Posts Tagged ‘american artist

22
Mar
17

Exhibition: ‘Edward Steichen: Twentieth-Century Photographer’ at deCordova Sculpture Park and Museum, Lincoln, MA

Exhibition dates: 7th October 2016 – 26th March 2017

 

Just for enjoyment.

Marcus

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Many thankx to the deCordova Sculpture Park and Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Edward Steichen (1879-1973) 'Self-Portrait with Studio Camera' 1917; printed 1982

 

Edward Steichen (1879-1973)
Self-Portrait with Studio Camera
1917; printed 1982
Silver gelatin print
13 1/8 x 10 5/8 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

Edward Steichen (1879-1973) 'Self-Portrait with Studio Camera' c. 1917

 

Edward Steichen (1879-1973)
Self-Portrait with Studio Camera
c. 1917
Gelatin silver print

 

Edward Steichen (1879-1973) 'Self-Portrait with photographers paraphenalia' 1929

 

Edward Steichen (1879-1973)
Self-Portrait with photographers paraphenalia
1929
Gelatin silver print

 

Installation view of 'Edward Steichen: Twentieth-Century Photographer' at the deCordova Sculpture Park and Museum

 

Installation view of Edward Steichen: Twentieth-Century Photographer at the deCordova Sculpture Park and Museum
Courtesy Photo/Clements Photography and Design, Boston
Creative Commons Wicked Local

 

 

DeCordova Sculpture Park and Museum is pleased to present the upcoming exhibition Edward Steichen: Twentieth-Century Photographer. Edward Steichen (1879-1973) is known for his role in expanding the breadth of twentieth-century photography through his memorable images and his work as a gallery director and museum curator. Steichen was a painter, horticulturalist, museum curator, graphic designer, publisher, and film director. He also served as a military photographer in both World Wars, and lived a life that embraced a century transformed by modernisation. On view in the James and Audrey Foster Galleries, the exhibition is drawn from deCordova’s permanent collection, and features important loans from private collectors and select institutions. The majority of photographs included in this show were made from Steichen’s original negatives and printed after his death in the 1980s by photographer George Tice. The exhibition also features a select number of vintage prints printed by Steichen in the 1910s and 1920s that reveal the lush interpretations he made with experimental printing techniques.

From his early Pictorialist images with their painterly quality, to his decades-long work as a commercial photographer for Condé Nast, Steichen explored the full range of the photographic medium. In his role as the Director of Photography at the Museum of Modern Art, New York, he often reproduced and integrated other photographers’ work into groundbreaking exhibitions that reflected his curatorial practice. The combined aspects of his career as a photographer and curator positioned Steichen to become a controversial yet prescient advocate for photography’s ability to record and amplify human observation, endeavour, and creativity.

The exhibition includes portraits of glamorous celebrities and socialites, still-life photographs of plants and flowers, dynamic cityscapes, and commercial advertisements. Also on view are Steichen’s portraits of fellow artists and writers that reveal his place among avant-garde cultural communities in New York and Europe. Edward Steichen also explores his work as the head of the Naval Aviation Photographic Unit in World War II, and traces his role at the Museum of Modern Art, NY where he curated over forty exhibitions. The aesthetic range of the images shows Steichen’s experimentation throughout his career with new techniques for lighting, composing, and printing photographs.

Edward Steichen continues deCordova’s longstanding commitment to the exhibition and collection of important photographic works. The exhibition opens to the public on October 7, 2016 and will be on view until March 26, 2017.

Press release from the deCordova Sculpture Park and Museum

 

Edward Steichen (1879-1973) 'Auguste Rodin and the Monument to Victor Hugo' 1902

 

Edward Steichen (1879-1973)
Auguste Rodin and the Monument to Victor Hugo
1902
Gum bichromate print

 

 

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

Text from the Metropolitan Museum website

 

Edward Steichen (1879-1973) 'J. Pierpont Morgan, Esq.' 1903

 

Edward Steichen (1879-1973)
J. Pierpont Morgan, Esq.
1903
Gum bichromate over platinum print

 

Edward Steichen (1879-1973) 'The Flatiron' 1904

 

Edward Steichen (1879-1973)
The Flatiron
1904
Gum bichromate over platinum print

 

 

While Steichen’s palette recalls Whistler’s Nocturne paintings and the foreground branch echoes those often found in the Japanese prints that were much in vogue in turn-of-the-century Paris, his subject is distinctly modern and American. The newly completed, twenty-two-story skyscraper soars so high above Madison Square in New York that it could not be contained within the photographer’s frame… Steichen’s three variant printings of The Flatiron, each in a different tonality, evoke successive moments of twilight and forcefully assert that photography can rival painting in scale, colour, individuality, and expressiveness.

Text from the Metropolitan Museum website

 

Edward Steichen (1879-1973) 'Lotus, Mount Kisco, New York' 1915; printed 1982

 

Edward Steichen (1879-1973)
Lotus, Mount Kisco, New York
1915; printed 1982
Silver gelatin print
13 1/4 x 10 1/2 inches (image and paper)
Gift of Diane Singer in honour of the marriage of Diane Singer to Eric Pearlman

 

Edward Steichen (1879-1973) Alfred 'Stieglitz' 1915; printed 1982

 

Edward Steichen (1879-1973)
Alfred Stieglitz
1915; printed 1982
Silver gelatin print
9 5/8 x 7 3/4 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

 

The most recognisable of these images involve celebrity. Artists – Constantin Brancusi, Eugene O’Neill – and actors Charlie Chaplin, Lillian Gish, Marlene Dietrich, the unforgettable Greta Garbo – all sat for Steichen, who strove for a discovery of the individual.

In black-and-white photography, composition, cast and shadow take prominence. Looming stage equipment behind a smiling Chaplin quietly recalls his movie roles. Garbo, clutching her “terrible hair,” wordlessly speaks volumes about her self- and public images. Carl Sandburg (Steichen’s brother-in-law) gazes poetically away from the camera. German author Gerhart Hauptmann stares directly into the camera under the starry firmament. The British dramaturge E. Gordon Craig poses foppishly in front of Notre-Dame cathedral in Paris.

Keith Powers. “DeCordova focuses on the varied career photographer Edward Steichen,” on The Metro West Daily News website

 

Edward Steichen (1879-1973) 'Brancusi, Voulangis, France' c. 1922; printed 1987

 

Edward Steichen (1879-1973)
Brancusi, Voulangis, France
c. 1922; printed 1987
Silver gelatin print
13 x 10 1/2 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

Edward Steichen (1879-1973) 'Carl Sandburg, Umpawaug, Connecticut' 1930

 

Edward Steichen (1879-1973)
Carl Sandburg, Umpawaug, Connecticut
1930
Gelatin silver print

 

 

Carl Sandburg (January 6, 1878 – July 22, 1967) was an American poet, writer, and editor who won three Pulitzer Prizes: two for his poetry and one for his biography of Abraham Lincoln. During his lifetime, Sandburg was widely regarded as “a major figure in contemporary literature”, especially for volumes of his collected verse, including Chicago Poems (1916), Cornhuskers (1918), and Smoke and Steel (1920). He enjoyed “unrivalled appeal as a poet in his day, perhaps because the breadth of his experiences connected him with so many strands of American life”, and at his death in 1967, President Lyndon B. Johnson observed that “Carl Sandburg was more than the voice of America, more than the poet of its strength and genius. He was America.”

Text from the Wikipedia website

 

Edward Steichen (1879-1973) 'Greta Garbo' 1929

 

Edward Steichen (1879-1973)
Greta Garbo
1929
Silver gelatin print

 

Edward Steichen (1879-1973) 'E. Gordon Craig, Paris' 1920, printed in 1987

 

Edward Steichen (1879-1973)
E. Gordon Craig, Paris
1920, printed in 1987
Gelatin silver print

 

 

Edward Henry Gordon Craig CH OBE (16 January 1872 – 29 July 1966), sometimes known as Gordon Craig, was an English modernist theatre practitioner; he worked as an actor, director and scenic designer, as well as developing an influential body of theoretical writings…

Craig’s idea of using neutral, mobile, non-representational screens as a staging device is probably his most famous scenographic concept. In 1910 Craig filed a patent which described in considerable technical detail a system of hinged and fixed flats that could be quickly arranged to cater for both internal and external scenes. He presented a set to William Butler Yeats for use at the Abbey Theatre in Ireland, who shared his symbolist aesthetic.

Craig’s second innovation was in stage lighting. Doing away with traditional footlights, Craig lit the stage from above, placing lights in the ceiling of the theatre. Colour and light also became central to Craig’s stage conceptualisations…

The third remarkable aspect of Craig’s experiments in theatrical form were his attempts to integrate design elements with his work with actors. His mise en scène sought to articulate the relationships in space between movement, sound, line, and colour. Craig promoted a theatre focused on the craft of the director – a theatre where action, words, colour and rhythm combine in dynamic dramatic form.

All of his life, Craig sought to capture “pure emotion” or “arrested development” in the plays on which he worked. Even during the years when he was not producing plays, Craig continued to make models, to conceive stage designs and to work on directorial plans that were never to reach performance. He believed that a director should approach a play with no preconceptions and he embraced this in his fading up from the minimum or blank canvas approach.

Text from the Wikipedia website

 

Edward Steichen (1879-1973) 'The Blue Sky, Long Island, New York' 1923; printed 1987

 

Edward Steichen (1879-1973)
The Blue Sky, Long Island, New York
1923; printed 1987
Silver gelatin print
9 1/2 x 7 1/4 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

 

DeCordova Sculpture Park and Museum
51 Sandy Pond Road in Lincoln, Massachusetts

Opening hours (Winter hours):
Wednesday – Friday, 10 am – 4 pm
Saturday – Sunday, 10 am – 5 pm

deCordova Sculpture Park and Museum website

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17
Feb
17

Exhibition: ‘Gay Gotham: Art and Underground Culture in New York’ at the Museum of the City of New York, New York City Part 2

Exhibition dates: 7th October 2016 – 26th February 2017

An exhibition showcasing Lesbian, Gay, Bisexual, Transgender, and Queer artistic life in New York City through the social networks of Leonard Bernstein, Mercedes de Acosta, Harmony Hammond,  Bill T. Jones, Lincoln Kirstein, Greer Lankton, George Platt Lynes,  Robert Mapplethorpe, Richard Bruce Nugent, and Andy Warhol.

Curators: Donald Albrecht, MCNY curator of architecture and design, and Stephen Vider, MCNY Mellon Postdoctoral Fellow.

 

 

Part two of this monster posting on the exhibition Gay Gotham: Art and Underground Culture in New York at the Museum of the City of New York.

Highlights include photographs by Carl Van Vechten; art work by and of Andy Warhol; a video of the “Panzy Craze” of the the 1920s and 1930s; a photograph of a very young and skinny Robert Mapplethorpe and some of his early art work; some wonderful subversiveness from Greer Lankton; two glorious photographs from one of my favourite artists, Peter Hujar; and a great selection of book covers and posters, including the ever so sensual, German Expressionist inspired Nocturnes for the King of Naples cover art by Mel Odom.

Marcus

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Many thank to the Museum of the City of New York for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

Themes

Printing

Foujita. "Helen Morgan Jr. And Jean Malin at the Smart Club Abbey," 'Vanity Fair' February 1931

 

Foujita
“Helen Morgan Jr. And Jean Malin at the Smart Club Abbey”
Vanity Fair
February 1931
Private collection

 

 

Léonard Tsuguharu Foujita (藤田 嗣治 Fujita Tsuguharu, November 27, 1886 – January 29, 1968) was a Japanese-French painter and printmaker born in Tokyo, Japan, who applied Japanese ink techniques to Western style paintings. He has been called “the most important Japanese artist working in the West during the 20th century”. His Book of Cats, published in New York by Covici Friede, 1930, with 20 etched plate drawings by Foujita, is one of the top 500 (in price) rare books ever sold, and is ranked by rare book dealers as “the most popular and desirable book on cats ever published”.

 

André Tellier. 'Twilight Men' (Greenberg, New York) 1931

 

André Tellier
Twilight Men (Greenberg, New York)
1931
Fales Library and Special Collections, New York University

 

 

First published in 1931, this is an extremely uncommon early novel set in New York City of homosexuality and a young man whose gay tendencies infuriates his father, who attempts to set him upon the “path of normality” by hiring a mistress to seduce him.

