Posts Tagged ‘american artist

14
May
19

Exhibition: ‘The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day’ at ONE Gallery, West Hollywood, California

Exhibition dates: 1st March – 17th May 2019

Curator: David J. Getsy

 

 

Greg Day. 'Stephen Varble in the Suit of Armor' October 1975, printed 2018

 

Greg Day (American, b. 1944)
Stephen Varble in the Suit of Armor
October 1975, printed 2018
Digital print
© Greg Day 2019

 

 

“Varble’s total irreverence is no more evident than in his willingness to “cross party lines,” as he did when he wore his Suit of Armor, constructed with gold VO labels from Seagram’s boxes, to both the 1975 Easter Parade and to West Village leather bars! He was an equal opportunity offender, rubbing up against conformity in all forms.”

Bob Nickas. “Stephen Varble: Now More Than Ever,” on the Affidavit website [Online] Cited 10/04/2019

 

 

Confusing queen reigns, on parade

In an era of reactionary religious and right wing hypocrisy – Christian sleaze and paedophilia anyone, anti-Muslim and gay Facebook posts in the Australian election, murderous right wing rampage in New Zealand – now more than ever, we need artists like Stephen Varble.

I love doing these posts on artists that certainly I, and I suspect a lot of the readers of this website, would have never have heard of. Artists full of spunk, full of daring-do, artists who rise to challenge the patrons of patriarchy, and the colluders of capitalism (Varble became ever-more critical of commodification and capitalism). Artists who declaim the value of the individual, who shine a light on the plight of the downtrodden and discriminated against. Can you not once bring yourself to utter the word “AIDS” you bigoted president?

“Varble made the recombination of signs for gender a central theme in his increasingly outrageous costumes and performances… [He] sought to make a place for himself outside of art’s institutions and mainstream cultures all the while critiquing them both.” Australian artists such as Leigh Bowery and Brenton Heath-Kerr have a lot to thank Varble for.

He might have risen from the gutter, but his intentions were full of stars.

Dr Marcus Bunyan for Art Blart

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

 

 

Varble’s work wasn’t drag in the conventional cross-dressing sense, or “gay art,” which was often defined from a predominantly masculine perspective in the immediate post-Stonewall years. His intention was to stretch and break down the very idea of binary identities, confuse the concept of gender, leave it optional. And this goal puts him well in the framework of queer and transgender thinking now. …

For a series of mid-1970s performances he called “Gutter Art,” he would arrive, elaborately dressed, by limousine (paid for by a Japanese patron, Miyazaki Morihiro) in front of luxury stores on the Upper East Side. Once parked, he unloaded old kitchen utensils from the trunk and started washing them with black ink, as if referring to the domestic life of sweatshop labor. He soon gained notoriety as a kind of cultural terrorist. (Tiffany’s hired guards to keep him out.) He turned up, uninvited, at red carpet events – film premieres, the Met’s Costume Institute gala – to dazzle and deride the guests.

.
Holland Cotter. “Stephen Varble: The Street Was His Stage, the Dress Was His Weapon,” on The New York Times website January 10, 2019 [Online] Cited 10/04/2019

 

 

Greg Day. 'Stephen Varble in the Demonstration Costume with Only One Shoe (for the Chemical Bank Protest)' 22 March 1976, printed 2018

 

Greg Day (American, b. 1944)
Stephen Varble in the Demonstration Costume with Only One Shoe (for the Chemical Bank Protest)
22 March 1976, printed 2018
Digital print
© Greg Day 2019

 

 

“A chauffeured Rolls Royce glides glacially to the curb in front of the Chemical Bank at New York’s Sheridan Square. The uniformed driver, out in an instant, holds open the passenger door. Rather than a well-heeled person to which such a car would belong, a more hallucinatory sight will emerge, equally glamorous and ridiculous. Two legs appear, only one of which has a shoe. The full length of the body gradually appears, improbably covered in netting and not much else, the entwined nets adorned with crumpled bills. What seem to be bare breasts droop from the chest of a figure of otherwise unidentifiable gender, further confused by a toy fighter jet, poised for takeoff, at crotch level. While no words are spoken, a cartoon speech bubble overhead proclaims, cheerily but with a disgruntled undertow: Even Though You May Be Forged, Chemical Still Banks Best!”

Bob Nickas. “Stephen Varble: Now More Than Ever,” on the Affidavit website [Online] Cited 10/04/2019

 

The Chemical Bank Protest was Varble’s most notorious and widely reported disruption, and it encapsulated his disdain for commerce, capitalism, and propriety. To contest a forgery against him, Varble went to the Sheridan Square bank to demand his money returned. He created his Demonstration Costume with Only One Shoe from Christmas tree packaging, gold leaf wrappers, and fake money. His costumes often combined different signs of gender, and here he wore tow condoms filled with cow’s blood for breasts and a toy jet fighter as a codpiece. The toy referenced the plane ticket the forger purchase with the money, and one shoe was missing to “symbolise his economic loss.” Hovering over his head, a speech bubble touted, “Even Though You May Be Forged, Chemical Still Banks Best!”

