Tag: American art

Exhibition: ‘A Revolutionary Project: Cuba from Walker Evans to Now’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 17th May – 2nd October 2011

 

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

 

Walker Evans (American, 1903-1975) 'Mule, Wagon and Two Men, Havana' 1933

 

Walker Evans (American, 1903-1975)
Mule, Wagon and Two Men, Havana
1933
Gelatin silver print
13.8 x 21cm (5 7/16 x 8 1/4 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans (American, 1903-1975) 'Spectacle, Capital Steps, Possibly Independence Day' May 20, 1933

 

Walker Evans (American, 1903-1975)
Spectacle, Capital Steps, Possibly Independence Day
May 20, 1933
Gelatin silver print
19.7 x 25.3cm (7 3/4 x 9 15/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans (American, 1903-1975) 'Old Havana Housefronts' 1933

 

Walker Evans (American, 1903-1975)
Old Havana Housefronts
1933
Gelatin silver print
17.6 x 22.7cm (6 15/16 x 8 15/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans (American, 1903-1975) 'Balcony Spectators' 1933

 

Walker Evans (American, 1903-1975)
Balcony Spectators
1933
Gelatin silver print
19.8 x 25.2cm (7 13/16 x 9 15/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

 

Exhibition Marks First Showing of Getty’s Walker Evan’s Cuban Photographs; Also on view are Cuban Revolutionary Photographs and Contemporary Work by Virginia Beahan, Alex Harris, and Alexey Titarenko

Cuba’s attempt to forge an independent state with an ambitious set of social goals, all the while moored to powerful political and economic interests, has been a source of fascination for nations, intellectuals, and artists alike. On display at the J. Paul Getty Museum, the Getty Center, May 17 – October 2, 2011, A Revolutionary Project: Cuba from Walker Evans to Now, looks at three critical periods in the island nation’s history as witnessed by photographers before, during, and after the country’s 1959 Revolution.

A Revolutionary Project juxtaposes Walker Evans’s 1933 images from the end of the Gerardo Machado dictatorship with views by contemporary foreign photographers Virginia Beahan (American, b. 1946), Alex Harris (American, b. 1949), and Alexey Titarenko (Russian, b. 1962), who have explored Cuba since the withdrawal of Soviet support in the 1990s. A third section bridging these two eras presents pictures by Cuban photographers who participated in the country’s 1959 Revolution, including Alberto Korda, Perfecto Romero, and Osvaldo Salas.

“The Museum’s collection of Walker Evans prints is the largest in the U.S., but until now, we have not shown his photographs of Cuba,” explains Judith Keller, senior curator of photographs. “This exhibition allows us the opportunity to showcase this body of work, alongside newer work in the collection.”

1933: Evans in Havana

Walker Evans (1903-1975) is one of the photographers most responsible for the way we now imagine American life in the 1930s. His distinctive photographic style, which he declared “transcendent documentary,” was nurtured in New York in the late 1920s and fully formed by his experience in Cuba in 1933. In the spring of that year, Walker Evans was asked by publisher J. B. Lippincott to produce a body of work about Cuba to accompany a book by the radical journalist Carleton Beals (1893-1979). This book, The Crime of Cuba, would be a scathing indictment of the then-current regime of Cuban President Gerardo Machado. Leaving the country less than two months before Machado was forced out of office, Evans was able to capture Cuba at the start of the revolutionary movement but almost 30 years before the 1959 Revolution.

During Evans’s time in Cuba, he made substantial strides in his photographic practice. There he worked with different format cameras, large and small, one more deliberate and descriptive, the other more spontaneous and agile. He created both close-up and wide, inclusive compositions that he could then combine in intense sequences to best communicate his response to the poverty, the ferment, and the beauty of his environment. While in Havana, Evans met the American writer, Ernest Hemingway (1899-1961), whose acclaimed avant-garde work he knew and admired. Hemingway’s terse narrative style, which he was then applying to his own Harry Morgan stories set in Havana and Key West, no doubt influenced Evans’s approach to the subject of Cuba’s current political and economic struggles. Evans’s photographs also reflect the inspiration of French photographer Eugène Atget’s Parisian pictures that Evans critiqued for an arts journal in 1931. The series that comprised Atget’s thorough study of “Old Paris” seem to have provided additional motivation for Evans’s selection of Havana subjects: the signage of urban storefronts, the abundant street offerings of fresh produce, the decorative balconies of old houses, the many studies of archaic horse-drawn wagons and carriages, and the portraits of women, some of whom appear to be prostitutes.

1958-1966: Revolution

Machado’s fall from rule in 1933 resulted in a long power struggle that culminated in the country’s 1959 socialist revolution to overthrow dictator Fulgencio Batista, anchoring Cuba to the Soviet bloc for the next thirty years and defining a relationship with the United States that still exists today. Fidel Castro, Ernesto “Che” Guevara, and their new government harnessed photography as a means of keeping the project of the Revolution at the forefront of Cuba’s collective consciousness. As both genuine records of popular insurrection and propagandistic documents used for political purposes, pictures of the Revolution and its aftermath have shaped how both Cubans and Americans understand the significance of that revolutionary moment. Photographs in the second section of the exhibition are drawn from the work of nine Cuban photographers who participated in recording the political context and triumphs of the emerging state in the years surrounding 1959.

Included in the exhibition is an iconic image of the revolutionary hero Che Guevara by Alberto Korda titled Guerrillero Heroico (March 5, 1960). One of the world’s most reproduced images, it has been adopted for political causes, appearing on countless numbers of t-shirts, banners, and street art around the globe. The print on view in the exhibition is among the earliest versions of the photograph known to exist. Made as a press print, it was used as a source to reproduce the image in media outlets a year after Korda photographed Guevara at a rally in Havana.

Also on display in the exhibition is the well-known revolutionary photograph Patria o Muerte, Cuba (Negative, January 1959; print, 1984) by Osvaldo Salas, one of Cuba’s most important photographers. Salas effectively captures and conveys the populist fervour in Cuba shortly after the movement’s triumph with an image of a patriotic sign framed by a celebratory crowd.

The photographs included in this section of the exhibition are culled from the extensive holdings of Cuban photography assembled by the Austrian collector, Christian Skrein, including a number of recent acquisitions by the Museum.

Since 1991: The Special Period

After Soviet troops began to withdraw from Cuba in September of 1991, the troubled Cuban economy suffered severe internal shortages, and Fidel Castro declared what is known as the “Special Period” (período especial), marked by food rationing, energy conservation, and a decline of public services. In the nearly twenty years since the Soviet withdrawal, Cubans have managed to survive through perseverance, the forging of new political relationships, and the easing of socialist systems. This period of transition, which continues today with the recent transfer of power from Fidel Castro to his brother Raúl, has attracted the attention of photographers from around the world who are interested in exploring the relationship between Cuba’s revolutionary past and its uncertain future. The final section of the exhibition looks specifically at the work of three contemporary photographers with diverse approaches to documenting the island in recent decades: Virginia Beahan, Alex Harris, and Alexey Titarenko.

Virginia Beahan’s work concentrates on the landscape’s relationship to history and culture. In 2001, she began a multiyear project on Cuba, photographing its topography in search of remnants of the island’s diverse past. The work resulted in a publication in 2009 called Cuba: Singing with Bright Tears. Beahan’s Cuba is a land of contradictions, full of disappointments and hope, decay and rejuvenating beauty, simultaneously anchored to the past while looking beyond the present. Born and raised in Leningrad (now Saint Petersburg), Russia, Alexey Titarenko became fascinated with Cuba in 2003, when he made his first trip to Havana. Titarenko’s goal was to represent the soul of the Cuban capital. In the artist’s photographs, the city is shown with little overt reference to its politics. Instead, Titarenko describes the conditions of life in the communist country, depicting people persevering amid varying states of ruin. Venturing out of the tourist zones of Havana into the network of dilapidated avenues beyond the old city walls, his images depict a grey metropolis whose inhabitants congregate on the streets to collect food rations, fix long-outmoded cars, and play baseball.

A former student of Walker Evans, Alex Harris made several trips to Cuba following the collapse of the eastern bloc and the dissolution of the Soviet Union, developing a powerful body of colour work that addresses the country’s cultural fabric during a period of difficult economic circumstances. His photographs focus on portraits of women whose lives are affected by the tourist-fuelled sex trade, landscapes made through the windshields of refurbished 1950s American cars, and monuments to the Cuban national hero José Martí. His study was published in the form of a book, The Idea of Cuba, in 2007. Through these distinct vantage points, Harris probed the country’s propensity for ingenuity as it underwent great transition.

Press release from the J. Paul Getty Museum website

 

Walker Evans (American, 1903-1975) 'Citizen in Downtown Havana' 1933

 

Walker Evans (American, 1903-1975)
Citizen in Downtown Havana
1933
Gelatin silver print
22.2 x 11.7cm (8 3/4 x 4 5/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Walker Evans (American, 1903-1975) 'Woman on the Street, Havana' 1933

 

Walker Evans (American, 1903-1975)
Woman on the Street, Havana
1933
Gelatin silver print
24.6 x 14.6cm (9 11/16 x 5 3/4 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans (American, 1903-1975) 'Woman in a Courtyard' 1933

 

Walker Evans (American, 1903-1975)
Woman in a Courtyard
1933
Gelatin silver print
25.3 x 16.2cm (9 15/16 x 6 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans (American, 1903-1975) 'Coal Dockworkers, Havana' 1933

 

Walker Evans (American, 1903-1975)
Coal Dockworkers, Havana
1933
Gelatin silver print
15.6 × 21.1cm (6 1/8 × 8 5/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans (American, 1903-1975) 'Coal Dockworkers, Havana' 1933

 

Walker Evans (American, 1903-1975)
Coal Dockworkers, Havana
1933
Gelatin silver print
12.7 × 17.7cm (5 × 6 15/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans (American, 1903-1975) 'Coal Dockworker, Havana' 1933

 

Walker Evans (American, 1903-1975)
Coal Dockworker, Havana
1933
Gelatin silver print
9.7 × 13.7cm (3 13/16 × 5 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans (American, 1903-1975) 'Coal Loader, Havana' 1933

 

Walker Evans (American, 1903-1975)
Coal Loader, Havana
1933
Gelatin silver print
17.1 × 12.2cm (6 3/4 × 4 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans (American, 1903-1975) 'Coal Stevedore, Havana' 1933

 

Walker Evans (American, 1903-1975)
Coal Stevedore, Havana
1933
Gelatin silver print
20.2 x 15.2cm (7 15/16 x 6 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans (American, 1903-1975) 'Stevedore' 1933

 

Walker Evans (American, 1903-1975)
Stevedore
1933
Gelatin silver print
20.1 x 15.1cm (7 15/16 x 5 15/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum

 

Walker Evans (American, 1903-1975) 'Negro Child, Havana' 1933

 

Walker Evans (American, 1903-1975)
Negro Child, Havana
1933
Gelatin silver print
19.5 x 14.8cm (7 11/16 x 5 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum

 

Walker Evans (American, 1903-1975) 'Negro Child, Havana' 1933

 

Walker Evans (American, 1903-1975)
Negro Child, Havana
1933
Gelatin silver print
19.8 x 13.2cm (7 13/16 × 5 3/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tuesday – Friday, Sunday 10am – 5.30pm
Saturday 10am – 8pm
Monday Closed

The J. Paul Getty Museum website

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Exhibition: ‘Line and Space. American Drawings and Sculpture since 1960, from a private collection’ at Pinakothek de Moderne, Munich

Exhibition dates: 28th July – 25th September 2011

 

Many thankx to the Pinakothek der Moderne for allowing me to publish the art work in the posting. Please click on the art work for a larger version of the image.