“Like many early gay novels, the book does not have a happy ending: the main character becomes addicted to drugs, murders his father, and kills himself. This theme (the gay monster or the gay degenerate) occurs very frequently before the 1960’s. Originally, this was the only way that a book with any kind of gay themes could even be published; that is, it was only palatable – or even legal – to feature a gay protagonist if that person “gets what’s coming to him” in the end.

The February 1934 issue of Chanticleer, a gay literary “magazine,” includes reviews by Henry Gerber of several novels, including Twilight Men. He wrote: “TWILIGHT MEN, by Andre Tellier, deals with a young Frenchman, who comes to America, is introduced into homosexual society in New York, becomes a drug addict for no obvious reason, finally kills his father and commits suicide. It is again excellent anti-homosexual propaganda, although the plot is too silly to convince anyone who has known homosexual people at all.”

Little has been written about the author, Andre Tellier, himself. He wrote other books, including A Woman of Paris, The Magnificent Sin, Vagabond April, and Witchfire; but nothing else is really known about him.” (Text from the Somewhere Books website)

 

Blair Niles. 'Strange Brother' (Horace Liveright, New York) 1931

 

Blair Niles
Strange Brother (Horace Liveright, New York)
1931
Fales Library and Special Collections, New York University

 

 

Strange Brother is a gay novel written by Blair Niles published in 1931. The story is about a platonic relationship between a heterosexual woman and a gay man and takes place in New York City in the late 1920s and early 1930s. Strange Brother provides an early and objective documentation of homosexual issues during the Harlem Renaissance.

Mark Thornton, the story’s protagonist, moves to New York City in hopes of feeling like less of an outsider. At a nightclub in Harlem he meets and befriends June Westbrook. One night they witness a man named Nelly being arrested. June encourages Mark to investigate. This leads Mark to attend Nelly’s trial, where he is found guilty and sentenced to six months’ imprisonment on Welfare Island for his feminine affections and gestures. Next Mark researches the crimes against nature sections of the penal code. Shaken up by his findings and the events, Mark confesses his own homosexuality to June.

Mark and June’s friendship continues to grow, and June introduces Mark to a number of friends in her social circle. Various social interactions ensue including a dinner party for a departing professor, a trip to a nightspot featuring a singer called Glory who sings Creole Love Call and attending a drag ball. Despite reading Walt Whitman’s poetry collection Leaves of Grass, Edward Carpenter’s series of papers Love’s Coming of Age, and Countee Cullen’s poetry, Mark is afraid to come out. Subsequently, Mark is threatened with being outed at work. In response to this threat, Mark commits suicide by shooting himself.

Text from the Wikipedia website

 

Ann Bannon. 'I Am a Woman' (Gold Medal Books, New York) 1959

 

Ann Bannon
I Am a Woman (Gold Medal Books, New York)
1959
Private collection

 

 

The classic 1950s novel from the Queen of Lesbian Pulp. “For contemporary readers the books offer a valuable record of gay and lesbian life in the 1950s. Most are set in Greenwich Village, and Ms. Bannon’s descriptions of bars, clubs and apartment parties vividly evoke a vanished community. Her characters also have historical value. Whereas most lesbians in pulp are stereotypes who get punished for their desires, Beebo and her friends are accessibly human. Their struggles with love and relationships are engrossing today, and half a century ago they were revolutionary.” ~ New York Times “Sex. Sleeze. Depravity. Oh, the twisted passions of the twilight world of lesbian pulp fiction.” ~ Chicago Free Press “Little did Bannon know that her stories would become legends, inspiring countless fledgling dykes to flock to the Village, dog-eared copies of her books in hand, to find their own Beebos and Lauras and others who shared the love they dared not name.” ~ San Francisco Bay Guardian “Ann Bannon is a pioneer of dyke drama.” ~ On Our Backs “When I was young, Bannon’s books let me imagine myself into her New York City neighborhoods of short-haired, dark-eyed butch women and stubborn, tight-lipped secretaries with hearts ready to be broken. I would have dated Beebo, no question.” ~ Dorothy Allison “Bannon’s books grab you and don’t let go.”  ~ Village Voice

 

'The Young Physique' October/November 1964

 

The Young Physique
October/November 1964
Collection of Kelly McKaig

 

 

'Muscleboy' March/April 1965

 

Muscleboy
March/April 1965
Collection of Kelly McKaig

 

Design by Gran Fury for Art Against AIDS/On The Road and Creative Time, Inc. 'Kissing Doesn't Kill: Greed and Indifference Do' 1989

 

Design by Gran Fury for Art Against AIDS/On The Road and Creative Time, Inc.
Kissing Doesn’t Kill: Greed and Indifference Do
1989
Bus poster
Gran Fury, Courtesy The New York Public Library Manuscripts and Archives Division

 

Placemaking: Cruising

Anonymous photographer. 'New York City street photograph' 1960s

 

Anonymous photographer
New York City street photograph
1960s
Collection of Philip Aarons and Shelley Fox Aarons, New York

 

Leonard Fink. 'Charley Inside Ramrod' c. 1976

 

Leonard Fink
Charley Inside Ramrod
c. 1976
Courtesy LGBT Community Center National History Archive

 

 

THE RAMROD, 394 West Street, (between Charles and West 10th Streets). Constructed in the 1850’s this building (actually two, that were attached) housed S. J. Seely & Co., a lime dealer, and C. August, (on the corner) a porter house, and private residence. In the late 70’s it was one of the most popular leather bars in New York. Attracting a large motorcycle clientele, West Street always had a plethora of bikes parked out front. The doorman, Rico, had a long black bushy beard, and an ever present black cowboy hat, also he wore on his hand a glove with sharp stainless steel blades attached to it, (sort of a precursor to Freddie Kruger). The bar, and Rico could be very intimidating, if you were new, or “Brown” as the uninitiated were called… referring to the brown leather they wore.

Greenwich Village: A Gay History

 

In June 1993, the Estate of Leonard Fink donated a photographic collection to The Center in New York City through its executor, Steven E. Bing. The materials in the Fink Estate was willed to four AIDS related organisations who gave all of the rights to the photos to the Center Archive. Some of these were signed “Len Elliot,” which might have ben a pseudonym of Fink’s. The collection consists of over 25,000 negatives and images capturing Greenwich Village and much of the spirit of the late 60s and 70s. Some of the most well known images in the collection are Fink’s work at “The Piers” along the Hudson River. Fink documented over 25 years of gay life in New York City but his photography was never exhibited or published in his lifetime. He was self taught and used an old 35mm camera while working out of a homemade darkroom in his West 92nd Street apartment.

Text from the Gay Cities website

 

Leonard Fink was an amateur photographer who documented over 25 years of gay life in New York including parades, bars, and especially the west side piers. He worked in complete obscurity and was apparently very reclusive. His photographs were seen by only a few close friends and were never exhibited or published in his lifetime. He seems to have taught himself photography using an old 35mm camera and a homemade darkroom in his small apartment on West 92nd street. He lived frugally, spending much of his income on photographic supplies which he bought in bulk and stored in his darkroom and his bedroom. He stored the prints and negatives in a file cabinet. By the time of his death, the photos in the file cabinet covered a period from 1954 to 1992. His photographs of gay life begin with groups of gay men photographed in Greenwich Village in 1967. His photographs of Gay Pride parades begin with the first parade in 1970. His earlier photographs are of friends, trips to Europe, and scenes in New York. Leonard Fink was a colourful and ubiquitous character in the Village and at Pride parades, usually appearing on roller skates in short cut-offs, and a tight t-shirt with cameras always around his neck. He sometimes arrived on a bicycle or a motorcycle. He was born in 1930. His father and older brother were both physicians. He worked for many years as an attorney for the New York Transit Authority. He died of AIDS in 1993.

Text from The Center website

 

Posing

 

James VanDerZee. 'Beau of the Ball' 1926

 

James VanDerZee
Beau of the Ball
1926
Gelatin silver print
Donna Mussenden VanDerZee

 

 

James Van Der Zee (June 29, 1886 – May 15, 1983) was an African-American photographer best known for his portraits of black New Yorkers. He was a leading figure in the Harlem Renaissance. Aside from the artistic merits of his work, Van Der Zee produced the most comprehensive documentation of the period. Among his most famous subjects during this time were Marcus Garvey, Bill “Bojangles” Robinson and Countee Cullen…

Van Der Zee worked predominantly in the studio and used a variety of props, including architectural elements, backdrops, and costumes, to achieve stylized tableaux vivant in keeping with late Victorian and Edwardian visual traditions. Sitters often copied celebrities of the 1920s and 1930s in their poses and expressions, and he retouched negatives and prints heavily to achieve an aura of glamour…

Works by Van Der Zee are artistic as well as technically proficient. His work was in high demand, in part due to his experimentation and skill in double exposures and in retouching negatives of children. One theme that recurs in his photographs was the emergent black middle class, which he captured using traditional techniques in often idealistic images. Negatives were retouched to show glamor and an aura of perfection. This affected the likeness of the person photographed, but he felt each photo should transcend the subject. His carefully posed family portraits reveal that the family unit was an important aspect of Van Der Zee’s life. “I tried to see that every picture was better-looking than the person.” “I had one woman come to me and say ‘Mr.Van Der Zee my friends tell thats a nice picture, But it doesn’t look like you.’ That was my style.” Said Van Der Zee.

Text from the Wikipedia website

 

Carl Van Vechten. 'Anna May Wong' 1932

 

Carl Van Vechten
Anna May Wong
1932
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Little known today, Carl Van Vechten was a prolific novelist, critic, photographer, and promoter of all things modern, most actively engaged in the city’s cultural life during the 1920s and ’30s. The City Museum is rich in Van Vechten materials; its collections include about 2,200 photographs taken by him and 3,000 Christmas cards sent to him and his wife, film and theater actress Fania Marinoff. Taken together, they chronicle Van Vechten’s influential circles of friends and colleagues – a hybrid mash-up that defines the modern America at the heart of White’s new book. Images and correspondence in the City Museum’s collection range from Harlem Renaissance poet Langston Hughes to writer Zelda Fitzgerald (wife of F. Scott), and playwright Eugene O’Neill.

Around 1920 Van Vechten gave up journalism for fiction and over the next decade wrote hotly debated novels about Jazz Age Manhattan. His 1923 book The Blind Bow-Boy, for example, is a classic of gay camp and a public expression of Van Vechten’s sexual orientation; while he and Marinoff were married from 1914 until Van Vechten’s death in 1964, he had numerous homosexual relationships… Van Vechten’s role in the Harlem Renaissance remains a controversial topic. To some he’s a valuable bridge between white and black New Yorkers, to others he’s an outsider who patronised and exploited his African-American subjects…

Carl Van Vechten abandoned writing altogether in the early 1930s and embraced photography, a field he would pursue until his death. All told, it is estimated that Van Vechten took some 15,000 photographs. Because his inherited wealth offered him financial independence, Van Vechten took pictures for his own pleasure, usually inviting local and visiting celebrities to a studio he set up in his own apartment. While Van Vechten was aware of the stylistic artifice of such contemporary commercial photographers as Edward Steichen and Cecil Beaton, he stood apart from them. He used a small-format camera, and his aesthetic, which included deep and dramatic shadows that sometimes obscured his subjects’ faces, resulted in picture-making that was far more immediate and spontaneous than that of his contemporaries. Using this technique, Van Vechten photographed musicians Billie Holiday and George Gershwin, Hollywood actors Laurence Olivier and Anna May Wong, and writers Sinclair Lewis and Clifford Odets, to name only a few. The sum of Van Vechten’s work, according to photography historian Keith F. Davis, “constitutes the single most integrated vision of American arts and letters produced in his era.”