Varble’s performances often affected an ironic enthusiasms for his targets (be it a bank, a boutique, a gallery, or a presidential candidate), and his insincere flattery was meant to provide cover for his disruption of business as usual.

Arriving in a borrowed limousine, Varble boldly entered to make his demands as the line of customers at the teller window gawked. On being told by the manager that he could not be helped, Varble punctured the blood-filled condoms and dipped a pen in the spilled blood to write checks (for “none-million dollars”) in his dramatic, mime-like movements before sweeping out to the sound of applause from the customers.

Wall text from the exhibition

 

“Varble began to truly set himself apart from other gender-focused 1970s performance artists with his outré 1976 performance at Chemical Bank in Sheridan Square. After hearing that someone had forged his signature and emptied out his bank account, Varble walked into the bank dressed in fake money, with breasts made out of condoms and filled with cow’s blood. He demanded his money back. When the bank teller could not comply, Varble punctured his condom-breasts, spilling blood all over the floor, and wrote checks in blood for “none-million dollars,” which he addressed to his companion at the bank, Peter Hujar. The exhibition includes a photograph Hujar took that day, evoking a time when the lax security in banks allowed artists to perform and express themselves, however outrageously (although Varble was then escorted out of the cow’s blood-filled bank by security).”

Extract from Michael Valinsky. “A Forgotten Precursor of Genderqueer Performance Art,” in Hyperallergic website [Online] Cited 14/05/219

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation views of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery showing, at left top, Greg Day’s Stephen Varble with the Enormous Pink Satin and baby Doll (1975); left below Stephen Varble Performing in a Garbage Can at his Loft on Franklin Street (1975); and at centre, Closing Party with Varble’s Enormous Pink Satin Skirt (1975)

 

 

Franklin Street Exhibition and Party Performance

in 1976, Varble organised an exhibition of his own work in the loft her share with Jim McWilliams on Franklin Street. He painted the interiors pink, built large decorations, and displayed all his costumes on cut-out mannequins mounted on the walls. The largest piece in the exhibition was a new work the Enormous Pink Satin Skirt, some fifteen feet in length. The object played a central role in the “Gala Ending” party that closed the exhibition, as can be seen in the photograph (main above). For this major event Varble enlisted the help of established gender non-conforming performers such as Mario Montez, Jackie Curtis, and Taylor Mead to act as living mannequins for his most iconic costumes. Modelling Varble’s art they paraded with his satin silhouette dolls through the crowd and did impromptu performances – such as when Agusta Machado enacted a campy drama of claustrophobia in Varble’s refrigerator. Day was there to capture the wild party, managing to take individual portraits of some of the major performers in attendance…

In the midst of the playful chaos, Varble gathered these Warhol stars and others (such as Paul Ambrose and New York drag personality Ruth Truth) inside the Enormous Pink Satin Skirt, and at a designated time they al burst forth dancing. As the exhibition gave attendees a retrospective view of his output the performance provided a testament to Varble’s place in the queer performance culture of New York. As the art critic Gregory Battock remarked, “It was the kind of event only Stephen Varble could have planned: chaotic, meandering, spurious and very New York […] Even though invitations were hard to come by, everybody was there.”

Wall text from the exhibition

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery with, from left, Greg Day’s Stephen Varble Destroying his Blue and Green Corrugated Paper Dress from the Camera (October 1975); Stephen Varble in the Elizabethan Farthingale; and Stephen Varble in the Suit of Armor

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery

 

'Stephen Varble, Gutter Art flyer' [recto] 1975

 

Stephen Varble, Gutter Art flyer [recto]
1975
Xerographic print on paper
Courtesy Greg Day and the Leslie-Lohman Museum
Photo: Courtesy Greg Day and the Leslie-Lohman Museum

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery

 

Greg Day. 'Stephen Varble in the Elizabethan Farthingale' October 1975, printed 2018

 

Greg Day (American, b. 1944)
Stephen Varble in the Elizabethan Farthingale
October 1975, printed 2018
Digital print
© Greg Day, 2019

 

 

In costumes made from street trash, food waste, and stolen objects, Stephen Varble (1946-1984) took to the streets of 1970s New York City to perform his “Gutter Art.” With disruption as his aim, he led uninvited costumed tours through the galleries of SoHo, occupied Fifth Avenue gutters, and burst into banks and boutiques in his gender-confounding ensembles. Varble made the recombination of signs for gender a central theme in his increasingly outrageous costumes and performances. While maintaining he/him as his pronouns, Varble performed gender as an open question in both his life and his work, sometimes identifying as a female persona, Marie Debris, and sometimes playing up his appearance as a gay man. Only later would the term “genderqueer” emerge to describe the kind of self-made, non-binary gender options that Varble adopted throughout his life and in his disruptions of the 1970s art world.