 

Barry Le Va (American, 1941-2021) 'Untitled' 1977

 

Barry Le Va (American, 1941-2021)
Untitled
1977
Pencil, ink and ballpoint on graph paper
Private collection
Photo: Arne Schultz
© Barry Le Va 2011

 

Sol LeWitt (American, 1928-2007) 'A2' 1967

 

Sol LeWitt (American, 1928-2007)
A2
1967
Painted steel
Private collection
Photo: Arne Schultz
© VG Bild-Kunst, Bonn 2011

 

Donald Judd (American, 1928-1994) 'Untitled' 1962

 

Donald Judd (American, 1928-1994)
Untitled
1962
Woodcut on paper, trial proof
Private collection
Photo: Arne Schultz
© Art Judd Foundation, Licensed by VAGA, NY / VG Bild-Kunst, Bonn 2011

 

Gordon Matta-Clark (American, 1943-1978) 'Untitled (cut drawing)' 1974

 

Gordon Matta-Clark (American, 1943-1978)
Untitled (cut drawing)
1974
Cuts in paper
Private collection
Photo: Arne Schultz
© VG Bild-Kunst, Bonn 2011

 

 

The exhibition, part of the AMERICAN SUMMER project, features the predominantly American holdings of drawings and sculptures from a private collection, with most of the works going on public display for the first time. What comes to the fore in this exemplary selection of largely American artists from the sixties and seventies and their impressive groups of works is the relationship between the media of sculpture and drawing. At the heart of the show lies the subtle dialogue between the conceptual ideas of ‘disegno’ and their sensual transfer to the materiality of sculpture.

One of the private collection’s particular strengths is its focus on groups of works by individual artists. As a result, entire rooms have been dedicated to the artists Fred Sandback and Barry Le Va, while in addition larger groups of works by other artists, including Donald Judd or Gordon Matta-Clark, can be studied in detail.

The selection of exhibits creates a display of the art movements of the sixties and seventies: among them, Minimal Art, as represented by Carl Andre, Bill Bollinger, Donald Judd, Dan Flavin and Fred Sandback, Post-minimalism of Barry Le Va or Keith Sonnier, Conceptual Art, as represented by Sol LeWitt, and Land Art of such artists as Michael Heizer and Walter de Maria. The exhibition is enriched with works from the Staatliche Graphische Sammlung München and the Sammlung Moderne Kunst.

A fully illustrated catalogue accompanies the exhibition: Der Raum der Linie – Amerikanische Zeichnungen und Skulpturen, edited by Michael Semff, Corinna Thierolf and Alexander Klar, with assistance from Pia Gottschaller and Birgitta Heid (containing essays from Jörg Daur, Pia Gottschaller, Birgitta Heid, Christiane Meyer-Stoll, Michael Semff, a conversation with Peter Soriano and an interview with the collector).

Press release from the Pinakothek de Moderne

 

Barry Le Va (American, 1941-2021) 'Bearings Rolled' 1966

 

Barry Le Va (American, 1941-2021)
Bearings Rolled
1966
Ink on paper
Sheet from a series of 15 drawings
Private collection
Photo: Arne Schultz
© Barry Le Va 2011

 

Fred Sandback (American, 1943-2003) 'Untitled (Milanese Drawing)' c. 1971/72

 

Fred Sandback (American, 1943-2003)
Untitled (Milanese Drawing)
c. 1971/1972
Chalk on paper
Private collection
Photo: Arne Schultz
© Fred Sandback Archive 2011

 

Dan Flavin (American, 1933-1996) 'from August 5, 1964' 1966

 

Dan Flavin (American, 1933-1996)
from August 5, 1964
1966
Crayon on black paper
Private collection
Photo: Arne Schultz
© Estate of Dan Flavin / VG Bild-Kunst, Bonn 2011

 

Sol LeWitt (American, 1928-2007) 'Incomplete open cube drawing - ten & eleven part variations' undated (c. 1973/74)

 

Sol LeWitt (American, 1928-2007)
Incomplete open cube drawing – ten & eleven part variations
Undated (c. 1973/1974)
Pencil and ink on paper
Private collection
Photo: Staatliche Graphische Sammlung München
© VG Bild-Kunst, Bonn 2011

 

Robert Mangold (American, b. 1937) '104" Perimeter Series' 1969

 

Robert Mangold (American, b. 1937)
104″ Perimeter Series
1969
Pencil on paper
Private Collection
Photo: Arne Schultz
© VG Bild-Kunst, Bonn 2011

 

 

Pinakothek Der Moderne
Barer Strasse 40
Munich

Gallery Hours:
Daily except Monday 10am – 6pm
Thursday 10am – 8pm

Pinakothek der Moderne website

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Exhibition: ‘Twombly and Poussin: Arcadian Painters’ at the Dulwich Picture Gallery, London

Exhibition dates: 29th June – 25th September 2011

Curator: Dr Nicholas Cullinan, Curator of International Modern Art at Tate Modern.

 

Many thankx to the Dulwich Picture Gallery for allowing me to publish the images in the posting. Please click on them for a larger version of the image.

 

Robert Rauschenberg (American, 1925-2008) 'Cy and Relics' 1952

 

Robert Rauschenberg (American, 1925-2008)
Cy and Relics
1952
Photograph
© The Rauschenberg Foundation

 

Nicolas Poussin (French, 1594-1665) 'The Triumph of Pan' c. 1636

 

Nicolas Poussin (French, 1594-1665)
The Triumph of Pan
c. 1636
Pen and ink with wash over stylus and black chalk
581 x 410 x 29 mm
Lent by Her Majesty the Queen. The Royal Collection
© 2011 Her Majesty Queen Elizabeth II

 

Cy Twombly (American, 1928-2011) 'Bacchanalia-Fall (5 Days in November) Blatt 4, InvNr. UAB 457' 1977

 

Cy Twombly (American, 1928-2011)
Bacchanalia-Fall (5 Days in November) Blatt 4, InvNr. UAB 457
1977
Collage, oil, chalk, gouache, on fabriano paper, graph paper
101.2 x 150.5cm
Bayerische Staatsgemäldesammlungen – Museum Brandhorst, München
Leihgeber: Udo Brandhorst
© Cy Twombly

 

Cy Twombly (American, 1928-2011) 'Pan' 1975

 

Cy Twombly (American, 1928-2011)
Pan
1975
148 x 100cm
Private Collection
© Cy Twombly, Courtesy: Cy Twombly Archive

 

Nicolas Poussin (French, 1594-1665) 'The Triumph of David' 1628-1631

 

Nicolas Poussin (French, 1594-1665)
The Triumph of David
1628-1631
Oil on canvas
Height: 1,184 mm (46.61 in)
Width: 1,483 mm (58.38 in)
Dulwich Picture Gallery
© By permission of the Trustees of Dulwich Picture Gallery

 

Cy Twombly (American, 1928-2011) 'Hero and Leandro' 1985

 

Cy Twombly (American, 1928-2011)
Hero and Leandro
1985
202 x 254cm
Private Collection, Courtesy Thomas Ammann Fine Art AG, Zurich
© Cy Twombly

 

 

“I would’ve liked to have been Poussin, if I’d had a choice, in another time.”


Cy Twombly

 

 

Dulwich Picture Gallery is proud to announce a revelatory exhibition of the work of Cy Twombly and Nicolas Poussin. Organised to celebrate the Bicentenary of the Gallery, this major show will explore, for the first time, the unexpected yet numerous parallels and affinities between the two artists. The exhibition will draw upon the world-class permanent collection of works at Dulwich Picture Gallery by Nicolas Poussin, alongside other works from major collections around the world by both Poussin and Twombly.

In 1624 and 1957, the two artists, aged around thirty, moved to Rome. Nicolas Poussin and Cy Twombly subsequently spent the majority of their lives in the Eternal City, and went on to become the pre-eminent painters of their day. Rather than recent exhibitions that have sought to compare and contrast old masters with contemporary artists through superficial visual appearances, this groundbreaking show will instead juxtapose works which may seem radically disparate in terms of style, yet ones that share deep and timeless interests. Both Poussin and Twombly were artists of prodigious talent who found in the classical heritage of Rome a life-long subject. Both spent their lives studying, revivifying and making newly relevant for their own eras antiquity, ancient history, classical mythology, Renaissance painting, poetry and the imaginary, idealised realm of Arcadia.

Curated by Dr. Nicholas Cullinan, Curator of International Modern Art at Tate Modern, the exhibition examines how Twombly and Poussin, although separated by three centuries, nonetheless engaged with the same sources and will explore the overlapping subjects that the two artists have shared. It will consist of around thirty carefully-chosen paintings, drawings and sculptures, structured thematically around six sections devoted to key shared themes, from both artists’ early fascinations with Arcadia and the pastoral when they first moved to Rome, Venus and Eros, Anxiety and Theatricality, Apollo, Parnassus and Poetry, Pan and the Bacchanalia, through to the theme of The Four Seasons.

The exhibition will be accompanied by the British premiere of Tacita Dean’s new 16mm film portrait of Cy Twombly, Edwin Parker (2011). The film documents Twombly in his studio in Lexington, Virginia, and follows on from Dean’s series of filmed depictions of subjects such as the choreographer Merce Cunningham, the poet Michael Hamburger and the artist Mario Merz, where the inner life of the sitter is implied through their physical demeanour and surroundings. A series of talks will also accompany the exhibition, including Sir Nicholas Serota, Director of Tate, in conversation with Dr. Nicholas Cullinan on the topic of curating Twombly, and Malcolm Bull (Ruskin School of Drawing, University of Oxford) and T. J. Clark (Professor Emeritus of Modern Art at the University of California, Berkeley; and Visiting Professor, University of York) who will discuss the work of Poussin and Twombly and the themes raised by the exhibition.

Ian Dejardin, Director of Dulwich Picture Gallery explains that the exhibition “fits in with a philosophy I have pursued here – that exhibitions can conduct a dialogue with the permanent collection. In the past Howard Hodgkin, Lucian Freud and Paula Rego have all hung their paintings within the collection, so Poussin and Twombly seemed like a natural extension of those experiments.”

The exhibition has received enthusiastic support and loans from major private and public collections around the world, including The National Gallery and Tate in London; The Royal Collection; The Duke of Devonshire; The Fitzwilliam Museum, Cambridge; Museo del Prado, Madrid; The Brandhorst Museum, Munich and The Art Institute of Chicago. The exhibition has been developed in close collaboration with Cy Twombly himself, and will include works that have never been exhibited before.