Donald Albrecht. “Carl Van Vechten and Modern New York,” on the Museum of the City of New York website

 

Anna May Wong (January 3, 1905 – February 3, 1961) was an American actress. She is considered to be the first Chinese American movie star, and also the first Asian American actress to gain international recognition. Her long and varied career spanned silent film, sound film, television, stage and radio…

Wong’s image and career have left a legacy. Through her films, public appearances and prominent magazine features, she helped to humanise Asian Americans to white audiences during a period of overt racism and discrimination. Asian Americans, especially the Chinese, had been viewed as perpetually foreign in U.S. society but Wong’s films and public image established her as an Asian-American citizen at a time when laws discriminated against Asian immigration and citizenship. Wong’s hybrid image dispelled contemporary notions that the East and West were inherently different.

See an excellent short biography on the Wikipedia website

 

Carl Van Vechten. 'Hugh Laing' 1941

 

Carl Van Vechten
Hugh Laing
1941
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Hugh Laing (6 June 1911 – 10 May 1988) was one of the most significant dramatic ballet dancers of the 20th-century. He was the partner of choreographer Antony Tudor. Known for his good looks and the intensity of his stage presence, Laing was never considered a great technician, yet his powers of characterisation and his sense of theatrical timing were considered remarkable. His profile as a significant dancer of his era was almost certainly enhanced by Tudor’s choreographing to his undoubted strengths and Laing is generally regarded as one of the finest dramatic dancers of 20th-century ballet. He remained Tudor’s artistic collaborator and companion until the choreographer’s death in 1987.

 

Carl Van Vechten. 'Alvin Ailey' 1955

 

Carl Van Vechten
Alvin Ailey
1955
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Alvin Ailey (January 5, 1931 – December 1, 1989) was an African-American choreographer and activist who founded the Alvin Ailey American Dance Theater in New York City. He is credited with popularizing modern dance and revolutionizing African-American participation in 20th-century concert dance. His company gained the nickname “Cultural Ambassador to the World” because of its extensive international touring. Ailey’s choreographic masterpiece Revelations is believed to be the best known and most often seen modern dance performance…

Ailey made use of any combination of dance techniques that best suited the theatrical moment. Valuing eclecticism, he created more a dance style than a technique. He said that what he wanted from a dancer was a long, unbroken leg line and deftly articulated legs and feet (“a ballet bottom”) combined with a dramatically expressive upper torso (“a modern top”). “What I like is the line and technical range that classical ballet gives to the body. But I still want to project to the audience the expressiveness that only modern dance offers, especially for the inner kinds of things.”

Ailey’s dancers came to his company with training from a variety of other schools, from ballet to modern and jazz and later hip-hop. He was unique in that he did not train his dancers in a specific technique before they performed his choreography. He approached his dancers more in the manner of a jazz conductor, requiring them to infuse his choreography with a personal style that best suited their individual talents. This openness to input from dancers heralded a paradigm shift that brought concert dance into harmony with other forms of African-American expression, including big band jazz.

Text from the Wikipedia website

 

Larry Rivers. 'O'Hara Nude With Boots' 1954

 

Larry Rivers
O’Hara Nude With Boots
1954
Oil on canvas
Collection of the Larry Rivers Foundation

 

 

“Among Rivers’ portraits of the mid-1950s, the most notable and controversial work for a discussion of the relationship among autobiography, sexuality, and art is O’Hara, which he painted during January 1954 as he re-entered an emotional relationship with the sitter. According to [poet Frank] O’Hara’s biographer, Brad Gooch, Rivers and O’Hara had a relatively short, turbulent romance that began in 1952m but during 1953 the two men became involved in other romantic relationships…. Beginning in 1954, however, Rivers and O’Hara resumed their intimate relationship, which then lasted less than a year…

A nude of a contemporary figure on such a huge scale as O’Hara appeared unusual and even controversial in the 1950s New York art world. Rivers recalled that when the painting was first shown at the Whitney Annual in 1955, a guard often stood in front of it to ensure that the painting would not be defaced or damaged: “There was something about the male nude that seemed to be more of a problem than the female nude.” Some contemporary viewers where shocked by O’Hara, given its depiction of a naked male body with meticulous attention to the genitals.”

Dong-Yeon Koh. Larry Rivers and Frank O’Hara: Reframing Male Sexualities Phd dissertation 2006, pp. 196-198.

 

Beauford Delaney. 'James Baldwin' c. 1957

 

Beauford Delaney
James Baldwin
c. 1957
Oil on canvasboard
Halley K. Harrisburg and Michael Rosenfeld, New York

 

 

Beauford Delaney (December 30, 1901 – March 26, 1979) was an American modernist painter. He is remembered for his work with the Harlem Renaissance in the 1930s and 1940s, as well as his later works in abstract expressionism following his move to Paris in the 1950s.

In his Introduction to the Exhibition of Beauford Delaney opening December 4, 1964 at the Gallery Lambert, James Baldwin wrote, “the darkness of Beauford’s beginnings, in Tennessee, many years ago, was a black-blue midnight indeed, opaque and full of sorrow. And I do not know, nor will any of us ever really know, what kind of strength it was that enabled him to make so dogged and splendid a journey.”

 

James Arthur Baldwin (August 2, 1924 – December 1, 1987) was an American novelist, essayist, playwright, poet, and social critic. His essays, as collected in Notes of a Native Son (1955), explore palpable yet unspoken intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-20th-century America, and their inevitable if unnameable tensions. Some Baldwin essays are book-length, for instance The Fire Next Time (1963), No Name in the Street (1972), and The Devil Finds Work (1976).

Baldwin’s novels and plays fictionalise fundamental personal questions and dilemmas amid complex social and psychological pressures thwarting the equitable integration not only of black people, but also of gay and bisexual men, while depicting some internalised obstacles to such individuals’ quests for acceptance. Such dynamics are prominent in Baldwin’s second novel, Giovanni’s Room, written in 1956, well before the gay liberation movement.

Text from the Wikipedia website

 

Performing

 

 

New York’s queer cultures gained remarkable visibility on the city’s stages in the 1920 and 1930s. Broadway producers and nightclub owners put on plays and acts exploring gay and lesbian themes. They launched a popular “Panzy Craze,” where minorities where accepted. This period lasted until the mid-1930s when morals and ethics changed because of right-wing pressure. The film code was then in full force to protect society’s “morals” and there was, once more, open hostility towards minorities that latest into the 1970s.

With permission of the Museum of the City of New York for Art Blart

The Museum of the City of New York
Film compiliation
Produced by Cramersound

 

Max Ewing. 'Gallery of Extraordinary Portraits' 1928

 

Max Ewing
Gallery of Extraordinary Portraits
1928
Courtesy Yale University, Beinecke Rare Books and Manuscripts Library

 

 

Max Ewing’s Gallery of Extraordinary Portraits encapsulates the exhibition’s wider exploration of queer communities in 20th-century New York. Ewing was a novelist, composer, pianist, and sculptor who created this gallery in the walk-in closet of his Manhattan studio apartment on West 31st Street. His semi-public closet exhibition paid homage to interracial, gay, and artistic communities with images of friends and celebrities plastered floor to ceiling, corner to corner.

 

Sterling Paige. 'Gladys Bentley at the Ubangi Club in Harlem' early 1930s

 

Sterling Paige
Gladys Bentley at the Ubangi Club in Harlem
early 1930s
Gelatin silver print
Courtesy of the Visual Studies Workshop, Rochester, NY

 

 

1960-1995

Portraits

Andy Warhol

 

Andy Warhol. 'Studies for a Boy Book' exhibition announcement for Bodley Gallery c. 1956

 

Andy Warhol
Studies for a Boy Book exhibition announcement for Bodley Gallery
c. 1956
Offset lithograph Susan Sheehan Gallery, New York

 

Andy Warhol. 'Gee, Merrie Shoes' 1956

 

Andy Warhol
Gee, Merrie Shoes
1956
Hand colored offset lithograph
Susan Sheehan Gallery, New York

 

Andy Warhol. 'Cecil Beaton's Feet' 1961

 

Andy Warhol
Cecil Beaton’s Feet
1961
Black ink on buff wove paper
Philadephia Museum of Art
The Henry P. Mcllhenny Collection in memory of Frances P. Mcllhenny, 1986

 

Cecil Beaton. 'Andy Warhol and Candy Darling, New York' 1969

 

Cecil Beaton
Andy Warhol and Candy Darling, New York
1969
Gelatin silver print
© The Cecil Beaton Studio Archive at Sotheby’s

 

Candy Darling (November 24, 1944 – March 21, 1974) was an American transgender actress, best known as a Warhol Superstar. She starred in Andy Warhol’s films Flesh (1968) and Women in Revolt (1971), and was a muse of the protopunk band The Velvet Underground.

 

 

 

 

Harmony Hammond

 

Liberation News Service #624 July 3, 1974

 

Liberation News Service #624, featuring Harmony Hammond, right, with daughter, Tanya, at the Christopher Street Liberation Day Gay Pride March, photograph by Cidne Hart for Liberation News Service, July 3, 1974
Private collection

 

Harmony Hammond. 'An Oval Braid' 1972

 

Harmony Hammond
An Oval Braid
1972
Charcoal on paper
Courtesy the artist and Alexander Gray Associates, New York

 

Harmony Hammond. 'Fan Lady meets Cactus Lady' 1981

 

Harmony Hammond
Fan Lady meets Cactus Lady
1981
Lithograph
Courtesy the artist and Alexander Gray Associates, New York

 

 

Robert Mapplethorpe

 

Judy Linn. 'Robert Gets Dressed at the Chelsea, #3' 1970

 

Judy Linn
Robert Gets Dressed at the Chelsea, #3
1970
Modern digital print
Courtesy the Artist and Susanne Hilberry Gallery

 

'Gay Power', Volume 1, No 16, April 15, 1970

 

Gay Power, Volume 1, No 16, April 15, 1970
Alternative Press Collection, Archives & Special Collections at the Thomas J. Dodd Research Center, University of Connecticut Libraries

 

Robert Mapplethorpe. 'Light Gallery invitation' 1973

 

Robert Mapplethorpe
Light Gallery invitation
1973
Getty Research Institute, Los Angeles California

 

Ultra Violet modeling Mapplethorpe-designed jewelry, c. 1975

 

Ultra Violet modeling Mapplethorpe-designed jewelry
c. 1975
Gift of the Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art

 

 

Isabelle Collin Dufresne (stage name Ultra Violet; 6 September 1935 – 14 June 2014) was a French-American artist, author, and both a colleague of Andy Warhol and one of the pop artist’s so-called superstars. Earlier in her career, she worked for and studied with surrealist artist Salvador Dalí. Dufresne lived and worked in New York City, and also had a studio in Nice, France…

In 1954, after a meeting with Salvador Dalí, she became his “muse”, pupil, studio assistant, and lover in both Port Lligat, Spain, and in New York City. Later, she would recall, “I realized that I was ‘surreal’, which I never knew until I met Dalí”. In the 1960s, Dufresne began to follow the progressive American Pop Art scene including Jasper Johns, Robert Rauschenberg and James Rosenquist.

In 1963, Dalí introduced Dufresne to Andy Warhol, and soon she moved into the orbit of his unorthodox studio, “The Factory”. In 1964 she selected the stage name “Ultra Violet” at Warhol’s suggestion, because it was her preferred fashion – her hair color at the time was often violet or lilac. She became one of many “superstars” in Warhol’s Factory, and played multiple roles in over a dozen films between 1965 and 1974…

In the 1980s, she gradually drifted away from the Factory scene, taking a lower profile and working independently on her own art. In her autobiography, published the year after Warhol’s unexpected demise in 1987, she chronicled the activities of many Warhol superstars, including several untimely deaths during and after the Factory years…

In 1990 she opened a studio in Nice and wrote another book detailing her own ideas about art, L’Ultratique. She lived and worked as an artist in New York City, and also maintained a studio in Nice for the rest of her life.