At the pinnacle moment of Varble’s public performances, the photographer Greg Day (b. 1944) captured the inventiveness and energy of his genderqueer costume confrontations. Trained as an artist and anthropologist and with a keen eye for documenting ephemeral culture as it flourished, Day took hundreds of photographs of Varble’s trash couture, public performances, and events in 1975 and 1976. Varble understood the importance of photographers, and Day was his most important photographic collaborator. This exhibition brings together a selection of Day’s photographs of Varble performing his costume works and also includes Day’s photographs of Varble’s friends and collaborators such as Peter Hujar, Jimmy DeSana, Shibata Atsuko, Agosto Machado, and Warhol stars Jackie Curtis, Taylor Mead, and Mario Montez.

Varble sought to make a place for himself outside of art’s institutions and mainstream cultures all the while critiquing them both. The story of Varble told through Day’s photographs is both about their synergistic artistic friendship and about the queer networks and communities that made such an anti-institutional and genderqueer practice imaginable. Together, Varble and Day worked to preserve the radical potential of Gutter Art for the future.

The Gutter Art of Stephen Varble builds upon the 2018 retrospective exhibition of Stephen Varble’s work at the Leslie-Lohman Museum of Gay and Lesbian Art, New York, titled Rubbish and Dreams: The Genderqueer Performance Art of Stephen Varble, as featured in the New York Times on January 11, 2019. The new ONE Gallery exhibition, with its focus on the collaboration of Varble with the photographer Greg Day, will explore the ways in which Varble’s disruptive guerrilla performance art has lived on primarily through vibrant photographs that captured his inventive costumes, transformed trash, and public confrontations.

The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s photographs by Greg Day is curated by David J. Getsy, Goldabelle McComb Finn Distinguished Professor of Art History at the  School of the Art Institute of Chicago. The Gutter Art of Stephen Varble is organised by the ONE Archives Foundation, Inc. Generous support is provided by the City of West Hollywood.

About the ONE Archives Foundation, Inc.

The ONE Archives Foundation, Inc. is an independent 501(c)(3) dedicated to telling the accurate and authentic stories of LGBTQ people, history and culture through public exhibitions, educational projects and trainings, and community outreach programs. Our exhibitions, school programs, and community outreach programs are free. We depend entirely on members of the public and private foundations for support.

Press release from the ONE Gallery [Online] Cited 10/04/2019

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery showing, at left, a still from Stephen Varble’s video Journey to the Sun (1978-1983); and at right Greg Day’s Stephen Varble in the Piggy Bank Dress (1975)

 

Stephen Varble (American, 1946-1984)
Journey to the Sun
1978-1983
U-matic video transferred to digital, 2018
Courtesy David J. Getsy

 

 

Varble receded from the art world and from street performance around 1977, becoming ever-more critical of commodification and capitalism. As he told an interviewer that year, “This is the age of pornography and contempt. The dollar is good. […] The end of capitalism is coming.” Varble instead began to develop private performances and videos about his private mythologies and messianic dreams. His last five years were consumed with working on an epic, operatic work of video art: Journey to the Sun. It started in 1978 as a performance about the mythology of Greta Garbo, and Varble invited friends to his Riverside Drive apartment to view his monologues accompanied by project slides. His ambitions soon outgrew this format, and he turned to video for its ability to combine text, image and performance. He considered these videos to be revivals of illuminated Medieval manuscripts with their rich visual play between words and pictures, and he called his group of collaborators in the video the “Happy Arts School of Manuscript Illumination.” The aim of the “school” was to promote Varble’s vision of societal transformation through the making of modern fables in the form of videos, books, and prints. His “video books,” as he called the tapes, offered an “antidote to nature’s ruin on this heavenly globe.”

Journey to the Sun tells the story of a musician, the Grey Crowned Warbler, who undergoes tribulation and metamorphosis on a journey to transcendence. The tale is a loosely autobiographical fable of an artist who encounters a stern mystical teacher, Sage Purple Pythagoras (played by his partner, Daniel Cahill) who tests the Warbler. Many of Varble’s iconic costumes feature in the video, and he combined elements of his own history with references to literature, religion, and popular culture (notably, Garbo). Combining heavily scripted monologues with improvised performances. Journey to the Sun does not offer a tidy or easily understood narrative. Rather, it sketches a fantastic and surreal visual world in which dreams are realised through the transformations of everyday objects, popular imagery, and rubbish.

