorbonne and College de France before landing in New York in the late 1920s. Surrounded by an influential circle of artists, poets and writers, it was there that he gradually redirected his passion for writing into a career as a photographer, publishing his first photograph in the short-lived avant-garde magazine Alhambra. The first significant exhibition of his work was in 1938, when the Museum of Modern Art, New York presented Walker Evans: American Photographs, the first major solo exhibition at the museum devoted to a photographer.

In the 50 years that followed, Evans produced some of the most iconic images of his time, contributing immensely to the visibility of American culture in the 20th century and the documentary tradition in American photography. Evans’ best known photographs arose from his work for the Farm Security Administration (FSA), in which he documented the hardships and poverty of Depression-era America using a large-format, 8 x 10-inch camera. These photographs, along with his photojournalism projects from the 1940s and 1950s, his iconic visual cataloguing of the common American and his definition of the “documentary style,” have served as a monumental influence to generations of photographers and artists.

Press release from SFMOMA

 

Walker Evans (1903-1975) 'Resort Photographer at Work' 1941

 

Walker Evans (1903-1975)
Resort Photographer at Work
1941, printed later
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Untitled [Street scene]' 1950s

 

Walker Evans (1903-1975)
Untitled [Street scene]
1950s
Gouache on paper
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Street Debris, New York City' 1968

 

Walker Evans (1903-1975)
Street Debris, New York City
1968
Gelatin silver print
Private collection, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) '"Labor Anonymous,” Fortune 34, no. 5, November 1946' 1946

 

Walker Evans (1903-1975)
“Labor Anonymous,” Fortune 34, no. 5, November 1946
1946
Offset lithography
Centre Pompidou, Musée national d’art moderne, Paris, Bibliothèque Kandinsky, Collection of David Campany
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) '"The Pitch Direct. The Sidewalk Is the Last Stand of Unsophisticated Display," Fortune 58, no. 4, October 1958' 1958

 

Walker Evans (1903-1975)
“The Pitch Direct. The Sidewalk Is the Last Stand of Unsophisticated Display,” Fortune 58, no. 4, October 1958
1958
Offset lithography
Centre Pompidou, Musée national d’art moderne, Paris, Bibliothèque Kandinsky, Collection of David Campany
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Collage with Thirty-Six Ticket Stubs' 1975

 

Walker Evans (1903-1975)
Collage with Thirty-Six Ticket Stubs
1975
Cut and pasted photomechanical prints on paper
Collection of The Metropolitan Museum of Art, New York, Walker Evans Archive
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Unidentified Sign Painter. 'Coca-Cola Thermometer' 1930-70

 

Unidentified Sign Painter
Coca-Cola Thermometer
1930-70
Enamel on ferrous metal
Collection of The Metropolitan Museum of Art, New York, Walker Evans Archive
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Chain-Nose Pliers' 1955

 

Walker Evans (1903-1975)
Chain-Nose Pliers
1955
Gelatin silver print
The Bluff Collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

John T. Hill. 'Interior of Walker Evans's House, Fireplace with Painting of Car' 1975, printed 2017

 

John T. Hill
Interior of Walker Evans’s House, Fireplace with Painting of Car
1975, printed 2017
Inkjet print
Private collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Lenoir Book Co., 'Main Street, Showing Confederate Monument, Lenoir, North Carolina' 1900-40

 

Lenoir Book Co.,
Main Street, Showing Confederate Monument, Lenoir, North Carolina
1900-40
Offset lithography
Collection of The Metropolitan Museum of Art, New York, Walker Evans Archive
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

San Francisco Museum of Modern Art
151 Third Street
San Francisco, CA 94103

Opening hours:
Open daily (except Wednesdays): 11 am – 5.45 pm
Open late Thursdays, until 8.45 pm

San Francisco Museum of Modern Art website

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17
Nov
17

Exhibition: ‘Wayne Sorce: Urban Color’ at Joseph Bellows Gallery, La Jolla, California

Exhibition dates: 21st October – 30th November 2017

 

Wayne Sorce. 'Vinegar Hill, New York' 1985

 

Wayne Sorce
Vinegar Hill, New York
1985
Digital chromogenic print
20 x 24 inches

 

 

These remind me very strongly of the 1970s urban Americana colour work of Stephen Shore. Most of them are successful, well seen, well photographed colour images that evince a certain period in the American cultural landscape.

When they work – as in the formal Vinegar Hill, New York (1985, above) or the more abstract Vinegar Hill, New York (1985, below); the colourful, planar Varick Street, New York (1984); the duo-chromatic L.B. Oil, New York (1984); the magnificently shadowed, geometric Halsted Street, Chicago (1978); and my particular favourite (because of the light), Under the EL, Chicago (1978) – they work superbly. When they don’t work – as in Blankets, New York (1986) or Barbers, New York (1985) – they feel a bit flat.