Text from the Wikipedia website

 

Valerie Santagto. 'Robert Mapplethorpe, front, and Jay Johnson in Mapplethorpe designed jewelry' c. 1970-75

 

Valerie Santagto
Robert Mapplethorpe, front, and Jay Johnson in Mapplethorpe designed jewelry
c. 1970-75
Gift of the Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art

 

Robert Mapplethorpe (American, 1946-1989) 'Jim, Sausalito' 1977

 

Robert Mapplethorpe
X Portfolio with Jim, Sausalito
1978
Black silk clamshell case with gelatin silver print photographs mounted on pure rag board
Designed by John Cheim
Courtesy Yoshi Gallery, New York and Cheim & Read, New York

 

 

Greer Lankton

 

Einsteins installation designed by Paul Monroe for Gay Gotham, 2016

 

Einsteins installation designed by Paul Monroe for Gay Gotham, 2016
Courtesy of Greer Lankton Archives Museum

Greer Lankton
Mini-Einsteins
1987
Cardboard, glass, paint, styrofoam board

Andy Warhol
1990
Fabric, wire, glass, human hair

Teri Toye
1988
Fabric, wire, glass, human hair

Siamese Twins
1988
Paper, wire, fabric

 

Greer Lankton (dolls and photo) 'Einsteins "Circus" window display by Greer Lankton and Paul Monroe' 1986

 

Greer Lankton (dolls and photo)
Einsteins “Circus” window display by Greer Lankton and Paul Monroe
1986
Courtesy Paul Monroe for Greer Lankton Archives Museum

 

 

Greer Lankton (1958 – November 18, 1996) was an American artist known for creating lifelike, sewn dolls that were often modelled on friends and celebrities and posed in elaborate theatrical settings. She was a key figure in the East Village art scene of the 1980s in New York.

Gender and sexuality are recurring themes in Lankton’s art. Her dolls are created in the likeness of those society calls “freaks”, and have often been compared to the surrealist works of Hans Bellmer, who made surreal dolls with interchangeable limbs. She created figures that were simultaneously distressing and glamorous, as if they were both victim and perpetrator of their existence.

In 1981 Lankton was featured in the seminal “New York/New Wave” exhibition at P.S.1 in Long Island City, and began to show her work in the East Village at Civilian Warfare. She gained an almost cult following among East Village residents from her highly theatrical window displays she designed for Einstein’s, the boutique that was run by her husband, Paul Monroe, at 96 East Seventh Street. Besides her more emotionally charged dolls, Lankton also created commissioned portrait dolls. These include a 1989 doll of Diana Vreeland that was commissioned for a window display at Barney’s as well as shrines to her icons, such as Candy Darling.

Critic Roberta Smith described her works in the New York Times as: “Beautifully sewn, with extravagant clothes, make-up and hairstyles, they were at once glamorous and grotesque and exuded intense, Expressionistic personalities that reminded some observers of Egon Schiele. They presaged many of the concerns of 90’s art, including the emphasis on the body, sexuality, fashion and, in their resemblance to puppets, performance.” 

Photographer Nan Goldin said of her work, “Greer was one of the pioneers who blurred the line between folk art and fine art.” She had spots in the prestigious Whitney Biennial and the Venice Biennale, both in 1995, where her busts of Candy Darling, circus fat ladies, and dismembered heads gained her notoriety…

Greer was friends with photographer Nan Goldin, and lived in her apartment in the early 80’s, often posing for her. She also played muse to photographers like David Wojnarowicz and Peter Hujar.

Text from the Wikipedia website

 

“Writing about the wax dolls of German artist Lotte Pritzel (to whom Lankton’s own work bears a strong family resemblance), Rainer Maria Rilke noted: “With the doll we had to assert ourselves, because if we surrendered to it there was nobody there. It made no response, so we got into the habit of doing things for it, splitting our own slowly expanding nature into opposing parts and to some extent using the doll to establish distance between ourselves and the amorphous world pouring into us” [“Dolls: On the Wax Dolls of Lotte Pritzel,” tr. Idris Parry]. This relationship imbues the doll with its “soul,” Rilke writes, arguing that it is the extremity of this attachment that leads us to both desire and reject the doll. Unalterable strangeness: Lankton’s own work is plotted along the rejection-desire axis, granting the work a peculiar levity that hovers between fearsome and friendly…

Lankton’s art is both realistic and unrealistic, a difficult balance that is not unlike Candy Darling’s work as an actor, which often operated at the juncture between self-conscious play and unanticipated reality to evoke, again, unalterable strangeness. Following Douglas Crimp’s description of the superstar as someone whose “self … recognizes otherness already there in itself [and] performs its own self-alienation” [Our Kind of Movie: The Films of Andy Warhol, Cambridge: MIT Press, 2012], Lankton likewise performs the double work of representing bodies (hers and others) while asserting their alienation. Darling rehearsed and played herself in order to be someone else. It might be said that Lankton rehearsed and played others in order to be herself.”

Extract from “Unalterable Strangeness: Andrew Durbin and Paul Monroe on Greer Lankton,” on the Flash Art website, March – April 2015

 

Paul Monroe. 'Chanel No. 5 earrings' 1985

 

Paul Monroe
Chanel No. 5 earrings
1985
Glass (actual miniature Chanel products filled with No. 5), 14k gold wire and glass pearls

Candelabra ring
1986
Metal, chain, glass jewels and wax

Paul Monroe and Greer Lankton
Teri Toye necklace
1985
Clay, acrylic paint, gold metal chain and rhinestones

Einsteins promotional cards 1986-1992
Einsteins business card, 1985

 

Nan Goldin. 'Greer Lankton and Paul Monroe wedding' 1987

 

Nan Goldin
Greer Lankton and Paul Monroe wedding
1987
Greer Lankton Archives Museum

 

 

Bill T. Jones

 

Lois Greenfield. 'Bill T. Jones and Arnie Zane' 1982

 

Lois Greenfield
Bill T. Jones and Arnie Zane
1982
Modern print Courtesy Lois Greenfield Studio

 

Robert Mapplethorpe. 'Studio Portrait (Bill T. Jones and Arnie Zane)' 1986

 

Robert Mapplethorpe
Studio Portrait (Bill T. Jones and Arnie Zane)
1986
Private Collection of Bill T. Jones

 

Tseng Kwong Chi. 'Bill T. Jones Body Painting with Keith Haring' 1983

 

Tseng Kwong Chi
Bill T. Jones Body Painting with Keith Haring
1983
Silver gelatin selenium-toned print
© Muna Tseng Dance Projects, Inc., New York. Body Drawing on Bill T. Jones by Keith Haring
© 1983 Keith Haring Foundation

 

Huck Snyder. Small mask from 'Last Supper at Uncle Tom's Cabin' 1990

 

Huck Snyder
Small mask from Last Supper at Uncle Tom’s Cabin
1990
Painted cardboard and fabric
New York Live Arts

 

 

Huck Snyder was a visual artist and a designer of vivid stage settings for dancers and performance artists. He created sets and stage furniture that were surrealistic yet extremely simple and almost childlike at times. Imaginative and free in their execution and unmistakably his work, his sets often seemed inseparable from the vision of the performers with whom he worked. Huck had designed stage sets for the performance artist John Kelly beginning with sets for Diary of a Somnambulist in 1985…

Mr. Snyder also created sets for dances by Bill T. Jones and Bart Cook, and for theater pieces by Ishmael Houston-Jones. He conceived, directed and designed his own work “Circus,” a performance-art piece presented in 1987 at La Mama E.T.C. Mr. Snyder’s work has been displayed at the Lincoln Center for the Performing Arts, the Brooklyn Academy of Music and the Dance Theater Workshop in New York. His paintings and installations have been exhibited at galleries throughout the United States and in solo and group shows in Europe and Japan.

Text from the Visual AIDS website

 

 

Themes

Downtown

 

'Shazork! invitation, Danceteria' late 1980s

 

Downtown invitations
Shazork! invitation, Danceteria
Late 1980s
Museum of the City of New York, Gift of Carrie Goteiner and Miriam Montaug Ashkenazy in memory of Haoui Montaug

 

Peter Hujar. 'Quentin Crisp' 1982

 

Peter Hujar
Quentin Crisp
1982
Vintage gelatin silver print
© The Peter Hujar Archive; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Quentin Crisp was born Denis Charles Pratt in Surrey, England, on December 25, 1908. A self-described flamboyant homosexual, Crisp changed his name in his early 20s as part of his process of reinvention. Teased mercilessly at school as a boy, Crisp left school in 1926. He studied journalism at King’s College London, but failed to graduate. He then moved on to take art classes at Regent Street Polytechnic. Crisp began visiting the cafés of Soho, London, and even worked as a prostitute for six months. Crisp was always true to himself and expressed himself by dying his long hair lavender, polishing his fingernails and toenails, and dressing in an often androgynous style. Despite the ridicule and violence often directed toward him, Crisp carried on. He tried to join the army with the outbreak of World War II, but was rejected by the medical board, who determined that he was suffering from sexual perversion. Instead, Crisp remained in London during the Blitz, entertaining American GIs, whose friendliness inculcated a love for Americans.

Crisp held a number of jobs, including engineer’s tracer, life model, and author. His most famous work, The Naked Civil Servant, detailed his life in a homophobic British society. When the book was adapted for television, Crisp began a new career as a performer and lecturer. He moved to Manhattan in 1981, when he was 72 years old; settling in a studio apartment in the Bowery. Upon meeting and spending time with Crisp, Sting was inspired to pen his hit song, “An Englishman in New York.”

Crisp continued to tour, write, and lecture; including instructions on how to live life with style and the importance of manners. Crisp landed a few roles on American television and the 1990s became his busiest decade as an actor. In 1992, Crisp took on the role of Elizabeth I in the film Orlando.

Quentin Crisp died in November 1999, just shy of his 91st birthday, while touring his one-man show.

Text from the Biography website

 

Peter Hujar. 'Susan Sontag' 1975, printed 2014

 

Peter Hujar
Susan Sontag
1975, printed 2014
Pigmented ink print
© The Peter Hujar Archive; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Peter Hujar (born 1934) died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. He was a consummate technician, and his portraits of people, animals, and landscapes, with their exquisite black-and-white tonalities, were extremely influential. Highly emotional yet stripped of excess, Hujar’s photographs are always beautiful, although rarely in a conventional way. His extraordinary first book, Portraits in Life and Death, with an introduction by Susan Sontag, was published in 1976, but his “difficult” personality and refusal to pander to the marketplace insured that it was his last publication during his lifetime.

Text from the Peter Hujar Archive website

 

Susan Sontag (January 16, 1933 – December 28, 2004) was an American writer, filmmaker, teacher, and political activist. She published her first major work, the essay “Notes on ‘Camp'”, in 1964. Her best-known works include On Photography, Against Interpretation, Styles of Radical Will, The Way We Live Now, Illness as Metaphor, Regarding the Pain of Others, The Volcano Lover, and In America.

Sontag was active in writing and speaking about, or travelling to, areas of conflict, including during the Vietnam War and the Siege of Sarajevo. She wrote extensively about photography, culture and media, AIDS and illness, human rights, and communism and leftist ideology. Although her essays and speeches sometimes drew controversy, she has been described as “one of the most influential critics of her generation.” …

It was through her essays that Sontag gained early fame and notoriety. Sontag wrote frequently about the intersection of high and low art and expanded the dichotomy concept of form and art in every medium. She elevated camp to the status of recognition with her widely read 1964 essay “Notes on ‘Camp’,” which accepted art as including common, absurd and burlesque themes.

In 1977, Sontag published the series of essays On Photography. These essays are an exploration of photographs as a collection of the world, mainly by travelers or tourists, and the way we experience it… She became a role-model for many feminists and aspiring female writers during the 1960s and 1970s.

Text from the Wikipedia website

 

 

Printing

 

Liza Cowan (designer) 'DYKE, A Quarterly' c. 1974

 

Liza Cowan (designer)
DYKE, A Quarterly
c. 1974
Flyer
Courtesy Liza Cowan and Penny House

 

'DYKE, A Quarterly Call for poster design flyer' 1976

 

DYKE, A Quarterly Call for poster design flyer
1976
Illustration by Liza Cowan Penny House

 

'Christopher Street' September 1977

 

Christopher Street
September 1977
Private collection

 

'Christopher Street' June 1978

 

Christopher Street
June 1978
Private collection

 

Edmund White. 'Nocturnes for the King of Naples' Paperback edition with cover art by Mel Odom, 1980

 

Edmund White
Nocturnes for the King of Naples
Paperback edition with cover art by Mel Odom, 1980 (originally published 1978)
Private collection

 

'New York Magazine' June 20, 1994

 

New York Magazine
June 20, 1994
1994
Courtesy New York Magazine

 

 

Posing

 

Eva Weiss. 'From left, Lois Weaver, Peggy Shaw, and Deb Margolin performing as Split Britches in 'Upwardly Mobile Home'' 1984

 

Eva Weiss
From left, Lois Weaver, Peggy Shaw, and Deb Margolin performing as Split Britches in ‘Upwardly Mobile Home’
1984
Contemporary archival print
Courtesy Eva Weiss Photography

 

Alice O'Malley. 'Melanie Hope, Clit Club' c. 1992

 

Alice O’Malley
Melanie Hope, Clit Club
c. 1992
Vintage gelatin silver print
Alice O’Malley Photography

 

Tseng Kwong Chi. 'New York, NY (Statue of Liberty)' 1979

 

Tseng Kwong Chi
New York, NY (Statue of Liberty)
1979
Gelatin silver print
Muna Tseng Dance Projects Inc.