Press release from the Dulwich Picture Gallery

 

Nicolas Poussin (French, 1594-1665) 'Rinaldo and Armida' c. 1630

 

Nicolas Poussin (French, 1594-1665)
Rinaldo and Armida
c. 1630
Oil on canvas
Height: 822 mm (32.36 in)
Width: 1,092 mm (42.99 in)
Dulwich Picture Gallery
© By permission of the Trustees of Dulwich Picture Gallery

 

Nicolas Poussin (French, 1594-1665) 'The Nurture of Jupiter' mid 1630s

 

Nicolas Poussin (French, 1594-1665)
The Nurture of Jupiter
mid 1630s
Oil on canvas
Height: 965 mm (37.99 in)
Width: 1,210 mm (47.63 in)
Dulwich Picture Gallery
© By permission of the Trustees of Dulwich Picture Gallery

 

Cy Twombly (American, 1928-2011) 'Quattro Stagioni: Primavera' 1993-5

 

Cy Twombly (American, 1928-2011)
Quattro Stagioni: Primavera
1993-1995
Acrylic, oil, crayon and pencil on canvas
3230 x 1996 x 67 mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

 

Cy Twombly (American, 1928-2011) 'Quattro Stagioni: Estate' 1993-5

 

Cy Twombly (American, 1928-2011)
Quattro Stagioni: Estate
1993-1995
Acrylic and pencil on canvas
3241 x 2250 x 67 mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

 

Nicolas Poussin (French, 1594-1665) 'Venus and Mercury' c. 1627/1629

 

Nicolas Poussin (French, 1594-1665)
Venus and Mercury
c. 1627/1629
© By permission of the Trustees of Dulwich Picture Gallery

 

Cy Twombly (American, 1928-2011) 'Quattro Stagioni: Autunno' 1993-5

 

Cy Twombly (American, 1928-2011)
Quattro Stagioni: Autunno
1993-1995
Acrylic, oil, crayon and pencil on canvas
3230 x 2254 x 67 mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

 

Cy Twombly (American, 1928-2011) 'Quattro Stagioni: Inverno' 1993-5

 

Cy Twombly (American, 1928-2011)
Quattro Stagioni: Inverno
1993-1995
Acrylic, oil and pencil on canvas
3229 x 2300 x 67mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

 

 

Dulwich Picture Gallery
Gallery Road, London, SE21 7AD

Opening hours:
Tuesday – Sunday, 10am – 5pm
Closed Mondays except Bank Holidays

Dulwich Picture Gallery website

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Exhibition, Films, Events and Symposia: ‘Jack Smith: A Feast for Open Eyes’ at the Institute of Contemporary Arts (ICA), London

Dates: 7th – 18th September 2011

 

Jack Smith (American, 1932-1989) 'Untitled' c. 1958-1962/2011

 

Jack Smith (American, 1932-1989)
Untitled
c. 1958-1962/2011
Analog C-print hand printed from original colour negative on Fuji Crystal Archive paper
14 x 11 inches (35.6 x 27.9cm)
Copyright Estate of Jack Smith
Courtesy Gladstone Gallery, New York and Brussels

 

 

His photographic works are rare and remain largely unknown according to Wikipedia. They shouldn’t be.

Dr Marcus Bunyan


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

 

 

 

Jack Smith: A Feast for Open Eyes

‘The only true underground filmmaker’ – John Waters

ICA director Gregor Muir introduces the work of Jack Smith in this two week season. Jack Smith: A Feast for Open Eyes is on from 7 – 18 September 2011

 

Jack Smith (American, 1932-1989) 'Untitled' 1982

 

Jack Smith (American, 1932-1989)
Untitled
1982
Mixed media on paper
6 1/8 x 8 7/8 inches (15.6 x 22.5cm)
Copyright Estate of Jack Smith
Courtesy Gladstone Gallery, New York and Brussels

 

Jack Smith (American, 1932-1989) 'Untitled' c. 1958-1962/2011

 

Jack Smith (American, 1932-1989)
Untitled
c. 1958-1962/2011
Black and white gelatin silver print
10 x 8 inches (25.4 x 20.3cm)
Copyright Estate of Jack Smith
Courtesy Gladstone Gallery, New York and Brussels

 

 

“Jack Smith (November 14, 1932 in Columbus, Ohio – September 25, 1989 in New York City) was an American filmmaker, actor, and pioneer of underground cinema. He is generally acclaimed as a founding father of American performance art, and has been critically recognised as a master photographer, though his photographic works are rare and remain largely unknown.

Smith was one of the first proponents of the aesthetics which came to be known as ‘camp’ and ‘trash’, using no-budget means of production (e.g. using discarded colour reversal film stock) to create a visual cosmos heavily influenced by Hollywood kitsch, orientalism and with Flaming Creatures created drag culture as it is currently known. Smith was heavily involved with John Vaccaro, founder of The Playhouse of The Ridiculous, whose disregard for conventional theater practice deeply influenced Smith’s ideas about performance art. In turn, Vaccaro was deeply influenced by Smith’s aesthetics. It was Vaccaro who introduced Smith to glitter and in 1966 and 1967, Smith created costumes for Vaccaro’s Playhouse of The Ridiculous. Smith’s style influenced the film work of Andy Warhol as well as the early work of John Waters. While all three were part of the 1960s gay arts movement, Vaccaro and Smith refuted the idea that their sexual orientation was responsible for their art.

After his last film, No President (1967), Smith created performance and experimental theatre work until his death on September 25, 1989 from AIDS-related pneumonia.”

Text from the Wikipedia entry

 

Jack Smith (American, 1932-1989) 'Untitled' c. 1958-1962/2011

 

Jack Smith (American, 1932-1989)
Untitled
c. 1958-1962/2011
Analog C-print hand printed from original colour negative on Fuji Crystal Archive paper
14 x 11 inches (35.6 x 27.9cm)
Copyright Estate of Jack Smith
Courtesy Gladstone Gallery, New York and Brussels

 

 

Legendary American artist, filmmaker and actor Jack Smith (1932-1989), described by Andy Warhol as the only person he would ever copy and by John Waters as “the only true underground filmmaker”, is celebrated at the Institute of Contemporary Arts (ICA) in film, performance and debate with a retrospective of Smith’s work from 7 to 18 September 2011.

Working in New York from the 1950s until his death in 1989, Smith unequivocally resisted and upturned accepted conventions, whether artistic, moral or legal. Irreverent in tone and delirious in effect, Smith’s films, such as the notorious Flaming Creatures (1963), are both wildly camp and subtly polemical. Smith is best known for his contributions to underground cinema but his influence extends across performance art, photography and experimental theatre.

A Feast for Open Eyes: Jack Smith maps out the breadth of Smith’s practice, from his collaborative film productions to his individual writings, and looks at his legacy in the UK drawing upon a generation of New York artists with whom Smith was closely involved, including Jonas Mekas and Penny Arcade, and younger artists and filmmakers whom he influenced. John Zorn, a long-term Smith collaborator selects records to accompany an installation of slides documenting Smith’s work, as he used to in collaboration with Smith in the 1970s and 80s.

The retrospective opens with a screening of Flaming Creatures introduced by Chris Dercon, Director of Tate Modern, who was a close friend of Smith’s. The film is followed by the screening of an interview, recorded exclusively for the ICA this summer, with Jonas Mekas, a founder member of Anthology Film Archives who faced obscenity charges for defending Flaming Creatures in the 1960s. The presentation is introduced by Dominic Johnson, author of the forthcoming monograph Glorious Catastrophe: Jack Smith, Performance and Visual Culture (Manchester University Press) and co-curator of A Feast for Open Eyes.

Press release from the ICA website

 

Jack Smith (American, 1932-1989) 'Untitled' c. 1978

 

Jack Smith (American, 1932-1989)
Untitled
c. 1978
Mixed media on paper
13 x 20 3/4 inches (33 x 52.7cm)
Copyright Estate of Jack Smith
Courtesy Gladstone Gallery, New York and Brussels

 

Jack Smith (American, 1932-1989) 'Untitled' c. 1958-1962/2011

 

Jack Smith (American, 1932-1989)
Untitled
c. 1958-1962/2011
Analog C-print hand printed from original colour negative on Fuji Crystal Archive paper
14 x 11 inches (35.6 x 27.9cm)
Copyright Estate of Jack Smith
Courtesy Gladstone Gallery, New York and Brussels

 

Jack Smith (American, 1932-1989) 'Untitled' c. 1958-1962/2011

 

Jack Smith (American, 1932-1989)
Untitled
c. 1958-1962/2011
Black and white gelatin silver print
10 x 8 inches (25.4 x 20.3cm)
Copyright Estate of Jack Smith
Courtesy Gladstone Gallery, New York and Brussels

 

Jack Smith (American, 1932-1989) 'Untitled' c. 1958-1962/2011

 

Jack Smith (American, 1932-1989)
Untitled
c. 1958-1962/2011
Black and white gelatin silver print
10 x 8 inches (25.4 x 20.3cm)
Copyright Estate of Jack Smith
Courtesy Gladstone Gallery, New York and Brussels

 

Jack Smith (American, 1932-1989) 'Untitled' c. 1958-1962

 

Jack Smith (American, 1932-1989)
Untitled
c. 1958-1962
Color negative
2 1/4 x 2 1/4 inches 
(5.7 x 5.7cm)
Copyright Estate of Jack Smith
Courtesy Gladstone Gallery, New York and Brussels

 

 

Institute of Contemporary Arts
The Mall,
London,
SW1Y 5AH

Opening hours:
Tuesday – Sunday 12 – 9pm
Closed Mondays

ICA website

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Exhibition: ‘Chihuly: Through the Looking Glass’ at Museum of Fine Arts, Boston

Exhibition dates: 10th April – 7th August, 2011

 

Dale Chihuly (American, b. 1941) 'Neodymium Reeds on Logs', de Young Museum, San Francisco, California, 2008

 

Dale Chihuly (American, b. 1941)
Neodymium Reeds on Logs
2008
de Young Museum, San Francisco, California
Photo by Teresa Nouri Rishel
© 2008 Chihuly Studio

 

 

“The way I paint or draw, I don’t think about it very much. If I’m thinking about it, that kind of means that I don’t know what to do. If I start thinking, ‘I want to draw, now what can I draw?’ and I’m not inspired – because that can happen very easily – then they start to get mundane. On the other hand, if I start making drawings that I know how to do already, and if I can go fast enough, they start to get really good.”


Dale Chihuly

 

 

I love contemporary glass and Dale Chihuly is one of my favourite artists in the world. The Persian ceiling is breathtaking – organic and pulsating like the most outrageously coloured jellyfish floating over your head; the Ikebana boat, the Mille Fiori pitch perfect – a riot of colour and form, playing with ideas and the chandeliers, the chandeliers – wow! Then to do something as sensitive and restrained as the Tabac basket or the beautiful Neodymium Reeds on Logs. This is the full package, bravo.

Dr Marcus Bunyan


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.