It’s so hard to put a body of photographs together where each image is strong (but not necessarily the same) as the next and they form a holistic group. Most photographers can put together four images well enough, but the skill is to be able to narrativise a larger body of work, and then do that over a longer period of time. I believe that over the lifetime of a photographic artist, you can count on the fingers of two hands the truly memorable images they will make, if they are lucky. Other images are valuable in their own right…. while others should be quietly singed.

Marcus

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Many thankx to the Mike and Joseph Bellows Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Wayne Sorce. 'Vinegar Hil, New York' 1985

 

Wayne Sorce
Vinegar Hill, New York
1985
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Varick Street, New York' 1984

 

Wayne Sorce
Varick Street, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Halsted Street, Chicago' 1978

 

Wayne Sorce
Halsted Street, Chicago
1978
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'L.B. Oil, New York' 1984

 

Wayne Sorce
L.B. Oil, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Spiral Fire Escape, Chicago' 1975

 

Wayne Sorce
Spiral Fire Escape, Chicago
1975
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'No Left, Vinegar Hill' 1988

 

Wayne Sorce
No Left, Vinegar Hill
1988
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Dave's Restaurant, New York' 1984

 

Wayne Sorce
Dave’s Restaurant, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'El Platform, Chicago' 1978

 

Wayne Sorce
EL Platform, Chicago
1978
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Bee Gee's, New York' 1984

 

Wayne Sorce
Bee Gee’s, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Fort Dearborn Coffee, Chicago' 1977

 

Wayne Sorce
Fort Dearborn Coffee, Chicago
1977
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'East Chicago' 1977

 

Wayne Sorce
East Chicago
1977
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Chock Full of Nuts, New York' 1984

 

Wayne Sorce
Chock Full of Nuts, New York
1984
Digital chromogenic print
20 x 24 inches

 

 

Joseph Bellows Gallery is pleased to announce its upcoming solo exhibition,Wayne Sorce: Urban Color. The exhibition will open on October 21st and continue through November 30th, 2017. In conjunction with Sorce’s exhibition will be a group show relating to the city as subject.

Urban Color will present a remarkable selection Sorce’s large-scale colour photographs of urban environments taken in the late 1970’s and early 1980’s in both Chicago and New York City. His urban landscapes describe with a formal exactitude, the light, structures, and palette of these cities within a certain era. For Sorce, the urban landscape is both still and transitory; people appear in the photographs as both inhabitants of the city, as well as sculptural forms relating to a larger composed scene.

Sorce’s photographs are held within the collections of the Art Institute of Chicago, the George Eastman Museum, the Armand Hammer Museum of Art, National Museum of American Art, at the Smithsonian Institution, and the Museum of Modern Art. Complementing Sorce’s exhibition will be a collection of photographs by his contemporaries that describe the city as subject. Work by Bob Thall, George Tice, Bevan Davies, Grant Mudford, and others will be included.

Press release from the Joseph Bellows Gallery

 

Wayne Sorce. 'Under the EL, Chicago' 1978

 

Wayne Sorce
Under the EL, Chicago
1978
Digital chromogenic print
24 x 20 inches

 

Wayne Sorce. 'Blankets, New York' 1986

 

Wayne Sorce
Blankets, New York
1986
Digital chromogenic print
24 x 20 inches

 

Wayne Sorce. 'Barbers, New York' 1985

 

Wayne Sorce
Barbers, New York
1985
Digital chromogenic print
24 x 20 inches

 

Wayne Sorce. 'Greyhound Station' c. 1970's

 

Wayne Sorce
Greyhound Station
c. 1970’s
Digital chromogenic print
24 x 20 inches

 

 

Joseph Bellows Gallery
7661 Girrard Avenue
La Jolla, California
Phone: 858 456 5620

Opening hours:
Tuesday – Friday, 10am – 5pm, and Saturday by appointment

Joseph Bellows Gallery website

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01
Nov
17

Exhibition: ‘Alfred Stieglitz and Modern America’ at the Museum of Fine Arts, Boston

Exhibition dates: 22nd July – 5th November 2017

 

Alfred Stieglitz (American, 1864-1946) 'The Steerage' 1907

 

Alfred Stieglitz (American, 1864-1946)
The Steerage
1907
Photograph, gelatin silver print
Gift of Miss Georgia O’Keeffe
Photograph: © Museum of Fine Arts, Boston

 

 

Look at the tonality and sensuality in Georgia O’Keeffe: A Portrait (8) (1919, below) and Dancing Trees (1922, below). No one would ever think of printing a photograph like that today!