 

 

Tseng Kwong Chi, known as Joseph Tseng prior to his professional career (Chinese: 曾廣智; c. 1950 – March 10, 1990), was a Hong Kong-born American photographer who was active in the East Village art scene in the 1980s.

Tseng was part of an circle of artists in the 1980s New York art scene including Keith Haring, Kenny Scharf, and Cindy Sherman. Tseng’s most famous body of work is his self-portrait series, East Meets West, also called the “Expeditionary Series”. In the series, Tseng dressed in what he called his “Mao suit” and sunglasses (dubbed a “wickedly surrealistic persona” by the New York Times), and photographed himself situated, often emotionlessly, in front of iconic tourist sites. These included the Statue of Liberty, Cape Canaveral, Disney Land, Notre Dame de Paris, and the World Trade Center. Tseng also took tens of thousands of photographs of New York graffiti artist Keith Haring throughout the 1980s working on murals, installations and the subway. In 1984, his photographs were shown with Haring’s work at the opening of the Semaphore Gallery’s East Village location in a show titled “Art in Transit”. Tseng photographed the first Concorde landing at Kennedy International Airport, from the tarmac. According to his sister, Tseng drew artistic influence from Brassai and Cartier-Bresson.

Text from the Wikipedia website

 

Chantal Regnault. 'From left, Whitney Elite, Ira Ebony, Stewart and Chris LaBeija, Ian and Jamal Adonis, Ronald Revlon, House of Jourdan Ball, New Jersey' 1989

 

Chantal Regnault
From left, Whitney Elite, Ira Ebony, Stewart and Chris LaBeija, Ian and Jamal Adonis, Ronald Revlon, House of Jourdan Ball, New Jersey
1989
Gelatin silver print
© Chantal Regnault

 

 

Museum of the City of New York
1220 Fifth Ave at 103rd St.,

Opening hours:
Open Daily 10am – 6pm

Museum of the City of New York website

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25
Jan
17

Exhibition: ‘Surveillance’ at the Nelson-Atkins Museum of Art, Kansas City, Missouri

Exhibition dates: 16th September 2016 – 29th January 2017

 

This looks to be a fascinating exhibition on a very interesting subject. It’s such a pity I cannot comment on the exhibition itself due to the small number of media images, and having no idea how the images I do have fit into the themes of the exhibition, although one can make guesses: Henri Cartier-Bresson’s Brussels (1932, below) surveys the watchers; his Hyeres, France (1932, below) is taken by an unseen camera; and Professor Lowe’s balloon Intrepid was used by the Union in the American Civil War to spy on Confederate troop movements. Others I have absolutely no idea.

“Dating from 1864-2014, the works in Surveillance fall under these categories: spying or hidden cameras, photography of the forbidden, military surveillance, areas of heavy surveillance and mapping satellites and drones. There are also examples of counter-surveillance that either prevent watching or surveille the watchers.”

My favourite images in this posting of surreptitious photography are those of Tomas van Houtryve from his series Blue Sky Days. I love the titles play on the ideas of blue sky thinking (original or creative thinking, unfettered by convention and not grounded in reality) and blue skies research (scientific research in domains where “real-world” applications are not immediately apparent) – views of the world that are quantifiable but not grounded in reality, and where the “reality” of the world is not immediately apparent. Such a clever and insightful “point of view” which engages with “the changing nature of surveillance, personal privacy, and war”, a projection on a vertical plane. More intriguing images from this series can be seen on his website.

Dr Marcus Bunyan for Art Blart

.
Many thankx to the 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.

 

 

Henri Cartier-Bresson (French, 1908-2004) 'Brussels' 1932

 

Henri Cartier-Bresson (French, 1908-2004)
Brussels
1932
Gelatin silver print
9 1/2 × 14 3/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,
© Henri Cartier-Bresson / Magnum Photos

 

Henri Cartier Bresson (French, 1908-2004) 'Hyeres, France' 1932

 

Henri Cartier Bresson (French, 1908-2004)
Hyeres, France
1932
Gelatin silver print
© Henri Cartier-Bresson/Magnum

 

Tomas van Houtryve (Belgian) Schoolyard From the series 'Blue Sky Days' 2013-2014

 

Tomas van Houtryve (Belgian)
Schoolyard
From the series Blue Sky Days
2013-2014
150×100 cm gelatin-silver print

 

Tomas van Houtryve (Belgian) 'Domestic gathering' 2013-2014

 

Tomas van Houtryve (Belgian)
Domestic gathering
From the series Blue Sky Days
2013-2014

 

 

“The images captured from the drone’s perspective engage with the changing nature of surveillance, personal privacy, and war.” ~ Tomas van Houtryve

 

“In October 2012, a drone strike in northeast Pakistan killed a 67-year-old woman picking okra outside her house. At a briefing held in 2013 in Washington, the woman’s 13-year-old grandson, Zubair Rehman, spoke to a group of five lawmakers. “I no longer love blue skies,” said Rehman, who was injured by shrapnel in the attack. “In fact, I now prefer gray skies. The drones do not fly when the skies are gray.”

Over the past decade, drones have become the weapon of the United States military and the CIA for strikes overseas. Their use for surveillance and commercial purposes is also rapidly expanding both at home and abroad.

Tomas van Houtryve attached his camera to a small drone and traveled across America to photograph the very sorts of gatherings that have become habitual targets for foreign air strikes – weddings, funerals, groups of people praying or exercising. He also flew his camera over settings in which drones are used to less lethal effect, such as prisons, oil fields, industrial feedlots, and stretches of the U.S.-Mexico border.”

Text from the Pulitzer Center website

 

Mishka Henner (Belgian, b. 1976) 'Staphorst Ammunition Depot' 2011

 

Mishka Henner (Belgian, b. 1976)
Staphorst Ammunition Depot
2011
Inkjet print
31 1/4 × 35 1/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

 

British photographer Mishka Henner, in his series Dutch Landscapes, uses Google satellite views of locations that have been censored by the Dutch government because of concerns about the visibility of political, economic and military locations. Many countries blur, pixilate or whiten sensitive sites. The Dutch method, however, employs bold, multi-colored polygons. The resulting photograph is an artistic, visual contrast between secret sites and the surrounding rural environment, providing an unsettling reflection on surveillance and the contemporary landscape.

 

Unknown maker (American) 'Rochester, New York' 1886

 

Unknown maker (American)
Rochester, New York
1886
Albumen print, 5 5/8 × 5 5/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,

 

 

“Surveillance cameras in the 21st century are practically everywhere – on street corners, in shops, in public buildings, silently recording our every movement. Yet this is not a construct of modern times. As soon as cameras were introduced in the 1880s, anyone could be unknowingly photographed at any time. It was an unfortunate fact of life. The exhibition Surveillance opened at The Nelson-Atkins Museum of Art in Kansas City September 16, examining the role of surreptitious photography from the mid-19th century to the present day.

“This body of work represents a sign of our times,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO and Director of the Nelson-Atkins. “Cameras have been recording our movements, many times secretly, since photography began. But it was the tragedy of 9/11 that increased our awareness of this constant presence and brought a new and chilling meaning to the art, and the intention, of surveillance.”

Dating from 1864-2014, the works in Surveillance fall under these categories: spying or hidden cameras, photography of the forbidden, military surveillance, areas of heavy surveillance and mapping satellites and drones. There are also examples of counter-surveillance that either prevent watching or surveille the watchers.

“Twenty-first century technology – like Google Earth View and drone photography – have provided photographers with a treasure trove of surveillance images,” said Jane L. Aspinwall, Associate Curator, Photography. “This work provokes uneasy questions about who is looking at whom and the limits of artistic expression.”

Photographer Roger Schall, formerly a French news reporter, secretly recorded the Nazi occupation of Paris beginning in June 1940. His photographs document his daily routine and illustrate how completely the Nazis permeated every facet of Parisian life.

British photographer Mishka Henner, in his series Dutch Landscapes, uses Google satellite views of locations that have been censored by the Dutch government because of concerns about the visibility of political, economic and military locations. Many countries blur, pixilate or whiten sensitive sites. The Dutch method, however, employs bold, multi-colored polygons. The resulting photograph is an artistic, visual contrast between secret sites and the surrounding rural environment, providing an unsettling reflection on surveillance and the contemporary landscape.

Other photographers employ techniques to circumvent surveillance. Adam Harvey creates “looks” that block online facial recognition software [CV Dazzle]. The contours of the face are manipulated in such a way that a computer is not able to identify a person, which can be a useful tool for social media sites like Facebook, in which users can search an entire archive for one particular face.”

Press release from the Nelson-Atkins Museum of Art

 

Brady Studio (American active c. 1843-1885) 'Professor Lowe inflating balloon Intrepid' 1862

 

Brady Studio (American, active c. 1843-1885)
Professor Lowe inflating balloon Intrepid
1862
Albumen print
3 1/4 × 2 3/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,

 

Intrepid being cross-inflated from Constitution in a spur-of-the-moment attempt to get the larger balloon in the air to overlook the imminent Battle of Seven Pines. The balloon Intrepid, one of six to eventually be constructed by Thaddeus Lowe and the Union Army Balloon Corps.

 

 

Peninsula Campaign

The battlefront turned toward Richmond in the Peninsula Campaign. The heavy forestation inhibited the use of balloons, so Lowe and his Balloon Corps, with the use of three of his balloons, the Constitution, the Washington, and the larger Intrepid, used the waterways to make its way inland. In mid May 1862, Lowe arrived at the White House on the Pamunkey River. This is the first home of George and Martha Washington, after which the Washington presidential residence is named. At this time, it was the home of the son of Robert E. Lee, whose family fled at the arrival of Lowe. Lowe was met by McClellan’s Army a few days later, and by 18 May, he had set up a balloon camp at Gaines’ Farm across the Chickahominy River north of Richmond, and another at Mechanicsville. From these vantage points, Lowe, his assistant James Allen, and his father Clovis were able to overlook the Battle of Seven Pines. 

A small contingent from Gen. Samuel P. Heintzelman’s corps crossed the river toward Richmond and was slowly being surrounded by elements of the Confederate Army. McClellan felt that the Confederates were simply feigning an attack. Lowe could see, from his better vantage point, that they were converging on Heintzelman’s position. Heintzelman was cut off from the main body because the swollen river had taken out all the bridges. Lowe sent urgent word of Heintzelman’s predicament and recommended immediate repair of New Bridge and reinforcements for him. 

At the same time, he sent over an order for the inflation of the Intrepid, a larger balloon that could take him higher with telegraph equipment, in order to oversee the imminent battle. When Lowe arrived from Mechanicsville to the site of the Intrepid at Gaines’ Mill, he saw that the aerostat’s envelope was an hour away from being fully inflated. He then called for a camp kettle to have the bottom cut out of it, and he hooked the valve ends of the Intrepid and the Constitution together. He had the gas of the Constitution transferred to the Intrepid and was up in the air in 15 minutes. From this new vantage point, Lowe was able to report on all the Confederate movements. McClellan took Lowe’s advice, repaired the bridge, and had reinforcements sent to Heintzelman’s aid. An account of the battle was being witnessed by the visiting Count de Joinville who at day’s end addressed Lowe with: “You, sir, have saved the day!”