 

 

 

Chihuly: Through the Looking Glass

Often considered the greatest artist working in American glass since Louis Comfort Tiffany, Dale Chihuly is known for creating dramatic works, impressive for their size and bold use of color. Fortunately for Bostonians, his massive glass forms can now be seen in a dozen installations at the Museum of Fine Arts…

 

Dale Chihuly (American, b. 1941) 'Ikebana Boat' 2011

 

Dale Chihuly (American, b. 1941) 
Ikebana Boat
2011
Blown glass, boat hull
5 X 17 X 7′
Artwork © 2011 by Chihuly Studio, All rights reserved
Photograph © Museum of Fine Arts, Boston

 

Dale Chihuly (American, born 1941) 'Mille Fiori' 2011

 

Dale Chihuly (American, b. 1941)
Mille Fiori
2011
Blown glass
9½ X 56 X 12′
Artwork © 2011 by Chihuly Studio, All rights reserved
Photograph © Museum of Fine Arts, Boston

 

Installation view of the exhibition 'Chihuly: Through the Looking Glass' at Museum of Fine Arts, Boston showing Chihuly's 'Lime Green Icicle Tower' (2011)

 

Installation view of the exhibition Chihuly: Through the Looking Glass at Museum of Fine Arts, Boston showing Chihuly’s Lime Green Icicle Tower (2011)

 

Dale Chihuly (American, b. 1941) 'Persian Ceiling' 2011

 

Dale Chihuly (American, b. 1941)
Persian Ceiling
2011
Blown glass
15 X 28′
Artwork © 2011 by Chihuly Studio, All rights reserved.
Photograph © Museum of Fine Arts, Boston

 

Dale Chihuly (American, b. 1941) 'Persian Ceiling' 2011

 

Dale Chihuly (American, b. 1941)
Persian Ceiling
2011
Blown glass
15 X 28′
Artwork © 2011 by Chihuly Studio, All rights reserved
Photograph © Museum of Fine Arts, Boston

 

Dale Chihuly (American, b. 1941) 'Persian Ceiling' 2011 (detail)

 

Dale Chihuly (American, b. 1941)
Persian Ceiling (detail)
2011
Blown glass
15 X 28′
Artwork © 2011 by Chihuly Studio, All rights reserved
Photograph © Museum of Fine Arts, Boston

 

Dale Chihuly (American, b. 1941) 'Persian Wall' 2011

 

Dale Chihuly (American, b. 1941)
Persian Wall 
2011
Blown glass
15 X 30′
Artwork © 2011 by Chihuly Studio, All rights reserved
Photograph © Museum of Fine Arts, Boston

 

 

A magical wonderland to delight Alice herself unfolds in Chihuly: Through the Looking Glass at the Museum of Fine Arts, Boston (MFA), from April 10 through August 7, 2011. This exhibition presents new and early works created over the last four decades by Dale Chihuly, one of the world’s foremost artists working in glass. Chihuly: Through the Looking Glass features 12 boldly hued installations. Nine of these glass artworks are on view in the MFA’s Ann and Graham Gund Gallery, which serves as the main stage for the exhibition. Three additional installations are displayed within and outside of the Museum’s soaring, glass-enclosed Ruth and Carl J. Shapiro Family Courtyard, including the 42-foot-tall Lime Green Icicle Tower. The exhibition is organised by the Museum of Fine Arts, Boston, in cooperation with Dale Chihuly. It is supported by Highland Street Foundation. The media sponsors are The Boston Phoenix and WFNX Radio Network.

“Dale Chihuly is an American original, a master artist and craftsman who brings a truly magical touch to the fragile, yet malleable medium of glass, and who embodies the message: art is for everyone,” said Malcolm Rogers, Ann and Graham Gund Director of the MFA. “Visitors to the exhibition will be surprised and delighted by his dazzling installations, which create a kaleidoscopic world full of colour and light. This exhibition gives us the wonderful opportunity to showcase the full range and grand scale of his art.”

First Installation in the New Shapiro Family Courtyard

The MFA continues the celebration of the recently opened Art of the Americas Wing and Shapiro Family Courtyard with Chihuly: Through the Looking Glass, showcasing the artwork of one of the most innovative and beloved American artists of our time. The show was conceived two years ago when Chihuly visited the Museum while the courtyard was still under construction, and marks the first time that exhibition-related works are on view in the courtyard. Chihuly: Through the Looking Glass was designed by Chihuly specifically for the Museum site. Works created in the Chihuly Studio hot shop in Seattle, Washington, incorporating thousands of individual pieces of hand-blown glass, were sent to Boston in six 53-foot containers. The 12 installations were assembled on site at the MFA during a three-week period in March. During this time, visitors to the MFA were able to watch a team from Chihuly Studio install the monumental glass artworks in the courtyard and surrounding gardens…

Works created specifically for Chihuly: Through the Looking Glass, such as the dramatic Lime Green Icicle Tower, have transformed the Shapiro Family Courtyard. Measuring 42-feet high and weighing approximately 10,000 pounds, the sculpture’s 2,342 glass elements catch the light flooding into the glass-enclosed space. Also in the courtyard, along the colonnade of the Museum’s historic interior façade, is the newly created Boathouse Neon II – an expansive profusion of red, yellow, and orange – spanning 98 feet. Outside, along the courtyard’s glass walls, Amber Cattails extend the length of the northern-landscaped area as though planted in their natural environment.

“Perhaps the greatest artist in American glass since Louis Comfort Tiffany, Dale Chihuly is one of the central figures in the contemporary studio glass movement. This exhibition will give our visitors a look at his extraordinary career – the creation of enchanting environments that, through the manipulation of light and colour, both delight the eye and challenge our perception of space,” said Gerald W.R. Ward, the Katharine Lane Weems Senior Curator of American Decorative Arts and Sculpture, who organised the exhibition.

Nine Unique Installations in the New Gund Gallery

The exhibition continues below the courtyard, where nine unique Chihuly installations (including both newly made and early works) are on view in the Gund Gallery for special exhibitions. Outside of the gallery, a glistening, 30′ long and 15′ tall Persian Wall composed of intricately detailed rondels – flower-like shapes in yellows, reds, and oranges – offer an enchanting welcome to visitors. Inside the gallery, Scarlet Icicle Chandelier, measuring 6’ high, sets the stage for the bold creations that lie beyond, such as Ikebana Boat, a 17′-long, newly made composition featuring a weathered wooden rowboat filled with brightly colored, seemingly alien glass forms. Chihuly’s Ikebana series, which alludes to Japanese flower arrangements, is featured in a nearby room, where 5′-to-6′-tall silvered vessels hold inventive floral “stems”. Also on view in the room is an assortment of Venetians – silvered blown glass sculptures originally conceived by Chihuly after seeing Venetian Art Deco glass. Chihuly Drawings seen in this space serve as complement and inspiration for the glass Venetian works. The nearby Northwest Room evokes the artist’s native Pacific Northwest environment and the Native American influence on his work. It features an assemblage of ethereal Baskets inspired by Native American baskets, as well as displays of 75 colourful trade blankets and a variety of woven baskets from the artist’s own extensive collection.

Adjacent to this installation is a darkened space showcasing Mille Fiori (Italian for “a thousand flowers”), measuring 58′ long and 11′ tall and presented on a 12′-wide raised platform. This breathtaking work of art is one of the artist’s largest installations, a combination of many of the colourful, inventive shapes found in Chihuly’s other creations – from exotic Cattails and tall Reeds, to giant glass Niijima Floats and ribbon-like Herons – brilliantly coloured in shades of yellow, red, lavender, green, orange, and blue. Persian Ceiling, a dazzling 15′ by 25′ array of vibrant and beautifully articulated shapes encased and suspended from the ceiling, is featured in the adjacent gallery. This eruption of colour continues in the Chandelier Room, featuring six dramatic Chandeliers hanging at different heights from the 16′-high Gund Gallery ceiling. Included are newly created works, the 12′-tall Silvered Chrysalis Tiered Chandelier and Iris Yellow Frog Foot Chandelier, as well as the spectacular Chiostro di Sant’Apollonia Chandelier and three other works: Palazzo di Loredana Balboni Chandelier, Orange Hornet and Eelgrass Chandelier, and Onyx and Caramel Chandelier. The final exhibition space showcases luminescent Neodymium Reeds, a large-scale installation composed of birch logs and elegant glass Reeds in shades of lavender.

Press release from the Museum of Fine Arts, Boston website

 

Dale Chihuly (American, b. 1941) 'Persian Wall' 2011 (detail)

 

Dale Chihuly (American, b. 1941)
Persian Wall (detail)
2011
Blown glass
15 X 30′
Artwork © 2011 by Chihuly Studio, All rights reserved
Photograph © Museum of Fine Arts, Boston

 

Dale Chihuly (American, b. 1941) 'Palazzo di Loredana Balboni Chandelier' 2011

 

Dale Chihuly (American, b. 1941)
Palazzo di Loredana Balboni Chandelier
2011
Blown glass, steel
9 X 7 X 7′
Artwork © 2011 by Chihuly Studio, All rights reserved
Photograph © Museum of Fine Arts, Boston

 

Dale Chihuly (American, b. 1941) 'Chiostro di Sant'Apollonia Chandelier' 2011

 

Dale Chihuly (American, b. 1941) 
Chiostro di Sant’Apollonia Chandelier
2011
Blown glass, steel
10 X 7 X 9′
Artwork © 2011 by Chihuly Studio, All rights reserved
Photograph © Museum of Fine Arts, Boston

 

Dale Chihuly (American, b. 1941) 'Tabac Basket' 2008

 

Dale Chihuly (American, b. 1941)
Tabac Basket
Photo by Teresa Nouri Rishel
© 2008 Chihuly Studio

 

 

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

Opening hours:
Thursday – Monday 10am – 5pm
Closed Tuesdays and Wednesdays

Museum of Fine Arts Boston website

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Exhibition: ‘Series of Portraits. A century of photographs’ at Museum für Kunst und Gewerbe, Hamburg

Exhibition dates: 1st April – 17th July 2011

 

Many thankx to Michaela Hille for her help and to Museum für Kunst und Gewerbe, Hamburg for allowing me to publish the photographs in the posting. Please click on the photographs to view a larger version of the image.

 

Hermann Biow (German, 1804-1850) 'Heinrich Jakob Venedey' 1848

 

Hermann Biow (German, 1804-1850)
Heinrich Jakob Venedey
1848
Daguerreotype
20.8 x 15.4cm
Museum für Kunst und Gewerbe, Hamburg

 

Hermann Biow was an important German daguerreotypist in the early days of photography. Biow became known through his portrait photography during his lifetime. He portrayed politicians, celebrities and wealthy citizens, including Franz Liszt, Alexander von Humboldt and Friedrich Wilhelm IV. He is also known for his parliamentarian portraits of the first German National Assembly in the Paulskirche in Frankfurt in 1848/1849. Today Biow is primarily seen as the founder of German documentary photography.

A daguerreotype of Heinrich Jakob Venedey from 1848 made by Hermann Biow in Frankfurt. Venedey (1805-1871) was a member of the German National Assembly in Frankfurt’s Paulskirche in 1848/1849 as a deputy for Hessen-Homburg. The lawyer belonged to the factions Deutscher Hof and Westendhall of the National Assembly.

Text translated by Google Translate from the German Wikipedia website

 

Hermann Biow (German, 1804-1850) 'Heinrich Joseph Gerhard Compes' 1848

 

Hermann Biow (German, 1804-1850)
Heinrich Joseph Gerhard Compes
1848
Daguerreotype
20.4 x 14.8cm
Museum für Kunst und Gewerbe, Hamburg

 

A daguerreotype of Heinrich Joseph Gerhard Compes (that’s Gerhard Compes) from 1848 by Hermann Biow in Frankfurt. Compes was a member of the German National Assembly in Frankfurt’s Paulskirche in 1848/1849 as a deputy for the 19th province of Rhineland (Siegburg). The Cologne lawyer belonged to the Württemberger Hof faction of the National Assembly.

Text translated by Google Translate from the German Wikipedia website

 

August Sander (German, 1876-1964) [Farmer, Westerwald (Bauer, Westerwald)] 1910

 

August Sander (German, 1876-1964)
[Farmer, Westerwald (Bauer, Westerwald)]
1910
Gelatin silver print
© Photograph. Samml./SK Stiftung Kultur – A. Sander Archiv, Köln/VG Bild-Kunst, Bonn 2011
Foto: Jorg Arend/Harald Dubau/Maria Thrun, Museum fur Kunst und Gewerbe Hamburg
Museum fur Kunst und Gewerbe Hamburg

 

The first section of People of the Twentieth Century is dedicated to the farmer. It begins with a Stammappe, or portfolio of archetypes. Usually three-quarter-length portraits, the photographs depict old farming men, women, and couples seated in their homes or against a natural backdrop. Each is captioned to suggest the fundamental role played by the individual in a balanced society. Sander referred to this farmer as the “earthbound man.” Other archetypes include the “philosopher,” the “fighter or revolutionary,” and the “sage.” All had female counterparts, while couples were labeled as “propriety and harmony.”