To make this “rodeo-paced” video, Varble filled his apartment with drawings and writings on the walls, blacked out the windows, and began filming scenes both scripted and improvised with collaborators. Journey to the Sun is remarkable for its time due to the complexity and density of the video editing – all of which was done by Varble in his apartment. He only completed about thirty percent of his planned work before his death from AIDS-related complications in January 1984. This screening copy presents a continuous segment of around 80 minutes that has been selected from the three surviving U-matic master tapes, but no changes have been made other than the choice of where to begin and end this combined excerpt. This is but a fragment of the much longer video epic Varble hoped would be his major contribution.

Wall text from the exhibition

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery showing Stephen Varble’s Blue Boy

 

 

“One afternoon, Stephen invited me to accompany him to a performance in midtown Manhattan. He bought Blue Boy with him. We took the F train uptown from Washington Square. Sitting on the subway car bench and wearing his Chemical Bank Protest attire. Stephen hugged, kissed, fondled and poked Blue Boy. He spoke to him in an affectionate and sometimes argumentative language of moans, “ohs” and clicks. I sat across from him and watched as people entered the car. They stared, laughed, gasped, and made disparaging remarks about his sanity before moving to another part of the subway car. Even riding the train was an opportunity for Stephen to shock.”

Greg Day
Wall text from the exhibition

 

Gutter Art: Stephen Varble and Genderqueer Performance on the Streets of 1970s New York with David J. Getsy from Leslie-Lohman Museum on Vimeo.

 

Gutter Art: Stephen Varble and Genderqueer Performance on the Streets of 1970s New York with David J. Getsy

 

Greg Day. 'Stephen Varble at the 12th Annual Avant-Garde Festival' 1975

 

Greg Day (American, b. 1944)
Stephen Varble at the 12th Annual Avant-Garde Festival
1975
Digital print
© Greg Day 2019

 

 

ONE Gallery, West Hollywood
626 N. Robertson Boulevard
West Hollywood, CA 90069

Opening hours:
Thursday – Sunday: 11.00 am – 2.00 pm and 3.00 pm – 6.00 pm
Closed Monday – Wednesday

ONE Archives website

ONE Gallery, West Hollywood website

LIKE ART BLART ON FACEBOOK

Back to top

30
Mar
19

Exhibition: ‘Arnold Kramer: Domestic Scenes’ at Joseph Bellows Gallery, La Jolla, California

Exhibition dates: 15th February – 12th April 2019

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

 

I really like these.

While I disagree with some of the statements in the press release – I don’t see much Minor White in these photographs except for the occasional door/window, some small whiteness in these photographs, and his negatives aren’t that good – these photographs evidence Arnold Kramer’s unique way of seeing the world.

A dash of Walker Evans, a little Lewis Baltz (with the added smooth high values and distinct cool drama of a cold light head enlarger), a bit of Diane Arbus and her settings, and very much New Topographics for the interior space, they capture an original vision of these domestic scenes.

It’s the concept, high key, light, use of flash, wide angle lens and clinical presence that gets me in. As the press release correctly observes, “Kramer has a unique way of creating a three dimensional scene within the sheet of a two dimensional photographic paper: In his photographs of rooms, objects and patterns that can appear to look haphazard and random are flattened out and pieced together to create a marvellous kind of collage effect.”

This piecing together can be seen in the last photograph in the posting, where I analyse Kramer’s construction of pictorial space. He loves shapes thrusting in from the bottom of the image, or falling from the top, creating this complex assemblage flattened on the page. Very frontal, formal, banal as beauty (or the other way round), structured.

Ralph Gibson says: “I’m lucky to have a subconscious really” – Weston, Evans, and White can join in on that. But not Kramer. He doesn’t need the subconscious… for these images, with their paired back aesthetic, are almost scientific in their analytical probing. It’s as though the subconscious has been banished to be replaced by the cerebral.

A gesture of denial and concern at one and the same time – denial of the actual human inhabitants, and concern for their in/habitation – their habits and habitats.

Marcus

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

 

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches
Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

 

These black and white photographs, with their sharp eye for the pattern and details of domestic settings, established Kramer as a distinct talent whose avoidance of “romantic bombast” and “emphasis on formal clarity,” made his pictures particularly fresh, when they were exhibited by Jane Livingston at the Corcoran Gallery of Art in 1978. In their emphasis on emotionally restrained, frontal views of rooms they look back and reference the work of Walker Evans, especially Evans’ Message From the Interior. In their attention to pattern and line as visual motifs within everyday spaces, he reveals his bond with another 20th century photographic master, his mentor Minor White.