Text from the Union Army Balloon Corps Wikipedia entry

 

Paul Strand (American 1890-1976) 'Blind woman, New York' 1916

 

Paul Strand (American, 1890-1976)
Blind woman, New York
1916
Photogravure
8 13/16 × 6 9/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,

 

Roger Schall (French, 1904-1985) 'Taking the subway' c. 1941

 

Roger Schall (French, 1904-1985)
Taking the subway
c. 1941
Gelatin silver print
7 7/16 × 7 1/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Jeffrey and Polly Kramer

 

 

Born in 1904, Roger Schall was one of the most renowned photographers of the 1930s and 1940s. He worked in all photographic disciplines from fashion, portraits, nudes, still lives and reporting. He began working with his father, a portrait photographer in 1918. 10 years later he would be one of the first reporters to work with a Leica or Rolleiflex. In 1939, he closed the studio-agency he had opened with his brother. From June 1940 to August 1944 he photographed German occupied Paris – hiding the negatives so they would not be seen by the censors. When the occupation was over his brother, Raymond Schall, published a book: A Paris sous la botte des Nazis (Paris under the heel of the Nazis) that was illustrated with the photographs of Roger Schall, Parry, Doisneau, the Seeberger brothers and many others. He then continued working in fashion, doing commercial and publicity work instead of news reporting. From 1970 until his death in 1995, he would manage his archive of some 80,000 images. (Text from the Real Life is Elsewhere blog)

His work covered a number of topics, especially Parisian everyday life, his favourite subject, which he photographed before, during and after the German occupation. Formed in 1931, Le Studio in Montmartre was the first agency to publish his work in leading international magazines, such as Vu, Vogue, L’illustration, Life, and Paris-Match. 150 covers and 10,000 shots were published in his lifetime. (Text from the Yellow Korner website)

 

Henri Cartier-Bresson. 'An Attentive Cat' 1953

 

Henri Cartier-Bresson
An Attentive Cat
1953
Gelatin silver print
© Henri Cartier-Bresson/Magnum

 

Raphaël Dallaporta (French b. 1980) 'Kafir Qala Citadel, Balkh Province, Afghanistan, from the Achaemenid period (6th-4th century BC) to the Ghorid period (12th-13th century AD)' 2010

 

Raphaël Dallaporta (French b. 1980)
Kafir Qala Citadel, Balkh Province, Afghanistan, from the Achaemenid period (6th-4th century BC) to the Ghorid period (12th-13th century AD)
2010
Inkjet print
59 × 47 1/4 × 1 5/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

 

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

Opening hours:
Wed, 10 am – 5 pm
Thurs, Fri, 10 am – 9 pm
Sat, 10 am – 5 pm
Sun, 10 am – 5 pm

The Nelson-Atkins Museum of Art website

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15
Jan
17

Exhibition: ‘In the Tower: Barbara Kruger’ at the National Gallery of Art, Washington

Exhibition dates: 30th September 2016 – 22nd January 2017

 

Now this is how you tell a tale using contemporary photography!

Succinct, psychological sound bites that are commentaries on cultural production, that leave the viewer troubled by the enigma of their pronunciation. They are focused around the construct of the viewer and the subject of representation while also probing matters of identity in contemporary culture.

“They present Kruger’s distinctive direct-address texts (using active verbs and personal pronouns) which confront the viewer head-on and contrast with the underlying images of (often passive, often female) figures looking off the picture plane, and receiving the viewer’s attention. This tension creates conceptual works of great visual power.”

Know nothing, Believe anything, Forget everything!

Marcus

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

 

 

Barbara Kruger. 'Untitled (Know nothing, Believe anything, Forget everything)' 1987/2014

 

Barbara Kruger
Untitled (Know nothing, Believe anything, Forget everything)
1987/2014
Screenprint on vinyl
Overall: 274.32 x 342.05 cm (108 x 134 11/16 in.)
National Gallery of Art, Washington, Gift of the Collectors Committee, Sharon and John D. Rockefeller IV, Howard and Roberta Ahmanson, Denise and Andrew Saul, Lenore S. and Bernard A. Greenberg Fund, Agnes Gund, and Michelle Smith
© Barbara Kruger

 

Barbara Kruger. 'Untitled (We don't need another hero)' 1987

 

Barbara Kruger
Untitled (We don’t need another hero)
1987
Photograph and type on paper
Overall: 14.61 x 28.89 cm (5 3/4 x 11 3/8 in.)
Framed: 34.61 x 48.58 x 4.45 cm (13 5/8 x 19 1/8 x 1 3/4 in.)
Glenstone Museum, Potomac, Maryland
© Barbara Kruger

 

Barbara Kruger. 'Untitled (We don't need another hero)' 1987

 

Barbara Kruger
Untitled (We don’t need another hero)
1987
Silkscreen on vinyl
Overall: 276.54 x 531.34 x 6.35 cm (108 7/8 x 209 3/16 x 2 1/2 in.)
Whitney Museum of American Art, New York. Gift from the Emily Fisher Landau Collection
© Barbara Kruger

 

Barbara Kruger. 'Untitled (Love is something you fall into)' 1990

 

Barbara Kruger
Untitled (Love is something you fall into)
1990
Photographic silkscreen/vinyl
Overall: 163.83 x 396.24 cm (64 1/2 x 156 in.)
Hall Collection
© Barbara Kruger. Photo courtesy Mary Boone Gallery, New York

 

Barbara Kruger. 'Untitled (A picture is worth more than a thousand words)' 1992

 

Barbara Kruger
Untitled (A picture is worth more than a thousand words)
1992
Silkscreen on vinyl
Overall: 208.28 x 312.42 cm (82 x 123 in.)
Private collection
© Barbara Kruger

 

 

“The striking works of Barbara Kruger (American, b. 1945) will be featured in a focused exhibition at the National Gallery of Art, Washington, timed to celebrate the newly renovated East Building galleries. On view September 30, 2016 through January 22, 2017, In the Tower: Barbara Kruger is the first exhibition in the Tower Gallery in three years, renewing the series devoted to the presentation of works by leading contemporary artists. The exhibition presents 15 of Kruger’s profile works – images of the figure in profile over which the artist has layered her attention-grabbing phrases and figures of speech – from the early 1980s to the present, varying in scale from magazine-size to monumental.

Inspired by the Gallery’s recent acquisition of Kruger’s Untitled (Know nothing, Believe anything, Forget everything) (1987/2014), the exhibition centers on the artist’s profile works, among her strongest commentaries on cultural production. They present Kruger’s distinctive direct-address texts (using active verbs and personal pronouns) which confront the viewer head-on and contrast with the underlying images of (often passive, often female) figures looking off the picture plane, and receiving the viewer’s attention. This tension creates conceptual works of great visual power.

Kruger’s works are by turns so strong, shocking, or humorous that they grab the viewer’s attention. This is due to her signature style which includes pronouncements printed in white Futura Bold typeface across red bands reminiscent of the Life and Look magazine banners from the golden age of picture magazines. Kruger’s text slashes the black-and-white images beneath, effectively shattering the clichés represented in both words and images. Using the language, colour, image, and scale derived from the media-saturated world she queries, Kruger’s work illuminates and interrupts media tropes to encourage an active visual readership.

“Barbara Kruger’s profile works count among her most iconic images,” said Earl A. Powell III, director, National Gallery of Art, Washington. “We are delighted to present to our visitors from around the world this exhibition featuring such an outstanding artist.”

 

Exhibition highlights

Among the key works on view will be Kruger’s Untitled (Your gaze hits the side of my face), (1983), that served as inspiration for Craig Owens’s 1983 essay, “The Medusa Effect, or The Specular Ruse.” At the time they were made, Kruger’s 1980s works powerfully engaged and promoted theoretical discussion of “the gaze” around the construct of the viewer and the subject of representation. More broadly, these works resound with the use of the profile in the genre of portraiture in the long arc of history, while also probing matters of identity in contemporary philosophy. For this work and others, the exhibition will present Kruger’s original paste-ups to illuminate the artist’s process.

Untitled (Know nothing, Believe anything, Forget everything) (1987/2014), acquired for the Gallery by the Collectors Committee and a group of generous patrons, offers an image of a woman in profile, lying prostrate and receiving medical treatment to her eye through a large, funnel-like device. Over the image are three red bands with the artist’s admonitions emblazoned in white text that warn against the pleasures and perils of our “truthy” photography-based mass media and the knowledge, beliefs, and memories that it imparts.

A new five-minute film will feature excerpts from an interview with the artist discussing works in the exhibition. Made possible by the H.R.H. Foundation, the film will play continuously in the anteroom of the Tower Gallery.

 

Barbara Kruger (b. 1945) short biography

Kruger’s higher education began at Syracuse University and continued at Parson’s School of Art and Design in New York, where she studied with Diane Arbus and Marvin Israel in 1966. Beginning in 1967 Kruger worked as a layout editor at Condé Nast for twelve years, including posts at Mademoiselle, House and Garden, and Aperture. In 1969 Kruger began to make her own art while also writing poetry and film and television reviews. A decade later she had developed her “picture practice” with photographs repurposed from 1940s-1970s manuals and magazines that she overlaid with her own texts or those repurposed from the media. The completed works alter her found materials, inscribing her admonitions and questions over the images to stimulate and rouse the viewer from the passivity of acceptance.

Kruger’s background in design is evident in these works, for which she is internationally renowned. Owing to her interest in the public arena and the vernacular, Kruger’s work has appeared on billboards, bus cards, posters, T-shirts, matchbook covers, in public parks, and on train station platforms. Recent work has included immersive installations of room-wrapping images and text, and multiple-channel videos.

Prior to teaching at UCLA, Kruger taught at California Institute of the Arts, the School of the Art Institute of Chicago, and the University of California, Berkeley. In 2005 Kruger received the Golden Lion for Lifetime Achievement at the Venice Biennale. Her work was featured in the Whitney Biennial in 1973, 1983, 1985, and 1987; the Venice Biennale in 1982, 1993, and 2005; and Documenta 8 in 1987. Notable solo exhibitions include P.S. 1, Long Island City, New York (1980); Institute of Contemporary Art, London (1983); Los Angeles County Museum of Art (1985); Museum of Contemporary Art, Los Angeles (1999, traveled to Whitney Museum of American Art in 2000); South London Gallery (2001); Gallery of Modern Art, Glasgow (2005); the Moderna Museet, Stockholm (2008); the Museum Of Modern Art, Oxford (2014), and the Hirshhorn Museum and Sculpture Garden (2012–2016). Kruger lives and works in Los Angeles and New York City.”

Press release from the National Gallery of Art

 

Barbara Kruger. 'Untitled (Your gaze hits the side of my face)' 1981

 

Barbara Kruger
Untitled (Your gaze hits the side of my face)
1981
Photograph and type on paper
Overall: 23.8 x 17.8 cm (9 3/8 x 7 in.)
Framed: 47.94 x 39.05 x 4.45 cm (18 7/8 x 15 3/8 x 1 3/4 in.)
Glenstone Museum, Potomac, Maryland
© Barbara Kruger

 

Barbara Kruger. 'Untitled (You thrive on mistaken identity)' 1981

 

Barbara Kruger
Untitled (You thrive on mistaken identity)
1981
Gelatin silver print
Overall: 152.4 x 101.6 cm (60 x 40 in.)
Matthias Brunner
© Barbara Kruger. Photo courtesy Mary Boone Gallery, New York

 

Barbara Kruger. 'Untitled (We have received orders not to move)' 1982

 

Barbara Kruger
Untitled (We have received orders not to move)
1982
Photographic collage
Overall: 177.17 x 120.65 cm (69 3/4 x 47 1/2 in.)
Susan Bay-Nimoy and Leonard Nimoy
Courtesy: Mary Boone Gallery, New York
© Barbara Kruger
Photo: courtesy Mary Boone Gallery, New York

 

Barbara Kruger. 'Untitled (Your creation is divine, Our reproduction is human)' 1984

 

Barbara Kruger
Untitled (Your creation is divine, Our reproduction is human)
1984
Gelatin silver print
Overall: 182.88 x 121.92 cm (72 x 48 in.)
Phyllis and William Mack
© Barbara Kruger
Photo: courtesy Mary Boone Gallery, New York

 

Barbara Kruger. 'Untitled (The future belongs to those who can see it)' 1997

 

Barbara Kruger
Untitled (The future belongs to those who can see it)
1997
Silkscreen on vinyl
Overall: 215.9 x 152.4 cm (85 x 60 in.)
From the Chris and Dori Carter Collection
© Barbara Kruger

 

Barbara Kruger. 'Untitled (Think of me thinking of you)' 2013

 

Barbara Kruger
Untitled (Think of me thinking of you)
2013
Digital print on vinyl
Overall: 243.84 x 191.77 cm (96 x 75 1/2 in.)
Private collection
© Barbara Kruger
Photo: courtesy Mary Boone Gallery, New York

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Monday – Saturday 1000 am – 5.00 pm
Sunday 11.00 am – 6.00 pm

National Gallery of Art website

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20
Dec
16

Photograph: Weegee (Arthur Fellig) ‘Gay Deceiver’ c. 1939

December 2016

 

I just couldn’t resist a one photo posting – a rarity on Art Blart – because this is ABSOLUTELY FABULOUS!