Identifying this figure as the “earthbound man,” Sander forged an implicit reference to the soil as a source of livelihood. The farmer’s hands grasp the cane, which keeps him upright and connected to the earth.

Text from the J. Paul Getty Museum website [Online] Cited 04/02/2020

 

August Sander (German, 1876-1964) 'Jungbauern' (Young Farmers) 1914

 

August Sander (German, 1876-1964)
Jungbauern, Westerwald, 1914
1914, printed 1962
Gelatin silver print
28.5 x 21.9cm
© Photograph. Samml./SK Stiftung Kultur – A. Sander Archiv, Köln/VG Bild-Kunst, Bonn 2011
Foto: Jorg Arend/Harald Dubau/Maria Thrun, Museum fur Kunst und Gewerbe Hamburg
Museum fur Kunst und Gewerbe Hamburg

 

August Sander (German, 1876-1964) 'Notar, Köln, 1924' 1924

 

August Sander (German, 1876-1964)
Notar, Köln, 1924
1924, printed 1962
Gelatin silver print
29.1 x 20.5cm
© Photograph. Samml./SK Stiftung Kultur – A. Sander Archiv, Köln/VG Bild-Kunst, Bonn 2011
Foto: Jorg Arend/Harald Dubau/Maria Thrun, Museum fur Kunst und Gewerbe Hamburg
Museum fur Kunst und Gewerbe Hamburg

 

Helmar Lerski (Swiss, 1871-1956) 'Old Working Woman from Germany' (left) and 'Beggar from Saxony' (right) both 1928-1931

 

Helmar Lerski (Swiss, 1871-1956)
Old Working Woman from Germany (left)
1928-1931
Gelatin silver print

Helmar Lerski (Swiss, 1871-1956)
Beggar from Saxony (right)
1928-1931
Gelatin silver print

 

The portraits in Lerski’s Everyday Heads show unemployed workers whom the photographer met at a Berlin job centre where he hired them to sit for him. Old Working Woman from Germany 1928-1931 is a close-up shot of a woman’s face, eyes down and mouth shut as though she is quietly contemplating something outside of the picture’s frame (left, above). It is impossible to tell whether this meditative look, a common feature of his portraits, was suggested by Lerski but it is evident that he was in control of nearly every aspect of his pictures. An experienced movie cameraman, he used artificial light reflected by mirrors and screens to give his models an aura and monumentality that people would be familiar with from expressionist feature films. Oblique angles, in line with modernist sensibilities, helped to reinforce the impression of grandeur. He also cropped the images and introduced extra screens so as to eliminate the space around his models heads, and any details from what remained of the background. This also served on occasions to compromise the integrity of the subject’s face though, in other cases, he preferred to blur the contours of the face using strong shadows, as can be seen in Beggar from Saxony 1928-1931 (right, above). The results produced a general notion of everyday people rather than an endorsement of individuality as praised in traditional portraiture. Like Sander and Retzlaff, Lerski only gave the individuals’ professions in the captions, and was keen not to exemplify their class affiliation or social rank. The pictures provide no information about either, focusing instead on the face. In this way Lerski enhanced the common human dignity normally ignored in ‘everyday’ faces, and more especially in those humiliated by unemployment during the post-1929 economic crisis.

Wolfgang Brückle. “Face-Off in Weimar Culture: The Physiognomic Paradigm, Competing Portrait Anthologies, and August Sander’s Face of Our Time,” in Tate Papers No.19 Spring 2013 [Online] Cited 04/20/2020

 

Heinrich Riebesehl (German, 1938-2010) 'Menschen im Fahrstuhl (People in the elevator)' 1969

 

Heinrich Riebesehl (German, 1938-2010)
Menschen im Fahrstuhl (People in the elevator)
1969
Gelatin silver print

 

Heinrich Riebesehl (German, 1938-2010) 'Menschen im Fahrstuhl (People in the elevator)' 1969

 

Heinrich Riebesehl (German, 1938-2010)
Menschen im Fahrstuhl (People in the elevator)
1969
Gelatin silver print

 

 

The exhibition comprises 400 exhibits and reflects on important artistic positions in photographic portraiture. During the eventful 20th century portrait photography continually redefines itself, between dissolution of the traditional concept of the subject in the masses and the pursuit of individuality and identity – culturally, socially and in terms of gender. Portraiture is one of the traditional genres in art and was one of the driving forces behind the invention of photography in the 19th century. The image of the human being is subject to constant change, which is also reflected in photography. In postmodern society mass media create ever-changing ideals according to various requirements in tune with a quick succession of trends. Art photography responds to the changes and reflects the development sometimes with spectacular results while it questions the medium of photography itself. The exhibition presents 35 carefully chosen international artists, who through history have opened up a dialogue among themselves; they are referencing each other’s work, and are received and interpreted in ever new contexts. On show are works by Diane Arbus, Hans-Peter Feldmann, Lee Friedlander, Nan Goldin, Roni Horn, Jurgen Klauke, Annie Leibovitz, Helmar Lerski, Irving Penn, Judith Joy Ross, Thomas Ruff, August Sander, Cindy Sherman, Andy Warhol and others. An exhibition in cooperation with the Sammlung Niedersächsische Sparkassenstiftung on the occasion of the 5th Photography Triennial in Hamburg.

“The PORTRAIT-PHOTOGRAPH is a closed field of forces. Four image-repertoires intersect here, oppose and distort each other. In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art.” (Roland Barthes, Camera Lucida, London, 1984, p. 13). The photographic portrait does indeed combine contrary interests. The relationship between photographer and sitter is crucial. The third factor is the viewer, who is already being considered during the process of photographing. In the knowledge of the particular psychological situation resulting from the presence of a camera, Richard Avedon laconically stated: “A photographic portrait is a picture of someone who knows he is being photographed.” The sitters’ reactions to the camera differ, depending on how experienced they are. Fact is: It is not possible to not communicate, as Paul Watzlawick’s research on communication shows. People demean themselves, even if they withdraw or turn away.

The confrontation climaxes in the principle of frontality, which remains valid today although it is constantly being tried and questioned. The project Serial Portraits invites the visitor on a journey through time starting from the beginnings with Hermann Biow’s (1804-1850) daguerreotypes, David Octavius Hill’s (1802-1870) and Robert Adamson’s (1821-1848) talbotypes up to the digital present with Michael Najjar’s (b. 1966) cyborgs, and wondering whether classical portraiture has come to its end.

The beginning includes a model case, where due to the long exposure necessary the models do not live out of the moment but into the moment, as Walter Benjamin said (Little History of Photography, 1931). Thirty-Minute Dialogue by Kyungwoo Chun (b. 1969) from 2000 is examining the synthesis of expression, which is necessitated by the models’ keeping still for so long. An exposure time of half an hour allows the work to penetrate the depths of the pictorial space.

The creativity of the 1920s and the New Vision inspires a “visual vocabulary” appropriate for modernity. Its different forms can be seen in the individual responses of photographers such as August Sander (1876-1964). Being a typical studio photographer, he works on a typology of “man of the 20th century”, beginning with the agricultural type, his Stammappe (engl.: Germinal Portfolio) being a memorial to the latter. Helmar Lerski (1871-1956) takes a different stance; having originally worked in film, he is photographing his Everyday Heads in extreme close-ups. Making use of effective lighting in his studio, he invites unknown sitters from the street and fashions characteristic heads.

Sander’s oeuvre represents a turning point for comparative vision as a genuine principle in series. Considering photography of the 1920s and questioning the photographer’s position as well as the medium itself, author-photography in the 1970s is developing a new idea of documentary. Thomas Ruff (b. 1958) is testing the limits, when he presupposes that photography can merely reflect the surface of things. Bernhard Fuchs is adding a personal touch when he is seeking out the places of his own past. The great portrait photographer Irving Penn is cornering his celebrities in a corner of his studio and allows them to find their place, according to their inclinations and abilities to self-represent.

Diane Arbus (1923-1971) is holding a one-sided dialog, certainly not giving equal weight to the photographer’s interests and that of her models. While the frontality signals the conventionally due deference, the complex composition of her pictures is dominated by the superior gaze directed at the supposedly others, the freaks of bourgeois society. Until now Arbus is misinterpreted as a documentary photographer. It is being ignored that photography inevitably presents a specific view of reality and that the viewer’s position has been carefully constructed within the picture.

Only pictures that have been taken without the awareness of those represented document a found situation at the same time as they present a monologue. Heinrich Riebesehl (1938-2010) chose this method for his series Menschen im Fahrstuhl (engl.: People in an Elevator), which he completed in just one day. In a moment of pause people can reflect and are not forced to react to being observed. In his pictures the photographer respects their individuality without judging social differences.

Examples for comparability as principle in a series can be found early on. Hermann Biow’s (1804-1850) daguerreotypes as unique copies of the members of parliament in the Paulskirche in Frankfurt from 1848/1849 were later reproduced as lithographs and distributed in portfolios. These politicians were the direct successors to the galleries of ancestral portraits in stately homes, whereby the new medium was democratic. Rudolph Duhrkoop’s Hamburgische Männer und Frauen amAnfang des XX. Jahrhunderts (engl.: Men and Women of Hamburg in the Early XXth Century) represent the citizens in this tradition.

Since 1975 Nicholas Nixon (b. 1974) is extending the series The Brown Sisters every year. His study is observing changes, while Hans-Peter Feldmann (b. 1941) is representing a century through 101 average people in his sequence 100 Jahre (engl.: 100 Years). It is fascinating, how the uniqueness of each person even if they remain anonymous is transported in the photographic portrait. Judith Joy Ross’ (b. 1946) series Protesting the U. S. War in Iraq documents a seriousness in the sitters’ faces, the political dimension of which can only be fully grasped with the information on the context. As with every photograph the title or accompanying text is part of the message.