Kramer has a unique way of creating a three dimensional scene within the sheet of a two dimensional photographic paper: In his photographs of rooms, objects and patterns that can appear to look haphazard and random are flattened out and pieced together to create a marvellous kind of collage effect. “I try to strike a balance between commitment to craft and commitment to seeing,” Kramer once explained.

The impact of this thinking is evident in his seductive series of interiors, which began with pictures made in the Baltimore home of his wife’s parents. The range of interiors expanded to include settings in homes of friends, family and others that spanned Baltimore, Washington and his hometown of Boston/Cambridge.

“These places transcend their own banality to become rather fabulously beautiful,” Kramer aptly asserted. For Kramer, meeting Minor White was pivotal. He enrolled in one of White’s classes while earning a Master’s Degree in Electric Engineering at the Massachusetts Institute of Technology (completed in 1968). On the basis of some pictures he had made for his high school yearbook, White allowed him to enter his advanced class in photography at M.I.T. and ultimately became Kramer’s mentor. He studied with White for five years beginning in 1967 and it was White’s insistence that his students strive for original vision in their work as much as excellent technique that was crucial to Kramer’s development as an artist.

He was the recipient of fellowships from the National Endowment for the Arts in both 1975 and 1979. From 1970 until 1981, Kramer was on the faculty of the School of Architecture at the University of Maryland, teaching undergraduate and graduate courses in still photography. During the 1980s, he also had a flourishing practice as an architectural and commercial photographer in Washington, D.C. He has served on the staff of the United States Holocaust Memorial Museum since 1987, heading up its Information Office and overseeing its technological initiatives for exhibitions and national outreach, as well as creating photographs for its archives and exhibits. Among collections in which Arnold Kramer is represented include: Birmingham Museum of Art, Corcoran Gallery of Art, National Museum of American Art, Addison Gallery of American Art and The Baltimore Museum of Art.

Press release from the Joseph Bellows Gallery Cited 04/03/2019

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer (American, 1944-2017) 'Interior view' 1977

 

Arnold Kramer (American, 1944-2017)
Interior view
1977
Gelatin silver print
11 x 14 inches

 

Arnold Kramer graphic

 

Arnold Kramer picture construction graphic

 

 

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

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

Joseph Bellows Gallery website

LIKE ART BLART ON FACEBOOK

Back to top

24
Mar
19

Exhibition: ‘Bill Viola/Michelangelo: Life, Death, Rebirth’ at the Royal Academy of Arts, London

26th January – 31st March 2019

 

Bill Viola. 'Nantes Triptych' 1992

 

Bill Viola (American, born 1951)
Nantes Triptych (still)
1992
Video/sound installation
Courtesy Bill Viola Studio
Photo: Kira Perov

 

 

Bill Viola (American, born 1951)
Nantes Triptych (extract)
1992
Video/sound installation
Courtesy Bill Viola Studio

 

 

Far from heaven

On the surface (and there’s a key word), this exhibition pairs these two artists together as a form of immaculate concept(ion).

“Though working five centuries apart and in radically different media, these artists share a deep preoccupation with the nature of human experience and existence. Bill Viola / Michelangelo creates an artistic exchange between these two artists… It [the exhibition] proposes a dialogue between the two artists, considering Viola as an heir to a long tradition of spiritual and affective art, which makes use of emotion as a means of connecting viewers with its subject matter.” (Press release)

At the heart of both artists work is an exploration of the body as a vessel for the eternal soul, where the use of the body gives shape (through fundamental human experiences and emotions) to spirituality, and where both artists consider metaphysical questions about the nature of existence and reality.

One of the successes of the exhibition (when seen from afar) is the undoubted connection across time, space and culture between two human beings investigating what it is to be human: as Viola puts it, an understanding and awareness of “a deeper tradition, an undercurrent stretching across time and cultures… the ancient spiritual tradition that is concerned with self-knowledge.” In Viola’s work it is an essence of self reflection, the self reflection in water of the first humans, that recognition of self – that idea of self knowledge that is built into water – and his use of water (and other elements such as fire) as an immersive, nurturing, entombing, womb death environment in many of his video installations, that provides the impetus for his investigation.

But I have a nagging doubt about this pairing.

Viola’s work seems to be of a different order (of being) than that of Michelangelo. Even though Viola’s work connects the viewer to its subject matter through feeling and emotion, these feelings and emotions are viewed from the outside (Man Searching for Immortality / Woman Searching for Eternity). The camera objectifies this theatre of creation for our viewing pleasure. The video installations are performances which seem to be of a different kingdom to me (performance, theatre, spectacle) – whereas Michelangelo’s drawings seem to emanate from within. Not chemical, not organic, but something else which is so deeply embodied that they seem to come close to enlightenment.