Marcus

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

 

This exhibition presents a selection of the MFA’s exceptional holdings of works by Alfred Stieglitz (1864-1946), the great American impresario of photography at the turn of the 20th century. Featuring 36 photographs, the exhibition showcases fine examples of his New York views, portraits and photographs that Stieglitz took at his family’s country home at Lake George. The New York views reveal the artist’s lifelong interest in the city, from his early explorations of the picturesque effects of rain, snow and nightfall to later ones that focus on the inherent geometry of modernity’s rising architectural structures. The portraits include 10 images from Stieglitz’s magnificent extended series of images of his wife, the celebrated painter Georgia O’Keeffe – a “portrait in time” that reflects his ideals of modern womanhood and is evocative of their close relationship. These portraits are accompanied by additional images of members of his family and friends.

The Lake George photographs include, in addition to views of the family property, a sequence of the mystical cloud studies that Stieglitz called “equivalents,” which explore the interpretation of inner states of being. Many of the photographs on view were donated by Stieglitz to the MFA in 1924 – making it one of the first museums in the US to collect photography as fine art. Enhanced by an additional gift from O’Keeffe in 1950, the MFA’s Stieglitz holdings form an outstanding survey of the photographer’s career, as well as the cornerstone of the Museum’s photography collection.

Text from the MFA website

 

Alfred Stieglitz (American, 1864-1946) 'From the Back Window - "291" (1)' 1915

 

Alfred Stieglitz (American, 1864-1946)
From the Back Window – “291” (1)
1915
Photograph, platinum print
Gift of Alfred Stieglitz
Photograph: © Museum of Fine Arts, Boston

 

 

291

291 is the commonly known name for an internationally famous art gallery that was located in Midtown Manhattan at 291 Fifth Avenue in New York City from 1905 to 1917. Originally known as the “Little Galleries of the Photo-Secession“, the gallery was created and managed by photographer Alfred Stieglitz.

The gallery is famous for two reasons. First, the exhibitions there helped bring art photography to the same stature in America as painting and sculpture. Pioneering artistic photographers such as Stieglitz, Edward Steichen, Alvin Langdon Coburn, Gertrude Käsebier and Clarence H. White all gained critical recognition through exhibitions at 291. Equally important, Stieglitz used this space to introduce to the United States some of the most avant-garde European artists of the time, including Henri Matisse, Auguste Rodin, Henri Rousseau, Paul Cézanne, Pablo Picasso, Constantin Brâncuși, and the Dadaists Francis Picabia and Marcel Duchamp.

Text from the Wikipedia website

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe: A Portrait (4)' 1918

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe: A Portrait (4)
1918
Photograph, gelatin silver print
The Alfred Stieglitz Collection – Gift of the Georgia O’Keeffe Foundation, Sophie M. Friedman Fund and Lucy Dalbiac Luard Fund
Photograph: © Museum of Fine Arts, Boston

 

Alfred Stieglitz (American, 1864-1946) 'Dorothy True' 1919

 

Alfred Stieglitz (American, 1864-1946)
Dorothy True
1919
Photograph, gelatin silver print
Gift of Alfred Stieglitz
Photograph: © Museum of Fine Arts, Boston

 

 

First published in 1921 with the caption “Watch your step!” in the single issue of Marcel Duchamp and Man Ray’s magazine New York Dada, Stieglitz’s surreal portrait was a happy accident. Attempting to capture the modern character of Dorothy True, a friend of Georgia O’Keeffe, Stieglitz made two exposures: a conventional, full-face portrait and a view of one artfully posed leg. Stieglitz was thrilled with the fortuitous superimposition of the images, believing that together they captured the spirit of the postwar American female. While the equation of short hair and skirts with women’s liberation might seem trite today, Stieglitz made the portrait in 1919, the year that Congress extended suffrage to women. In 1926, he exhibited it with the title American Girl.

Text from the Metropolitan Museum of Art website

 

This double exposure of the face and leg of Dorothy True constitutes an unusual portrait. Her somewhat somber face, very faint, is not immediately apparent, but slowly a mouth, nose, and eye begin to reveal themselves in the black-stockinged ankle and calf. Alone, the image of the leg is an interesting one; her foot appears veritably stuffed into her stylish, patent leather pump. Her instep bulges out of the top of the shoe, and the leather ripples from the pressure at the toe, making the foot an almost sculptural form.

True appears to step down upon overturned prints or mats. A chair casts a graphic shadow across the floor, and a vertical paper backdrop echoes the black shadow at the upper left, uncovered by the sagging paper. The neat triangle of True’s skirt lends additional geometric balance.