Press release from the Museum für Kunst und Gewerbe, Hamburg website

 

Andy Warhol (American, 1928-1987) 'Self-Portrait in Drag (Platinum Pageboy Wig)' 1981

 

Andy Warhol (American, 1928-1987)
Self-Portrait in Drag (Platinum Pageboy Wig)
1981
Foto: Christoph Irrgang, Hamburg
© 2011 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
Hamburger Kunsthalle

 

Andy Warhol (American, 1928-1987) 'Self-Portrait in Drag' 1981

 

Andy Warhol (American, 1928-1987)
Self-Portrait in Drag
1981
Foto: Christoph Irrgang, Hamburg
© 2011 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
Hamburger Kunsthalle

 

 

Andy Warhol (American, 1928-1987) 'Self-Portrait in Drag (Long Reddish-Brown Wig and Plaid Tie)' 1981/82

 

Andy Warhol (American, 1928-1987)
Self-Portrait in Drag (Long Reddish-Brown Wig and Plaid Tie)
1981/1982
Foto: Christoph Irrgang, Hamburg
© 2011 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York
Hamburger Kunsthalle

 

Thomas Ruff (German, b. 1958) 'Portrait (T. Ruff)' 1983

 

Thomas Ruff (German, b. 1958)
Portrait (T. Ruff)
1983
Colour Print
24 x 18cm
Thomas Ruff/VG Bild-Kunst, Bonn 2011
Niedersachsische Sparkassenstiftung, Hannover

 

Thomas Ruff (German, b. 1958) 'Portrait (C. Bernhard)' 1985

 

Thomas Ruff (German, b. 1958)
Portrait (C. Bernhard)
1985
Colour Print
24 x 18cm
© Thomas Ruff/VG Bild-Kunst, Bonn 2011
Niedersachsische Sparkassenstiftung, Hannover

 

 

Nan Goldin (American, b. 1953) 'All by Myself' 1993-1996 (detail)

 

Nan Goldin (American, b. 1953)
All by Myself (detail)
1993-1996
Project installation with 89 colour slides and programmed soundtrack, running time: 5 min. 33 sec
© Nan Goldin/Courtesy Matthew Marks Gallery, New York
Foto: Christoph Irrgang, Hamburg
Hamburger Kunsthalle, Dauerleihgabe F. und W. Stiftung fur zeitgenossische Kunst in der Hamburger Kunsthalle

 

Nan Goldin (American, b. 1953) 'All by Myself' 1993-1996 (detail)

 

Nan Goldin (American, b. 1953)
All by Myself (detail)
1993-1996
Project installation with 89 colour slides and programmed soundtrack, running time: 5 min. 33 sec
© Nan Goldin/Courtesy Matthew Marks Gallery, New York
Foto: Christoph Irrgang, Hamburg
Hamburger Kunsthalle, Dauerleihgabe F. und W. Stiftung fur zeitgenossische Kunst in der Hamburger Kunsthalle

 

Rineke Dijkstra (Dutch, b. 1959) 'Montemor, Portugal, May 1, 1994' 1994

 

Rineke Dijkstra (Dutch, b. 1959)
Montemor, Portugal, May 1, 1994
1994
C-Print
35.2 x 27.8 cm
© Rineke Dijkstra
Foto/Photo: Jorg Arend/Harald Dubau/Maria Thrun, Museum fur Kunst und Gewerbe Hamburg
Haus der Photographie/Sammlung F. C. Gundlach, Hamburg

 

 

Michael Schmidt (German, 1945-2014) From the 81-part series 'Women' 1997-1999

 

Michael Schmidt (German, 1945-2014)
Aus der 81-teiligen serie Frauen
From the 81-part series Women
1997-1999
Gelatin silver print
44.1 x 29.9cm
© Michael Schmidt
Niedersachsische Sparkassenstiftung, Hannover

 

Michael Najjar (German, b. 1966) 'Stephan_2.0' from the 'nexus project part I' 1999

 

Michael Najjar (German, b. 1966)
Stephan_2.0 from the nexus project part I
1999
Hybrid photography, archival pigment print, aludibond, diasec
140 x 100cm / 56 x 40 in, edition of 6

 

Nexus Project

The series “nexus project part I” investigates the implications of the future enhancement of the human brain with miniaturised computer chips, infiltrated in the neuronal structures of the human organism.

Such a development will give birth to a new form of life – the cyborg, a hybrid compound of human and machine. A new set of questions are raised concerning issues of difference and identification between biologically correct beings and technically or genetically enhanced humans.

This development brings with it a host of new concerns: What impact will neuro-implants have on human consciousness? How will society cope with this kind of being, and what implications will they have for our social and cultural interaction?

“nexus project part I” consists of eight photographic portraits. These have undergone a digital modification of the iris, which gives the portrait faces an intimidating, almost inhuman look whilst at the same time it exerts a strong direct fascination on the viewer.

The highly charged poles of tensions and cross-tensions between fascination and intimidation also shape the para-meters in which the future development of human being to hybrid organism will take place.

Text from the Michael Najjar website [Online] Cited 04/02/2020

 

Kyungwoo Chun (Korean, b. 1969) 'Thirty-Minute Dialogue #1' 2000

 

Kyungwoo Chun (Korean, b. 1969)
Thirty-Minute Dialogue #1
2000
Gelatin silver print
40 x 50cm
© Kyungwoo Chun

 

Roni Horn (American, b. 1955) 'Portrait of an Image (with Isabelle Huppert)' 2005

 

Roni Horn (American, b. 1955)
Portrait of an Image (with Isabelle Huppert)
2005
50 Fotografien (Version 1)
Colour Print
38.1 x 31.8cm
© Courtesy the artist and Hauser & Wirth

 

Judith Joy Ross (American, b. 1946) 'Jane C. Keller, Protesting the U.S. War in Iraq, Williamsport, Pennsylvania' from the series 'Protest the War' 2006

 

Judith Joy Ross (American, b. 1946)
Jane C. Keller, Protesting the U.S. War in Iraq, Williamsport, Pennsylvania, from the series Protest the War
2006
Gelatin silver print

 

Judith Joy Ross (American, b. 1946) 'Lynn Estomin, Protesting the U.S. War in Iraq, Williamsport, Pennsylvania' from the series 'Protest the War' 2006

 

Judith Joy Ross (American, b. 1946)
Lynn Estomin, Protesting the U.S. War in Iraq, Williamsport, Pennsylvania, from the series Protest the War
2006
Gelatin silver print

 

Nicholas Nixon (American, b. 1947) 'The Brown Sisters, East Greenwich, R.I.' 1980

 

Nicholas Nixon (American, b. 1947)
The Brown Sisters, East Greenwich, R.I.
1980
Gelatin silver print

 

Nicholas Nixon (American, b. 1947) 'The Brown Sisters, Boston' 2012

 

Nicholas Nixon (American, b. 1947)
The Brown Sisters, Boston
2012
Gelatin silver print

 

 

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday – Sunday 10am – 6pm
Thursday until 9 pm
Closed Mondays

Museum fur Kunst und Gewerbe Hamburg website

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Exhibition: ‘Helios: Eadweard Muybridge in a Time of Change’ at the San Francisco Museum of Modern Art (SFMOMA)

Exhibition dates: 26th February – 7th June, 2011

 

Eadweard Muybridge (English-American, 1830-1904) 'Ruins of a Church, Antigua, Guatemala' 1875

 

Eadweard Muybridge (English-American, 1830-1904)
Ruins of a Church, Antigua, Guatemala
1875
Albumen print
Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, Montreal

 

 

While rightly famous for his work on animal locomotion it is the first group of photographs in this posting that shine most brightly. It is often overlooked how magnificent a photographer Eadweard Muybridge was and what a brilliant eye he had. The top three photographs, especially the first one (above), are knockouts – radiant jewels in which the tensional points of the composition and the atmosphere of the scene are captured magnificently. I also love the use of human figures to give scale to the scene.

It is rare to find Eadweard Muybridge photographs other than his locomotion studies on the Internet (do a search under Google and see for yourself!), so it is a particular pleasure to post these photographs. It is something I have been wanted to do for quite a while now and finally it has come to pass; earlier iterations of this exhibition had few press images so I must heartily thank the San Francisco Museum of Modern Art (SFMOMA) for allowing me to publish the photographs in the posting.

Dr Marcus Bunyan


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

 

 

Eadweard Muybridge (English-American, 1830-1904) 'The Ramparts, Funnel Rock, Hole in the Wall, Pyramid, Sugar Loaf, Oil House, and Landing Cove on Fisherman's Bay, South Farallon Island (4150)' 1871

 

Eadweard Muybridge (English-American, 1830-1904)
The Ramparts, Funnel Rock, Hole in the Wall, Pyramid, Sugar Loaf, Oil House, and Landing Cove on Fisherman’s Bay, South Farallon Island (4150)
1871
Albumen print
U.S. Coast Guard Historian’s Office

 

Eadweard Muybridge (English-American, 1830-1904) 'Ruins of the Church of San Domingo, Panama' 1875

 

Eadweard Muybridge (English-American, 1830-1904)
Ruins of the Church of San Domingo, Panama
1875
Albumen print
Image courtesy The Board of Trustees, National Gallery of Art, Washington

 

Eadweard Muybridge (English-American, 1830-1904) 'Bridge on the Porto Bello, Panama' 1875

 

Eadweard Muybridge (English-American, 1830-1904)
Bridge on the Porto Bello, Panama
1875
Albumen print
Department of Special Collections, Charles E. Young Research Library, UCLA

 

Eadweard Muybridge (English-American, 1830-1904) 'Tenaya Canyon. Valley of the Yosemite. From Union Point. No. 35,'1872

 

Eadweard Muybridge (English-American, 1830-1904)
Tenaya Canyon. Valley of the Yosemite. From Union Point. No. 35
1872
Albumen print
Collection National Gallery of Art, Washington, DC

 

Eadweard Muybridge (English-American, 1830-1904) 'First-Order Lighthouse at Punta de los Reyes, Seacoast of California, 296 Feet Above Sea (4136)' 1871

 

Eadweard Muybridge (English-American, 1830-1904)
First-Order Lighthouse at Punta de los Reyes, Seacoast of California, 296 Feet Above Sea (4136)
1871
Albumen print
U.S. Coast Guard Historian’s Office

 

Eadweard Muybridge (English-American, 1830-1904) Pi-Wi-Ack. Valley of the Yosemite. (Shower of Stars) “Vernal Fall.” 400 Feet Fall. No. 29, 1872

 

Eadweard Muybridge (English-American, 1830-1904)
Pi-Wi-Ack. Valley of the Yosemite. (Shower of Stars) “Vernal Fall.” 400 Feet Fall. No. 29
1872
Albumen print
Collection San Francisco Museum of Modern Art; gift of Jeffrey Fraenkel and Frish Brandt

 

 

From February 26 through June 7, 2011, the San Francisco Museum of Modern Art (SFMOMA) will showcase the first-ever retrospective examining all aspects of artist Eadweard Muybridge’s pioneering photography. Helios: Eadweard Muybridge in a Time of Change brings together more than 300 objects created between 1857 and 1893, including Muybridge’s only surviving zoopraxiscope – an apparatus he designed in 1879 to project motion pictures. Originally organised by Philip Brookman, Corcoran Gallery of Art chief curator and head of research, the San Francisco presentation is organised by SFMOMA Associate Curator of Photography Corey Keller.

Helios: Eadweard Muybridge in a Time of Change includes numerous vintage photographs, albums, stereographs, lantern slides, glass negatives and positives, patent models, zoopraxiscope discs, proof prints, notes, books, and other ephemera. The works have been brought together from 38 different collections and include a number of Muybridge’s photographs of Yosemite Valley, including dramatic waterfalls and mountain views from 1867 and 1872; images of Alaska and the Pacific coast; an 1869 survey of the Central Pacific and Union Pacific Railroads in California, Nevada, and Utah; pictures from the Modoc War, pictures from Panama and Guatemala; and urban panoramas of San Francisco. The exhibition also includes examples from Muybridge’s experimental series of sequential stop-motion photographs such as Attitudes of Animals in Motion (1881) and his later masterpiece Animal Locomotion (1887).

The exhibition is organised in a series of thematic sections that present the chronology of Muybridge’s career, the evolution of his unique sensibility, the foundations of his experimental approach to photography, and his connections to other people and events that helped guide his work. The sections include: Introduction: The Art of Eadweard Muybridge (1857-1887); The Infinite Landscape: Yosemite Valley and the Western Frontier (1867-1869); From California to the End of the Earth: San Francisco, Alaska, the Railroads, and the Pacific Coast (1868-1872); The Geology of Time: Yosemite and the High Sierra (1872); Stopping Time: California at the Crossroads of Perception (1872-1878); War, Murder, and the Production of Coffee: the Modoc War and the Development of Central America (1873-1875); Urban Panorama (1877-1880); The Horse in Motion (1877-1881); Motion Pictures: the Zoopraxiscope (1879-1893); and Animal Locomotion (1883-1893).