How Viola fits into the great catalogue – we can only take in by what he tells us. And in time.

Because this spiritual investigation is mostly seen “through a glass darkly”, sometimes it has a, scent of being, not genuine – sometimes because we are all imperfect artists – but sometimes, through someone like Hilma af Klint, or Hokusai or, in this case, Michelangelo (“Michael angel”) it is much much more transparent… and closer to the surface. Am I making sense?

Sometimes they are about something I may somewhat understand in this lifetime (Viola) and sometimes they are about something that I don’t believe has been “released” to humanity fully. Perhaps a form of internal esoteric knowledge that may eventually be revealed to humanity. A mystery (derived from ‘mystic’ or ‘mysticism’ from the Greek μυω, meaning “to conceal”) which may reveal truths that surpass the powers of natural reason, a truth that transcends the created intellect.

Dr Marcus Bunyan for Art Blart

 

PS. The poem below has the terror of the sublime. A perfect picture of detachment and very nearly a complete picture of enlightenment. Is the human condition different from all other conditions? – that is the $64,000 question – if you say “no”, then this is a true poem. And of course, from the depths of the soul, who is having this conversation?

.
Many thankx to the Royal Academy of Arts for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

Is it far to go?

Is it far to go?
A step – no further.
Is it hard to go?
Ask the melting snow,
The eddying feather.

What can I take there?
Not a hank, not a hair.
What shall I leave behind?
Ask the hastening wind,
The fainting star.

Shall I be gone long?
For ever and a day.
To whom there belong?
Ask the stone to say,
Ask my song.

Who will say farewell?
The beating bell.
Will anyone miss me?
That I dare not tell –
Quick, Rose, and kiss me.

 

Cecil Day-Lewis

Cecil Day-Lewis (1904-1972) was appointed poet laureate by Queen Elizabeth II. He was an Irish poet and essayist, and a writer of mystery novels under the pen name of Nicholas Blake. He is the father of the actor Daniel Day-Lewis. The third stanza of this poem serves as the epitaph on his gravestone. “Rose” refers to Rosamond Lehmann, the British novelist who was his lover when he wrote this verse in the 1940’s.

 

 

This exhibition pairs Bill Viola’s powerful installations with rarely-seen drawings by Michelangelo. Journey through the cycle of life in our immersive and unparalleled show.

Michelangelo is best known for the Sistine Chapel and for his large sculptures. Yet his smaller, more intimate drawings take us closer to the spiritual and emotional power of his work. They were created for his private use, or as gifts of love, and would soon become known as “drawings the likes of which was never seen”.

In 2006, the pioneering video artist Bill Viola saw a collection of these works at Windsor Castle. He was moved by their ability to convey fundamental human experiences and emotions, and by Michelangelo’s use of the body to give shape to spirituality.

Viola’s large-scale video installations are likewise works of profound emotional impact. They combine sound and moving image to create absorbing works which slow us down and invite us to experience and reflect. These works are shown alongside Michelangelo drawings, which are on display in the UK for the first time in almost a decade.

This exhibition – created in close collaboration with Bill Viola Studio – is a unique opportunity to experience two artists, born centuries apart, in a new light.

Text from the RA website

 

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation views of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London showing:

Michelangelo Buonarroti (Italian, 1475-1564) LEFT
The Resurrection
c. 1532
Black chalk
Lent by Her Majesty the Queen

Michelangelo Buonarroti (Italian, 1475-1564) CENTRE
The Risen Christ
c. 1532-3
Black chalk on paper
37.2 x 22.1 cm
Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019

Michelangelo Buonarroti (Italian, 1475-1564) RIGHT
The Resurrection
c. 1532-33
Black chalk

Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

Michelangelo Buonarroti (Italian, 1475-1564) 'The Resurrection' c. 1532

 

Michelangelo Buonarroti (Italian, 1475-1564) LEFT
The Resurrection
c. 1532
Black chalk
Lent by Her Majesty the Queen

 

 

In the early 1530s Michelangelo drew the Resurrection of Christ more than a dozen times, for unknown reasons. Here he presents the transition to the eternal as a triumphant release, Christ as an explosion of energy amid the sepulchral gloom of the terrestrial sphere. The soldiers are prisoners of their earthly existence, lost in a death-like sleep, or recoiling from Christ in confusion at a sight beyond their comprehension.