Weggee, flash, a dazzling smile and a lovely pair of stockings … what more could ask for.

Happy Christmas!

.
Marcus

 

From an upcoming posting on the exhibition The Shape of Things: Photographs from Robert B. Menschel at the Museum of Modern Art, New York October 29, 2016 – May 7, 2017.

 

 

Weegee (Arthur Fellig) 'Gay Deceiver' c. 1939

 

Weegee (Arthur Fellig)
Gay Deceiver
c. 1939
Gelatin silver print
13 x 10 1/4″ (33 x 26 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Weegee/ICP/Getty Images

 

 

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15
Dec
16

Exhibition: ‘Teller on Mapplethorpe’ at Alison Jacques Gallery, London

Exhibition dates: 18th November 2016 – 7th January 2017

 

PLEASE NOTE: SINCE THIS POSTING, I ACKNOWLEDGE THAT THE ALISON JACQUES GALLERY, LONDON HAS UPDATED THEIR WEBSITE TO INCLUDE A MORE REPRESENTATIVE SELECTION OF MAPPLETHORPE’S IMAGES – INCLUDING SOME OF MAPPLETHORPE’S PHOTOGRAPHIC INVESTIGATION INTO THE SEXUAL BODY AND MORE WORKS FROM THE EXHIBITION – IN ALL THEIR GLORY! PLEASE SEE THE IMAGES ON THEIR WEBSITE AND REMEMBER, IF YOU DON’T LIKE, DON’T LOOK.

 

 

Nothing SALACIOUS

.
to see here

 

According to a tartly written denigration of Mapplethorpe in particular and more generally of photography as art by Guardian critic Jonathan Jones, “Cocks abound. Huge ones. Right at the centre of the main room, just so you don’t miss this basic Mapplethorpian theme, is a giant blow up of a man whose penis would be impressive even in a much smaller print. “Hey, don’t you get it?” Teller in effect is yelling. “This guy was all about cocks!””

 

Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.
Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks. Cocks.

 

There, I’ve said it… because I can’t show it.

 

I’d really LOVE to refute this man’s drivel about Mapplethorpe’s work: “Teller succeeds brilliantly in making Mapplethorpe raw and immediate. Yet he also exposes him as very silly. For if Mapplethorpe was just wildly and naughtily picturing everything in life, willy nilly (but mostly willy), why the heavy monochrome aesthetic?”

But I can’t.

Why not?

 

Because of the

un/solicitous

 

(caring in a discriminatory way, as though to protect an image or reputation)

and

innocuous

 

 

set of press images that I can officially use to illustrate such a daring and radical rethinking of Mapplethorpe’s work by Juergen Teller.

Not the fault of the gallery at all, they have been marvellous sending me the images.

.
But they were authorised by The Robert Mapplethorpe Foundation for press sharing.

 

And there’s the rub.

LIKE RUBBING TWO COCKS TOGETHER.

The paradox of Mapplethorpe’s work: erect genitalia, orifices and violent sex acts teamed with corn, kittens and frogs can be seen in the flesh – but oh, NO!

 

We can’t have them being seen online

.

.

Cocks forbidden

.

.
How can you then judge, from a distance, what the effect of Teller’s pairings are; what delightful nuances of meaning are elicited, are illicit, in those very pairings, if we can’t see them? We can’t. Jones observes that, “Teller strips away that respectability and restores the shock to Robert Mapplethorpe … [revealing] hilarious double entendres in the way Mapplethorpe photographed nature.”

How can we understand the exhibition and the shock of these images … and then critique negative reviews like Jones’ if The Robert Mapplethorpe Foundation continues the sanitisation of his work online.

No comment is possible.

Marcus

.

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

 

 

“Every picture is so strongly composed, and you feel that he really wanted to make that photograph. Not everything is erotic, but he has an interest in life, people, animals and landscapes, and his interest always comes through. I think life is what life is. It has day and night, sunny and grey, and he sees similar characteristics in different things. He cared enormously about how things looked. It all has this same intensity. Within all of that there’s a lot of sensitivity and romanticism in his work too, and a lot of clarity.”

.
Juergen Teller

 

 

Robert Mapplethorpe. 'Pods' 1985

 

Robert Mapplethorpe
Pods
1985
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Madeline Stowe' 1982

 

Robert Mapplethorpe
Madeline Stowe
1982
© Robert Mapplethorpe Foundation. Used by permission
Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Apartment Window' 1977

 

Robert Mapplethorpe
Apartment Window
1977
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Frogs' 1984

 

Robert Mapplethorpe
Frogs
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

 

“To coincide with what would have been the 70th birthday of the iconic American photographer Robert Mapplethorpe, Alison Jacques has invited acclaimed UK-based, German-born photographer Juergen Teller to curate an exhibition of Mapplethorpe’s work. Teller worked in collaboration with The Robert Mapplethorpe Foundation in New York to make his selection.

Considered one of the most important photographers of the 20th century, Robert Mapplethorpe is currently the subject of a major touring retrospective The Perfect Medium, which opened at the J. Paul Getty Museum and Los Angeles County Museum of Art (LACMA), Los Angeles in 2016. The exhibition is currently on view at the Montreal Museum of Fine Arts, Canada (until 22 January 2017) and will travel to the Art Gallery of New South Wales, Sydney, Australia (October 2017 – February 2018). Mapplethorpe is also the subject of a recently released, Emmy nominated, HBO documentary Look at the Pictures (2016).

Juergen Teller is one of a few artists who, since Mapplethorpe, has been able to operate successfully both in the art world and the world of commercial fashion photography. Alison Jacques, who has represented Robert Mapplethorpe in the UK since 1999, said: “Provocative and subversive, making images which are the antithesis of conventional fashion photography, Juergen Teller was the only choice to curate this special exhibition of Robert’s work. There are obvious parallels between these two artists and I believe Juergen’s eye will bring a new reading of Robert’s work.”

With the permission of The Robert Mapplethorpe Foundation, Teller has enlarged two images, each over 4 metres in scale, which, pasted directly onto the gallery’s walls will provide a backdrop to the entire show. One wall will show Mapplethorpe’s first partner David Croland wearing a gag and the other features the model Marty Gibson from Mapplethorpe’s later work posing nude on a beach. Teller’s selection of 48 images exposes works within Mapplethorpe’s archive that have rarely been exhibited before and span Mapplethorpe’s entire career, ranging from the unique Polaroids of the early 1970s to his iconic medium of silver gelatin photographs from the mid-70s through to the late 80s.

Still life features as a prominent theme with unusual subjects including a spoon full of coffee, a set of antique silverware, two coconuts, a television set, and prickly unopened seedpods on a plate. Teller has also chosen a number of images depicting animals, a subject matter that Mapplethorpe is not famously associated with, including a hanging bat, plate of frogs, reclining dog, kitten on a sofa, and horses. Human subjects include some of Mapplethorpe’s key female muses such as Lisa Lyon, but also lesser-known personalities including Cookie Mueller, Lisa Marie Smith and Susan Sarandon’s daughter, Eva Amurri, as a small child. Well-known people in Mapplethorpe’s life are represented including Patti Smith, David Croland and Sam Wagstaff. Teller has also responded to his own German heritage and selected lesser-known portraits of German figures of the time, such as Hans Gert and the photojournalist Gisele Freund. The image of Gert was the first that Tom Baril worked on for Mapplethorpe from his Bond Street Darkroom. Baril continued to be Mapplethorpe’s exclusive printer for over 15 years.

Sexually-explicit images also feature in the exhibition but by interrelating these to a more romantic view of Mapplethorpe’s work, Teller has brought out the essential mission of Mapplethorpe’s work: a life-long quest for perfection of form whatever the subject matter may be.

Short biographies

Robert Mapplethorpe (b. New York, USA, 1946; d. Boston, USA, 1989) mounted over 50 solo exhibitions during his lifetime, including numerous museum shows in the USA, Europe and Japan. Since his death he has continued to be the subject of major institutional exhibitions. In recent years the Tate, in conjunction with other UK museums, acquired 64 works by Mapplethorpe through the Artists Rooms Art Fund and The d’Offay Donation, which culminated in an exhibition at Tate Modern in 2014.

Juergen Teller (b. 1964, Erlangen, Germany) moved to London in 1986, two years after graduating from Munich’s Bayerische Staatslehranstalt für Photographie. Since the late 1980s, his photographic works have gained critical acclaim and been featured in an array of influential international publications such as Vogue, W Magazine, I-D and Purple. With his unique photographic sensibility, Teller manages to strike a rare balance between creativity and commercialism, blurring the boundaries of art and advertising, and creating world-class images for collaborators such as Marc Jacobs, Céline, Yves Saint Laurent and Vivienne Westwood. Teller’s solo exhibition Woo! at the ICA in London in 2013 was the most well-attended exhibition in the ICA’s history, and in 2016 he had a major solo museum exhibition in Germany, Enjoy Your Life at Kunsthalle Bonn.”

Press release from Alison Jacques Gallery

 

Robert Mapplethorpe. 'Arthur Diovanni' 1982

 

Robert Mapplethorpe
Arthur Diovanni
1982
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Cookie Mueller' 1978

 

Robert Mapplethorpe
Cookie Mueller
1978
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Paris Fashion Dovanna' 1984

 

Robert Mapplethorpe
Paris Fashion Dovanna
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Tattoo Artists' Son' 1984

 

Robert Mapplethorpe
Tattoo Artists’ Son
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Michael Reed' 1987

 

Robert Mapplethorpe
Michael Reed
1987
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Shoes on Plates' 1984

 

Robert Mapplethorpe
Shoes on Plates
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

 

Alison Jacques Gallery
Orwell House, 16-18 Berners Street
London W1T 3LN
Tel: +44 (0)20 7631 4720

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Saturday 11am – 5pm
Closed Sunday and Monday

Alison Jacques Gallery website

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30
Nov
16

Exhibition: ‘Louis Faurer’ at the Fondation Henri Cartier-Bresson, Paris

Exhibition dates: 9th September – 18th December 2016

Curator: The exhibition has been curated and organized by Agnès Sire, director of the Fondation Henri Cartier-Bresson in association with the Estate of Louis Faurer in New York, Howard Greenberg Gallery in New York and Deborah Bell Photographs.

 

 

Life, love and loneliness in the big smoke.

Champions and accidents.

Home of the brave, land of the fractured and destitute.

Unemployed and Looking.

Both * eyes * removed
Wounded

I AM TOTALLY BLIND.

Marcus

.
Many thankx to the Fondation Henri Cartier-Bresson for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“However, with shocking suddenness in 1976 I came to believe that American photography of the moment of mid-century belonged to Louis Faurer.”

.
Walter Hopps

 

“I have an intense desire to record life as I see it, as I feel it. As long as I’m amazed and astonished, as long as I feel that events, messages, expressions and movements are all shot through with the miraculous, I’ll feel filled with the certainty I need to keep going. When that day comes, my doubts will vanish.”