Text from the Getty Museum website

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe: A Portrait (8)' 1919

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe: A Portrait (8)
1919
Photograph, palladium print, solarized
Gift of Alfred Stieglitz
Photograph: © Museum of Fine Arts, Boston

 

Alfred Stieglitz (American, 1864-1946) 'Georgia Engelhard' 1920

 

Alfred Stieglitz (American, 1864-1946)
Georgia Engelhard
1920
Photograph, gelatin silver print
Gift of Alfred Stieglitz
Photograph: © Museum of Fine Arts, Boston

 

 

Georgia Engelhard (1906 – 1986)

Georgia Engelhard was the first child of George Engelhard and Agnes Stieglitz. It is as the niece of Alfred Stieglitz, modernism’s most successful early booster in the United States, that Engelhard’s artistic career was encouraged. From the age of 12 to 22 she corresponded regularly with Stieglitz who serve as a confidant to the young woman. Engelhard occasionally posed for Stieglitz and the uncle honoured her with an exhibition at his famous gallery, 291, when she was only ten years old. (Stieglitz’s motivation to show his niece’s work was more than likely a response to Wassily Kandinsky’s proposition that there was a fundamental spirituality to be found in true art and that children’s art had the ability to convey this “inner truth.”)

It is under the tutelage of Stieglitz’s wife, Georgia O’Keeffe, that Engelhard matured as a painter. In biographies Engelhard is repeatedly mentioned as O’Keeffe’s friend and companion. Georgia minor, as Engelhard was called, served as comic release for the older artist who often found Stieglitz and his family oppressive. The two artists frequently painted together at Stiegltiz’s summer house on Lake George and occasionally took excursions together. Engelhard’s paintings reflect O’ Keeffe’s influence – flat areas of pure colour and sensuous curves are used to define the landscape. …

Despite a paralyzing fear of heights, Engelhard became a premier mountain climber at the age of 20 and was the first female climber to ascend many of the peaks in the Canadian Rockies. Engelhard’s determination to overcome this specific fear evolved into a passion for the mountains that lasted throughout her lifetime…

Engelhard was also a writer and an accomplished photographer. In 1938 when she began living with Eaton Cromwell she stopped painting and together the couple pursued photography. While living in Switzerland they sold a number of their pictures to postcard companies. Few of Georgia Engelhard’s paintings are in existence today and when one does appear there is often a dispute about whether the canvas comes from O’Keefe’s hands or Engelhard’s.

Text from the JWL Collection website

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe: A Portrait (9)' probably around 1921

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe: A Portrait (9)
probably around 1921
Photograph, gelatin silver print
Gift of Alfred Stieglitz
Photograph: © Museum of Fine Arts, Boston

 

Alfred Stieglitz (American, 1864-1946) 'Dancing Trees' 1922

 

Alfred Stieglitz (American, 1864-1946)
Dancing Trees
1922
Photograph, palladium print
Gift of Alfred Stieglitz
Photograph: © Museum of Fine Arts, Boston

 

Alfred Stieglitz (American, 1864-1946) 'Equivalent' 1926

 

Alfred Stieglitz (American, 1864-1946)
Equivalent
1926
Photograph, gelatin silver print
Gift of Miss Georgia O’Keeffe
Photograph: © Museum of Fine Arts, Boston

 

“How to hold a moment, how to record something so completely, that all who see it will relive an equivalent of what has been expressed.”

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe: A Portrait (15)' 1930

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe: A Portrait (15)
1930
Photograph, gelatin silver print
The Alfred Stieglitz Collection – Gift of the Georgia O’Keeffe Foundation and M. and M. Karolik Fund
Photograph: © Museum of Fine Arts, Boston

 

Alfred Stieglitz (American, 1864-1946) 'House and Grape Leaves' 1934

 

Alfred Stieglitz (American, 1864-1946)
House and Grape Leaves
1934
Photograph, gelatin silver print
Gift of Miss Georgia O’Keeffe
Photograph: © Museum of Fine Arts, Boston

 

Alfred Stieglitz (American, 1864-1946) 'From the Shelton, Looking West' 1935-36

 

Alfred Stieglitz (American, 1864-1946)
From the Shelton, Looking West
1935-36
Photograph, gelatin silver print
Gift of Miss Georgia O’Keeffe
Photograph: © Museum of Fine Arts, Boston

 

 

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

Opening hours:
Monday and Tuesday 10am – 5 pm
Wednesday – Friday 10am – 10 pm
Saturday and Sunday 10am – 5 pm

Museum of Fine Arts, Boston website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

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

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