Muybridge and San Francisco

Best known for his groundbreaking studies of animals and humans in motion, Muybridge (1830-1904) was also an innovative and successful landscape and survey photographer, documentary artist, inventor, and war correspondent. Born in Kingston upon Thames, England, in 1830, Muybridge immigrated to the United States around 1851. He worked as a bookseller in New York and San Francisco and returned to London in 1860 following a serious injury. Muybridge learned photography in Britain and by 1867 returned to the United States, where began his career as a photographer in San Francisco. He gained recognition through innovative landscape photographs, which showed the grandeur and expansiveness of the American West. Between 1867 and 1871, these were published under the pseudonym “Helios.”

Muybridge spent most of his career in San Francisco and Philadelphia during a time of rapid industrial and technological growth. In the 1870s he developed new ways to stop motion with his camera. Muybridge’s legendary sequential photographs of running horses helped change how people saw the world. His projected animations inspired the early development of cinema, and his revolutionary techniques produced timeless images that have profoundly influenced generations of photographers, filmmakers, and visual artists.

Press release from the San Francisco Museum of Modern Art (SFMOMA) website [Online] Cited 02/06/2011 no longer available online

 

Eadweard Muybridge (English-American, 1830-1904) Savings and Loan Society, Clay Street (340), 1869

 

Eadweard Muybridge (English-American, 1830-1904)
Savings and Loan Society, Clay Street (340)
1869
albumen stereograph
Collection of Leonard A. Calle

 

Eadweard Muybridge (English-American, 1830-1904) Contemplation Rock, Glacier Point (1385), 1872

 

Eadweard Muybridge (English-American, 1830-1904)
Contemplation Rock, Glacier Point (1385)
1872
Albumen stereograph
Collection of California Historical Society

 

Eadweard Muybridge (English-American, 1830-1904) 'Group of Indians (489)' 1868

 

Eadweard Muybridge (English-American, 1830-1904)
Group of Indians (489)
1868
Albumen stereograph
Collection of Leonard A. Walle

 

Eadweard Muybridge (English-American, 1830-1904) 'The Brandenburg Album of Bradley & Rolufson "Celebrities" and Muybridge Photographs, page 104' 1874

 

Eadweard Muybridge (English-American, 1830-1904)
The Brandenburg Album of Bradley & Rolufson “Celebrities” and Muybridge Photographs, page 104
1874
Albumen prints
Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Museum Purchase Fund

 

Eadweard Muybridge (English-American, 1830-1904) 'Cockatoo; flying. Plate 759' 1887

 

Eadweard Muybridge (English-American, 1830-1904)
Cockatoo; flying. Plate 759
1887
Collotype
Corcoran Gallery of Art, Washington, D.C.

 

Eadweard Muybridge (English-American, 1830-1904) 'Boxing; open-hand. Plate 340' 1887

 

Eadweard Muybridge (English-American, 1830-1904)
Boxing; open-hand. Plate 340
1887
Collotype
Corcoran Gallery of Art, Washington, D.C.

 

Eadweard Muybridge (English-American, 1830-1904) 'Horses. Running. Phryne L. Plate 40, 1879, from 'The Attitudes of Animals in Motion'' 1881

 

Eadweard Muybridge (English-American, 1830-1904)
Horses. Running. Phryne L. Plate 40
1879
From The Attitudes of Animals in Motion, 1881
Albumen print
Image courtesy The Board of Trustees, National Gallery of Art, Washington, Gift of Mary and Dan Solomon

 

Eadweard Muybridge (English-American, 1830-1904) 'Studies of Foreshortenings. Horses. Running. Mahomet. Plates 143-144, 1879, from 'The Attitudes of Animals in Motion'' 1881

 

Eadweard Muybridge (English-American, 1830-1904)
Studies of Foreshortenings. Horses. Running. Mahomet. Plates 143-144
1879
From The Attitudes of Animals in Motion, 1881
Albumen print
Chrysler Museum of Art, Norfolk, VA

 

Eadweard Muybridge (English-American, 1830-1904) 'Leland Stanford, Jr. on his pony “Gypsy” - Phases of a Stride by a Pony While Cantering' 1879

 

Eadweard Muybridge (English-American, 1830-1904)
Leland Stanford, Jr. on his pony “Gypsy” – Phases of a Stride by a Pony While Cantering
1879
Collodion positive on glass
Wilson Centre for Photography

 

Eadweard Muybridge (English-American, 1830-1904) 'General view of experiment track, background and cameras, Plate F, from The Attitudes of Animals in Motion' 1881

 

Eadweard Muybridge (English-American, 1830-1904)
General view of experiment track, background and cameras, Plate F
1881
From The Attitudes of Animals in Motion, 1881
Albumen print
Courtesy Special Collections, Stanford University Libraries

 

 

San Francisco Museum of Modern Art (SFMOMA)
151 Third Street (between Mission + Howard)
San Francisco CA 94103

Opening hours:
Friday – Tuesday 10 am – 5 pm and Thursday 10 am – 9 pm
Wednesday Closed

San Francisco Museum of Modern Art website

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Exhibition: ‘The Photographs of Ray K. Metzker’ at The Nelson-Atkins Museum of Art, Kansas City, Missouri

Exhibition dates: 15th January – 5th June, 2011

 

Many thankx to The Nelson-Atkins Museum of Art for allowing me to publish the photographs in the posting. Please click on the photograph for a larger version of the image.

 

Ray K. Metzker (American, 1931-2014) 'City Whispers, Philadelphia' 1983

 

Ray K. Metzker (American, 1931-2014)
City Whispers, Philadelphia
1983
Gelatin silver print
The Nelson-Atkins Museum of Art, Kansas City, Missouri
© Ray K. Metzker, courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Couplets: Atlantic City/New York City' 1969/1968

 

Ray K. Metzker (American, 1931-2014)
Couplets: Atlantic City/New York City
1969/1968
Gelatin silver print
The Nelson-Atkins Museum of Art, Kansas City, Missouri
© Ray K. Metzker, courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Couplets: New York City' 1968

 

Ray K. Metzker (American, 1931-2014)
Couplets: New York City
1968
Gelatin silver print
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation
© Ray K. Metzker, courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Double Frames: Philadelphia' 1965

 

Ray K. Metzker (American, 1931-2014)
Double Frames: Philadelphia
1965, printed 1984
Gelatin silver print
Gift of the Hall Family Foundation
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Double Frames: Philadelphia' 1965, printed 1972

 

Ray K. Metzker (American, 1931-2014)
Double Frames: Philadelphia
1965, printed 1972
Gelatin silver print
Gift of the Hall Family Foundation
The Nelson-Atkins Museum of Art
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Couplets: Philadelphia' 1968

 

Ray K. Metzker (American, 1931-2014)
Couplets: Philadelphia
1968, printed 2002
Gelatin silver print
Gift of the Hall Family Foundation
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Pictus Interruptus: Philadelphia' 1977

 

Ray K. Metzker (American, 1931-2014)
Pictus Interruptus: Philadelphia
1977
Gelatin silver print
Gift of the Hall Family Foundation
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

 

Works by Ray K. Metzker, one of the most original and influential photographers of the last half century, will be on view from Jan. 15 to June 5, 2011, at The Nelson-Atkins Museum of Art. The Photographs of Ray K. Metzker will reveal Metzker’s ability to turn ordinary subjects, including the urban experience and nature, into the visual poetry of the finely crafted black-and-white print.

At the age of nearly 80, Metzker is greatly admired for his passionate engagement with both photography and the world. He has explored the use of high contrast and selective focus, the potentials of multiple and composite images, and the infinite gradations of daylight, from dazzling white to inky shadow.

This is great and lasting work – the very best of a classic form of American modernism, said Keith F. Davis, senior curator of photography at the Nelson-Atkins. Metzker has led a life of deep devotion to understanding the potential, challenge and pleasure of photographic seeing. In so doing, he has transcended any simple notion of technical experimentation or formalism to illuminate a vastly larger human realm – one of uncertainty, isolation and vulnerability, as well as of unexpected beauty, grace and transcendence.

Thanks to a major gift from the Hall Family Foundation, the Nelson-Atkins now has the largest holding of Metzker’s work (92 prints) in the United States.

Born in Milwaukee, Wis., in 1931, Metzker first took up photography as a teenager. After two years in the army, he entered the graduate program at the Institute of Design, Chicago, in the fall of 1956. His professors, Aaron Siskind and Harry Callahan, were acclaimed artists and inspiring teachers, and they emphasised the medium’s remarkable range and visual potential. Metzker’s artistic vision grew from a union of ideas: the realities of modern life, the medium’s myriad technical possibilities, and the quest for a distinctly individual vision.

Metzker has lived and worked in Philadelphia since 1962, and as he approaches the age of 80, he continues to make new pictures there.

The photographs in the exhibition feature examples from all his major series, including his earliest mature work from Chicago (1957-1959); photographs from an extended visit to Europe (1960-1961); the street activity, people, and structures of Philadelphia (from 1962 to the present); beachgoers at the New Jersey shore, Sand Creatures (1968-1977); the starkness of the Southwestern light and landscape, New Mexico (1971-1972); and the lush mysteries of the natural realm, in his Landscapes (1985-1996) from Italy, France and the United States.

The exhibition features a host of innovative and ingenious approaches to photography, including the use of the double image, Double Frame (1964-1966) and Couplets (1968-1969); single works created from an entire roll of film, Composites (1964-1966); and the creative control of focus in both Pictus Interruptus (1976-1980) and Landscapes (1985-1996).

Press release from The Nelson-Atkins Museum of Art website

 

Ray K. Metzker (American, 1931-2014) 'Chicago' 1957

 

Ray K. Metzker (American, 1931-2014)
Chicago
1957
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Chicago' 1959

 

Ray K. Metzker (American, 1931-2014)
Chicago
1959, printed 1989
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Philadelphia' 1963

 

Ray K. Metzker (American, 1931-2014)
Philadelphia
1963, printed 1986
Gelatin silver print
Gift of the Hall Family Foundation
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Man in Canoe' 1961

 

Ray K. Metzker (American, 1931-2014)
Man in Canoe
1961
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American 1931-2014) 'Philadelphia, 1963' 1963

 

Ray K. Metzker (American 1931-2014)
Philadelphia, 1963
1963
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American 1931-2014) 'Philadelphia, 1963' 1963

 

Ray K. Metzker (American 1931-2014)
Philadelphia, 1963
1963
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American 1931-2014) 'Philadelphia' 1963

 

Ray K. Metzker (American 1931-2014)
Philadelphia, 1963
1963
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American 1931-2014) 'Philadelphia' 1964

 

Ray K. Metzker (American, 1931-2014)
Philadelphia
1964, printed 1989
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Philadelphia' 1964

 

Ray K. Metzker (American, 1931-2014)
Philadelphia
1964, printed 1989
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Composite: Atlantic City' 1966

 

Ray K. Metzker (American, 1931-2014)
Composite: Atlantic City
1966
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American, 1931-2014) 'Composites: Night at the Terminal' about 1966

 

Ray K. Metzker (American, 1931-2014)
Composites: Night at the Terminal
about 1966
Gelatin silver print
The Nelson-Atkins Museum of Art
© Ray K. Metzker, courtesy of Lawrence Miller Gallery

 

Ray K. Metzker (American 1931-2014) 'Philadelphia' 1981

 

Ray K. Metzker (American 1931-2014)
Philadelphia
1981
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American 1931-2014) 'Philadelphia' 1964

 

Ray K. Metzker (American 1931-2014)
Philadelphia, 1964
1963
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

Ray K. Metzker (American 1931-2014) 'Philadelphia' 1963

 

Ray K. Metzker (American 1931-2014)
Philadelphia, 1963
1963
Gelatin silver print
Gift of Hallmark Cards, Inc.,
© Ray K. Metzker, Courtesy of the Laurence Miller Gallery

 

 

The Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, MO 64111

Opening hours:
Thursday – Monday 10am – 5pm
Closed Tuesdays and Wednesdays

The Nelson-Atkins Museum of Art website

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Exhibition: ‘Garry Winogrand. Women are beautiful’ at Fundació Foto Colectania, Barcelona

Exhibition dates: 23rd February – 4th June 2011

 

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

 

Garry Winogrand (American, 1928-1984) 'Centennial Ball, Metropolitan Museum' New York, 1969

 

Garry Winogrand (American, 1928-1984)
Centennial Ball, Metropolitan Museum
New York, 1969, printed 1981
Silver gelatin print
22 x 33cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

 

Garry Winogrand (American, 1928-1984) 'Untitled', New York, 1965

 

Garry Winogrand (American, 1928-1984)
Untitled
New York, 1965, printed 1981
Silver gelatin print
22 x 33cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

 

Garry Winogrand (American, 1928-1984) 'Untitled', New York, 1968

 

Garry Winogrand (American, 1928-1984)
Untitled
New York, 1968, printed 1981
Silver gelatin print
22 x 33cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

 

 

Foundation Foto Colectania presents for the first time in Barcelona the famous series Women Are Beautiful by Garry Winogrand.