Wall text

 

Michelangelo Buonarroti. 'The Risen Christ' c. 1532-3

 

Michelangelo Buonarroti (Italian, 1475-1564) CENTRE
The Risen Christ
c. 1532-3
Black chalk on paper
37.2 x 22.1 cm
Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019

 

In no other work by Michelangelo is the Resurrection expressed with such exuberance. Christ is long and virile, his muscular form modelled with tiny stokes of chalk, as highly finished as any of Michelangelo’s mythological drawings. It is perhaps paradoxical that a drawing of the triumph of the soul should so strongly emphasise Christ’s body, but his almost polished torso reflects the radiant light with a glory that transcends reality.

Wall text

 

Michelangelo Buonarroti (Italian, 1475-1564) 'The Resurrection' c. 1532

 

Michelangelo Buonarroti (Italian, 1475-1564) RIGHT
The Risen Christ
c. 1532-3
Black chalk on paper
37.2 x 22.1 cm
Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation views of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London showing:

Michelangelo Buonarroti (Italian, 1475-1564) LEFT
Christ on the Cross with the Virgin and St John
c. 1560-64
Black chalk, white heightening and a touch of red chalk
Lent by Her Majesty the Queen

Michelangelo Buonarroti (Italian, 1475-1564) RIGHT
Christ on the Cross with the Virgin and St John
c. 1560-64
Black chalk with white heightening
Lent by Her Majesty the Queen

Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

Michelangelo Buonarroti (Italian, 1475-1564) 'Christ on the Cross with the Virgin and St John' c. 1560-64

 

Michelangelo Buonarroti (Italian, 1475-1564) LEFT
Christ on the Cross with the Virgin and St John
c. 1560-64
Black chalk, white heightening and a touch of red chalk
Lent by Her Majesty the Queen

 

 

To the right, the hunched figure of St John is list in desolation, his arms tightly folded as if shivering, his mouth open in a pain both physical and mental. The patch of red chalk at Christ’s feet is probably deliberate, symbolic of the sacrificial blood that was shed on the Cross.

 

Michelangelo Buonarroti (Italian, 1475-1564) 'Christ on the Cross with the Virgin and St John' c. 1560-64

 

Michelangelo Buonarroti (Italian, 1475-1564) RIGHT
Christ on the Cross with the Virgin and St John
c. 1560-64
Black chalk with white heightening
Lent by Her Majesty the Queen

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation view of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London showing Michelangelo Buonarroti, The Virgin and Child with the Infant St John, c. 1504-05 at centre. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

Michelangelo Buonarroti. 'The Virgin and Child with the Infant St John' c.1504-05

 

Michelangelo Buonarroti (Italian, 1475-1564)
The Virgin and Child with the Infant St John (Taddei Tondo)
c. 1504-05
Marble relief
107 x 107 x 22 cm
Royal Academy of Arts, London. Bequeathed by Sir George Beaumont, 1830
© Royal Academy of Arts, London
Photo: Prudence Cuming Associates Limited

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation view of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London with Michelangelo’s The Virgin and Child with the Infant St John (Taddei Tondo) c. 1504-05 at left, and Bill Viola’s Nantes Triptych, 1992 at right. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation view of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London. Bill Viola, Nantes Triptych, 1992. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

Michelangelo Buonarroti. 'The Lamentation over the Dead Christ' c. 1540

 

Michelangelo Buonarroti (Italian, 1475-1564)
The Lamentation over the Dead Christ
c. 1540
Black chalk
28.1 x 26.8 cm
The British Museum, London. Exchanged with Colnaghi, 1896, 1896,0710.1
© The Trustees of the British Museum

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation views of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

 

In January 2019, the Royal Academy of Arts brings together the work of the pioneering video artist, Honorary Royal Academician Bill Viola (b. 1951), with drawings by Michelangelo (1475-1564). Though working five centuries apart and in radically different media, these artists share a deep preoccupation with the nature of human experience and existence. Bill Viola / Michelangelo creates an artistic exchange between these two artists and is a unique opportunity to see major works from Viola’s long career and some of the greatest drawings by Michelangelo, together for the first time. It is the first exhibition at the Royal Academy largely devoted to video art and has been organised in partnership with Royal Collection Trust.

The exhibition comprises 12 major video installations by Viola, from 1977 to 2013, being shown alongside 15 works by Michelangelo. They include 14 highly finished drawings, considered to be the high point of Renaissance drawing, as well as the Royal Academy’s Taddei Tondo. It proposes a dialogue between the two artists, considering Viola as an heir to a long tradition of spiritual and affective art, which makes use of emotion as a means of connecting viewers with its subject matter. It also aims to recapture the spiritual and emotional core of Michelangelo, beyond the awesome grandeur of his works.