.
Louis Faurer

 

 

Louis Faurer. 'Accident, New York' 1952

 

Louis Faurer
Accident, New York
1952
© Louis Faurer Estate, Courtesy Deborah Bell

 

Louis Faurer. 'Champion, New York' 1950

 

Louis Faurer
Champion, New York
1950
© Louis Faurer Estate, Courtesy Howard Greenberg Gallery

 

Louis Faurer. 'Orchard Street, New York' 1947

 

Louis Faurer
Orchard Street, New York
1947
© Louis Faurer Estate

 

Louis Faurer. 'New York' 1949

 

Louis Faurer
New York
1949
© Louis Faurer Estate, Courtesy Howard Greenberg Gallery

 

Louis Faurer. 'Untitled, New York' 1949

 

Louis Faurer
Untitled, New York
1949
© Louis Faurer Estate

 

Louis Faurer. '"Win, Place, and Show", 3rd Avenue El at 53rd Street, New York, New York' c. 1946-1948

 

Louis Faurer
“Win, Place, and Show”, 3rd Avenue El at 53rd Street, New York, New York
c. 1946-1948
© Louis Faurer Estate

 

Louis Faurer. 'Market Street, Philadelphia' 1944

 

Louis Faurer
Market Street, Philadelphia
1944
© Louis Faurer Estate

 

Louis Faurer. 'Untitled, New York' c. 1948-1950

 

Louis Faurer
Untitled, New York
c. 1948-1950
© Louis Faurer Estate

 

Louis Faurer. '42nd Street, New York' c. 1949

 

Louis Faurer
42nd Street, New York
c. 1949
© Louis Faurer Estate

 

Louis Faurer. 'Staten Island Ferry, New York' 1946

 

Louis Faurer
Staten Island Ferry, New York
1946
© Louis Faurer Estate, Courtesy Deborah Bell

 

 

From September 9 to December 18, 2016, The Fondation Henri Cartier-Bresson dedicates an exhibition to the American photographer, Louis Faurer. This show is the occasion to discover this artist who has not been the subject of an exhibition in France since 1992. A native of Philadelphia, Louis Faurer moved to New York after the War, as if irresistibly pulled into the life of Times Square, where he homed in, objectively and pitilessly, on loneliness in the crowd. Reporting held little interest for him, and journalism even less; he was drawn – as the captions to his photographs sometimes indicate – to the poetic side: the fragility of things and the unconscious revelation. He carried out much-admired commissions for leading magazines including Flair, Junior Bazaar, Glamour and Mademoiselle. This gave rise to an unfeigned self-contempt and a paradoxical inner division only humor could counter. These assignments earned a living and helped him pursue a more personal work in New York streets.

Profoundly honest, he refused the excessiveness (or obscenity) of violent scenes that might humiliate his subjects, and deliberately projected himself into the people he photographed; and if he often recognized himself in them, this was the whole point. Sometimes he encountered his double, or even appeared in shot as a reflection. Each of his images was “a challenge to silence and indifference” – theirs and his own.

After studying drawing and being noticed by the Disney Studios at the age of thirteen, Louis Faurer started his professional path by creating advertising posters and sketching caricatures in the seaside of Atlantic City. At the age of 21, he bought his first camera and won first prize for “Photo of the Week” in a contest sponsored by the Philadelphia Evening Public Ledger. Market Street would then be the scene of his first shots. In 1947, he left for New York, as Lilian Bassman, art director for Junior Bazaar, hired him as a photographer. He met Robert Frank who was to become a close friend and with who he would share a studio for a while.

In 1968, he abandoned New York, the scene of his most successful work, for personal and financial reasons. Faurer worked briefly in England, and then in Paris where he struggled doing fashion work, with occasional assignments from Elle and French Vogue. Shortly after Faurer returned to New York in 1974 at the age of 58, he found that photography was being embraced by the art world and was soon to become a commodity in the international art market. The art dealer, Harry Lunn brought his work to public attention through an exhibition at Marlborough Gallery in 1997 and resurrected his career, his contribution then began to be acknowledged. In 1984, a car in New York streets hit Faurer, his wounds prevented him to pursue his career as a photographer. He passed away in Manhattan on March 2, 2001.

Deeply concerned with what he saw, he shares his doubts with us as he chooses anonymous figures spotted amid the ordinariness of the sidewalk: figures pulled out of the ambient melancholy, the film noir, the pervasive distress that seem to have been his personal lot. A remarkably gifted printer, Faurer experimented with blur, overlaid negatives and the marked graininess resulting from his fondness for the nocturnal. His touchiness meant frequent problems with clients and people like the numerous photographers who tried to lend a helping hand; among the latter was William Eggleston, who had discerned the unique depth of Faurer’s work. The issue the elegant Japanese photography quarterly déjà vu devoted to him in 1994 speaks of a rediscovery and a style ahead of its time, and quotes Nan Goldin: “Some people believe again that photography can be honest”.

In 1948, Edward Steichen, Head of the Department of Photography of the MoMA, supported Faurer and included him in In and Out of Focus. Steichen wrote: “Louis Faurer, a new comer in the field of documentary reporting, is a lyricist with a camera, a seeker and finder of magic in some of the highways and byways of life.” Afterwards, Steichen presented Faurer photographs in a few other exhibitions and in particular The Family of Man, in 1955. During his lifetime, Faurer did not have the wherewithal to edit his photographs into a book.

Press release from Fondation Henri Cartier-Bresson

 

Louis Faurer. 'Market Street, Philadelphia' 1937

 

Louis Faurer
Market Street, Philadelphia
1937
© Louis Faurer Estate

 

Louis Faurer. 'Unemployed and Looking at Rockefeller Center, New York' 1947

 

Louis Faurer
Unemployed and Looking at Rockefeller Center, New York
1947
© Louis Faurer Estate

 

Louis Faurer. 'Eddie, New York' 1948

 

Louis Faurer
Eddie, New York
1948
© Louis Faurer Estate

 

Louis Faurer. 'Deaf Mute, New York' 1950

 

Louis Faurer
Deaf Mute, New York
1950
© Louis Faurer Estate

 

Louis Faurer. 'Union Square from Ohrbach’s Window, New York' c. 1948-1950

 

Louis Faurer
Union Square from Ohrbach’s Window, New York
c. 1948-1950
© Louis Faurer Estate, Courtesy Howard Greenberg Gallery

 

 

Narrative of my career

My earliest experience in art occurred at the Benjamin Rush Public school in Phila., Penna. Miss Duncan, who seemed to float on a rose petal scent, having requested that numbers be written on paper with lead pencil, was shocked when my sheet yielded a drawing of a locomotive. My next surprise, at the age of 13 arrived in the mail. I had submitted my drawings to Walt Disney and he proposed considering me for a position, although he couldn’t guarantee it, if I travelled to California. It seemed unreachable and so I didn’t go.

After graduating the South Phila. High School for Boys, I enrolled in a Commercial Lettering School. After months of hand trembling, I looked at my first sign, it read “FRESH FISH”. From 1934 to 1937 I sketched caricatures on the beach at Atlantic City, N.J. My interest in photography began in 1937. It was greatly intensified when I was awarded first prize in the Philadelphia Evening Public Ledger for the photo of the week contest. Soon, the Farm Security Administration’s early books became my bible. I was especially taken by Walker Evans’ photography. The world of Harper’s Bazaar also fascinated me.

Later, in New York, I was to meet Robert Frank at the Bazaar Studio. Since I was a commuter, he invited me to stay at his loft together with nine cats. He had recently arrived from Switzerland and was alone. New York enchanted and amazed me. Everywhere a new discovery awaited me. Rejection slips from U.S. Camera were transformed into reproduced pages. My work was being accepted, often it seemed unreal. I showed my photographs to Walker Evans. A handsome brass tea kettle in his tiny room in the offices at FORTUNE projected his stability and eloquence. “You wouldn’t photograph fat women, would you?” he asked me. Later he warned me, “don’t become contaminated.” My need to continue photographing was solved by photography for commerce. I worked for periodicals which included Harper’s Bazaar.

1946 to 1951 were important years. I photographed almost daily and the hypnotic dusk light led me to Times Square. Several nights of photographing in that area and developing and printing in Robert Frank’s dark room became a way of life. He would say, “whatta town”, “whatta town”. I was represented in Edward Steichen’s IN AND OUT OF FOCUS exhibit. Then, work, work, and more work. “Boy,” he boomed, “go out and photograph and put the prints on my desk.” This command was synchronized with a pound of his fist on the glass top desk. I thought it miraculous, that the glass did not shatter.

I tasted and accepted the offerings of the 50s and 60s. LIFE, COWLES PUBLICATIONS, HEARST and CONDE NAST, enabled me to continue with my personal photography efforts. Often I would carry a 16mm motion picture camera as I would a Leica and photograph in the New York streets. The results were never shown commercially. The negative has been stored.

In 1968, I needed new places, new faces and change. I tried Europe. I returned in the mid-seventies and was overwhelmed by the change that had occurred here. I took to photographing the new New York with an enthusiasm almost equal to the beginning. After the Lunn purchase, the gallery world. I was brought again to the drawing I first experienced, and as an unexpected bonus, the photographer had become an artist! 1978 found me the recipient of the National Endowment for the Arts Grant and the Creative Public Service Grant for photography. The latter is known as (CAPS). My eyes search for people who are grateful for life, people who forgive and whose doubts have been removed, who understand the truth, whose enduring spirit is bathed by such piercing white light as to provide their present and future hope.*

Louis Faurer

.
* Reproduced, with editorial revisions, from the artist’s original text. Text published at the occasion of the exhibition Louis Faurer – Photographs from Philadelphia and New York 1937-1973 presented from March 10 to April 23, 1981 at the Art Gallery of University of Maryland. Extracts from the book Louis Faurer published by Steidl, September 2016

 

Louis Faurer. 'Somewhere in West Village, New York' 1948

 

Louis Faurer
Somewhere in West Village, New York
1948
© Louis Faurer estate

 

Louis Faurer. 'Untitled, Philadelphia' Date unknown

 

Louis Faurer
Untitled, Philadelphia
Date unknown
© Louis Faurer estate

 

'Louis Faurer' Steidl Verlag

 

Louis Faurer
Steidl Verlag

Foreword: Agnès Sire. Essay: Susan Kismaric. Original texts: Louis Faurer and Walter Hopps

208 pages
24 x 17.6 cm
100 illustrations
ISBN : 978-3-95829-241-3
September 2016

 

 

Extracts from the book

New York City has been the major center of the Faurer’s work, and that city’s life at mid-century, his great subject. The city is totally Faurer’s natural habitat. He can be at home, at one, with people on its streets, in its rooms. However serene or edgy his encounters, one senses Faurer (if at all) as being the same as the people in his photographs. And since these people are extremely varied, it is a transcendent vision that allows the photographer to be so many “others.” Faurer’s at-oneness with his subjects contrasts with both the mode of working and the results of Evans and Frank. They have proved to be great and wide-ranging explorers and fi nders of their images. Faurer made only one important trip: from Philadelphia (where he made his first, early brilliant photographs) to New York, where he stayed, and where in the course of things his vision consumed, whether ordinary or odd, the all of it.

Walter Hopps

 

Louis Faurer was a “photographer’s photographer”, one whose work was not known to a broad audience, or appreciated by the art world, but was loved by photographers. They saw in his pictures a purity of seeing, akin to what Faurer saw in the work of Walker Evans, the “poetic use of facts”. Faurer distinguished himself within this way of working through his instinct and his uncanny eye for people who radiate a rare and convincing sense of privacy, an inner life. They are people who would be true in any time and place,who are emblematic of human struggle.

For whatever reasons, Faurer did not have the wherewithal to edit his photographs into a book, the most visible and long-lasting expression of a photographer’s work. Yet his pictures are indelible. Their content presages a major shift in subject matter within the rubric of “documentary” American photography that was to come to fruition almost two decades later. In 1967 John Szarkowski identified this radical change when he wrote in his wall text for New Documents, an exhibition at the Museum of Modern Art, about the work of Diane Arbus, Lee Friedlander, and Garry Winogrand: “…In the past decade, a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it”.

Susan Kismaric

 

Louis Faurer. 'Viva, New York' 1962

 

Louis Faurer
Viva, New York
1962
© Louis Faurer Estate, Courtesy Christophe Lunn

 

 

Fondation Henri Cartier-Bresson
2, impasse Lebouis, 75014 Paris

Opening hours:
Tuesday – Sunday 1pm – 6.30 pm
Saturday 11am – 6.45 pm
Late night Wednesdays until 8.30 pm
Closed on Mondays

Fondation Henri Cartier-Bresson website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

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

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