Garry Winogrand is considered one of the greatest innovators of photography of the twentieth-century in America. He knew like no other how to capture the social transformation of females in the 60’s and 70’s through his portraits of women who stand as an allegory of women’s emancipation and their new role in society. The Foundation Foto Colectania presents his series Women Are Beautiful, including 85 photographs taken between 1960 and 1975 and collected in the book with the same title by the legendary director of photography at the MoMA, John Szarkowski. The exhibition from the collection of Lola Garrido, is part of the programming line of the foundation which is dedicated to authors who changed the course of the history of photography. The exhibition can be seen in Barcelona until June 4, 2011. In the 60’s ended the era of big images as symbols of timeless truths, by the devastating influence first from Walker Evans, and later from Robert Frank and William Klein. The pictures are focused on the reflection of reality, no retouching or other ideas added. Garry Winogrand and Lee Friedlander represent “the new American style” which broke new ground in the so-called Street Photography.

Winogrand combines spontaneity with an apparent confusion, which is more than aware of the complexity of the photography world: “I photograph to see what the world looks like in photographs.” The presence of human beings, contrasting with the crowds and the streets in his photographs reveals a new way of looking, in which the anarchy results in a wealth of shapes and structures. The biased and cold style of Winogrand is associated with Abstract Expressionism and its sharp diagonals are similar to paint brush strokes of those years. If the photographer Robert Frank was critical of the 50’s, Garry Winogrand is one of the largest photographers of the 60’s.

Press release from the Fundació Foto Colectania website

 

Garry Winogrand (American, 1928-1984) 'World's Fair', New York, 1964

 

Garry Winogrand (American, 1928-1984)
World’s Fair
New York, 1964, printed 1981
Silver gelatin print
22 x 33cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

 

Garry Winogrand (American, 1928-1984) 'New York City' 1967, printed 1981

 

Garry Winogrand (American, 1928-1984)
New York City
1967, printed 1981
Silver gelatin print
22 x 33cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

 

Garry Winogrand (American, 1928-1984) 'Central Park, New York' 1968, printed 1981

 

Garry Winogrand (American, 1928-1984)
Central Park, New York
1968, printed 1981
Silver gelatin print
22 x 33cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

 

Garry Winogrand (American, 1928-1984) 'Untitled' New York, c. 1970, printed 1981

 

Garry Winogrand (American, 1928-1984)
Untitled
New York, c. 1970, printed 1981
Silver gelatin print
22 x 33cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

 

Garry Winogrand (American, 1928-1984) 'New York' 1961, printed 1981

 

Garry Winogrand (American, 1928-1984)
New York
1961, printed 1981
Silver gelatin print
33 x 22cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

 

Garry Winogrand (American, 1928-1984) 'Untitled', New York, 1969

 

Garry Winogrand (American, 1928-1984)
Untitled
New York, 1969, printed 1981
Silver gelatin print
33 x 22cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

 

Garry Winogrand (American, 1928-1984) 'Untitled', New York, 1968

 

Garry Winogrand (American, 1928-1984)
Untitled
New York, 1968, printed 1981
Silver gelatin print
33 x 22 cm
© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

 

 

Fundació Foto Colectania
Julián Romea 6, D2
08006
Barcelona

Opening hours:
Wednesday to Saturday: 11am – 2.30pm and 4pm – 8 pm
Sunday: 11am – 3pm

Fundació Foto Colectania website

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Exhibition: ‘Dorothea Lange’s Three Mormon Towns’ at Brigham Young University Museum of Art, Provo, Utah

Exhibition dates: 20th January – 30th April 2011

 

Dorothea Lange. 'Couple Seated on Porch, Gunlock, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Couple Seated on Porch, Gunlock, Utah
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

 

 

“The camera is an instrument that teaches people how to see without a camera.”


Dorothea Lange

 

 

Lange observes the minutiae, the precise details that go to make up the lives of these three towns and puts them together in a wonderful symphony of beautifully calculated, seemingly happenstance associations. Masterful!

Dr Marcus Bunyan


Many thankx to the Brigham Young University 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. All photographs by Dorothea Lange © Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor.

 

Toquerville, Utah

Dorothea Lange. 'Doorway, Toquerville, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Doorway, Toquerville, Utah
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

 

Dorothea Lange. 'Mulberry Tree, Neagle Home, Toquerville, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Mulberry Tree, Neagle Home, Toquerville, Utah
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

 

Dorothea Lange. 'Riley Savage, Toquerville, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Riley Savage, Toquerville, Utah
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

 

Dorothea Lange. 'Hands, Toquerville, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Hands, Toquerville, Utah
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

 

Dorothea Lange. 'Eggs, Toquerville, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Eggs, Toquerville, Utah
1953
Silver gelatin photograph
Collection of John and Lolita Dixon

 

 

In August 1953, renowned American photographer Dorothea Lange travelled to southern Utah where she met up with her long-time friend Ansel Adams. The two photographers spent three weeks photographing the landscape and people of Toquerville, Gunlock and St. George with the intention of publishing the work in LIFE magazine.

Lange’s enthusiasm for her subject yielded hundreds of photographs from which she composed an extended essay of 135 photographs, including images by Ansel Adams. Thirty-five of those photographs with text by Daniel Dixon appeared under the title Three Mormon Towns in the September 6, 1954 issue of LIFE.

“Dorothea Lange’s Three Mormon Towns,” a new exhibition at the Brigham Young University Museum of Art, features 21 of Lange’s photographs from this series acquired by the museum. The exhibition also draws from the collections of the J. Paul Getty Museum of Art, the Museum of Contemporary Photography, Columbia College Chicago, and the collection of John and Lolita Dixon.

The 62 vintage prints in the exhibition, accompanied by excerpts from Dixon’s original text, examine Lange’s lasting interest in the people of southern Utah and their relationship with the land, their heritage and the transformation of the West in post-war America.

“Subtle and poetic, the series of photographs that has come to be known as Three Mormon Towns is a bridge between Lange’s famous Depression Era photographs and her detailed photo essays of the 1950s,” Diana Turnbow, Curator of Photography at Brigham Young University Museum of Art, said.

Utah attracted Lange’s interest when she and her first husband, Maynard Dixon, spent the summer of 1933 camping and working in Zion National Park. She originally intended to photograph southern Utah with the support of a Guggenheim Foundation fellowship in 1941; however, a family crisis, followed by the onset of World War II prevented Lange from traveling to Utah. Yet, the desire to photograph the Mormon towns of southern Utah never faded. In 1953, Lange returned to the place that had captured her attention decades earlier.

“While Lange’s photographs depict communities bound together by hard work and religion in the formidable landscape of the Colorado Plateau, they also explore the changes that were beginning to affect not only Utah, but rural communities throughout the United States,” Turnbow said. “Three Mormon Towns was a study of contrasts – of old and new, of quiet villages and a growing city, of deep roots and transient highways. In this series, Lange memorialised the dignity and simplicity of agrarian life in light of post-war urbanisation.”

Published in the September 6, 1954 issue of LIFE magazine, the series of photographs that has come to be known as Three Mormon Towns bridges Dorothea Lange’s famous Depression era photographs with her detailed photo essays of the 1950s. Featuring sixty-two vintage photographs from the series, this exhibition considers Dorothea Lange’s lasting interest in the people of southern Utah and their relationship with the land, their heritage, and the transformation of the West in post-war America.

Known for her candid and sympathetic depiction of people, Dorothea Lange (1895-1965) is one of the most revered photographers of the twentieth century. For over four decades she explored the human psyche through portraiture and documentary photography. The probing portraits of her early career prepared Lange to photograph the people involved in the tumultuous events of the San Francisco labor strikes of 1934, the Great Depression, and the Japanese internment during World War II. Her 1935 photograph, The Migrant Mother, is one of the great icons of the American century.

In the 1950s, Lange began to create photographic essays for the popular picture and news magazine LIFE. She eventually completed five major essays for publication, with two of the essays, including Three Mormon Towns, printed in LIFE. In addition, Lange was a founding member of Aperture magazine and played a role in organising the influential Family of Man exhibition that premiered in New York in 1955.

In the later part of her life, Lange photographed and traveled extensively with her husband, Paul Taylor, in conjunction with his work in international development. Her photographs of South America, Africa, and Asia were deft and subtle, exploring a rich visual landscape populated with diverse objects and people.

In 1964, Lange was diagnosed with terminal cancer. Sustained by determination, she worked steadily to complete a number of projects including a retrospective exhibition of her work at the Museum of Modern Art in New York City. She passed away on October 11, 1965, content with the life that she had been able to live.

Text from the Brigham Young University Museum of Art website [Online] Cited 24/03/2011 no longer available online

 

Gunlock, Utah

Dorothea Lange. 'Sky and Clouds, Gunlock, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Sky and Clouds, Gunlock, Utah
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

 

Dorothea Lange. 'Jake Jones’ Hands, Gunlock, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Jake Jones’ Hands, Gunlock, Utah
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

 

Dorothea Lange. 'Horseplay, Gunlock, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Horseplay, Gunlock, Utah
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

 

Dorothea Lange. 'Four Young Riders in Summer' 1953

 

Dorothea Lange (American, 1895-1965)
Four Young Riders in Summer
1953
Silver gelatin photograph
Museum of Contemporary Photography, Columbia College Chicago

 

St. George, Utah

Dorothea Lange. 'Anne Carter Johnson, St. George, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Anne Carter Johnson, St. George, Utah
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

 

Dorothea Lange. 'Young Woman, St. George, Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Young Woman, St. George, Utah
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

 

 

Brigham Young University Museum of Art
North Campus Drive, Provo, UT 84602-1400

Opening hours:
Monday – Thursday: 10am – 6pm
Friday: 10am – 9pm
Saturday: 10am – 4pm
Sunday: Closed

Brigham Young University Museum of Art website

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