Viola first encountered the works of the Italian Renaissance in Florence in the 1970s where he spent some of his formative years. A residency at the J Paul Getty Museum, Los Angeles, in 1998 renewed his interest in Renaissance art and in the shared affinities with his own practice. In 2006, Viola visited the Print Room at Windsor Castle to see Michelangelo’s exquisite drawings, which he had known in reproduction since his youth. The meeting proved a catalyst for the exhibition, which evolved as a conversation between Viola and Martin Clayton, Head of Prints and Drawings at Royal Collection Trust. Rather than setting up direct comparisons between the artists or suggesting that Michelangelo has been an instrumental influence on Viola’s work, the exhibition examines the affinities between them, bringing together specific works to explore resonances in their treatment of the fundamental questions: the nature of being, the transience of life, and the search for a greater meaning beyond mortality.

Viola stated, “Through my travels and experiences first in Florence, then primarily in non-Western cultures, and in combination with my readings in ancient philosophy and religion, I began to be aware of a deeper tradition, an undercurrent stretching across time and cultures… the ancient spiritual tradition that is concerned with self-knowledge.” Throughout his career, Viola has experimented with large-scale video installations; he is one of the first artists to have conceived video on an immersive architectural scale. He has increasingly utilised his medium’s fundamental elements – light, sound and time – to create visceral works that consider metaphysical questions about the nature of existence and reality. Unusually for video, they give shape to inner states of being rather than mirroring the world around us.

The exhibition presents Michelangelo’s works as more than examples of genius and virtuosity, revealing a personality that was frequently vulnerable. The drawings included were executed in the last 35 years of his life, some as gifts and expressions of love for close friends, others as private meditations on his own mortality. Religious imagery of the Virgin and Child, the Crucifixion and the Resurrection reflect on the presence of death and the eternal. In others, references to Classical mythology act as metaphors for the human condition. At their heart, as with Viola’s work, is an exploration of the body as a vessel for the eternal soul.

The exhibition is conceived as an immersive journey through the cycles of life, exploring the transience and tumult of existence and the possibility of rebirth. It begins and ends with a pairing of works that reflect on a central paradox: the presence of death in life. Michelangelo’s The Virgin and Child with the Infant St John the Baptist, c. 1504-05, known as the Taddei Tondo, depicts the Baptist holding a fluttering bird from which the infant Christ recoils, the scene heralding his eventual sacrifice on the Cross. It is being displayed alongside Viola’s The Messenger, 1996 (Bill Viola Studio), which uses the metaphor of water to depict the eternal cycle of birth, life and death. The theme is being further explored in drawings relating to the Virgin and Child, as well as the Lamentation, c. 1540 (British Museum, London), which is being shown facing Viola’s Nantes Triptych, 1992 (Bill Viola Studio), three screens that individually portray a woman giving birth, a figure floating in a mysterious half-light, and Viola’s own mother on her deathbed. Viola stated, “It is the awareness of our own mortality that defines the nature of human beings”.

The exhibition continues with a series of installations by Viola that reflect on the nature of human experience, as one set by moral and ethical choices, besieged by fears and ultimately experienced in solitude. At the centre of the exhibition is Michelangelo’s extraordinary Presentation Drawings of the 1530s (loaned by Her Majesty The Queen, Royal Collection, London), which he produced as gifts for Tommaso de’ Cavalieri, a young Roman nobleman for whom he developed a deep love. Demonstration pieces relating to the craft of drawing with chalk, they also explore complex myths and Neoplatonic concepts, and were created as expressions of devotion towards their recipient. They include the Tityus, 1532, which acts as an allegory for the opposed forms of love in Neoplatonic philosophy: the punishment of base lust devoid of spiritual love. Further drawings by Michelangelo explore similar allegorical struggles in life, from the labours of Hercules to the fall of Phaeton. These are being shown in opposition to the quiet stillness of Viola’s Man Searching for Immortality/Woman Searching for Eternity, 2013 (Bill Viola Studio). Life-size images of an ageing man and woman are projected onto two black granite slabs, showing them slowly examining every inch of their naked bodies by torchlight, unable to hide from their earthly state.

The final galleries include a series of works that more directly consider mortality and the possibility of rebirth. Among them are Michelangelo’s most poignant drawings, two Crucifixions from the final years of his life. The exhibition concludes two of Viola’s most majestic works; the monumental projections, Fire Woman, 2005, (Bill Viola Studio), and Tristan’s Ascension (The Sound of a Waterfall Under a Mountain), 2005 (Bill Viola Studio). They depict bodies falling and rising out of view, in different ways conjuring the body’s final journey and the passage of the spirit, in obscurity or in glory.

Press release from the RA Cited 23/02/2019

 

 

 

Bill Viola (American, born 1951)
Tristan’s Ascension (The Sound of a Mountain Under a Waterfall) (extract)
2005
Video/sound installation
Performer: John Hay
Courtesy Bill Viola Studio
Photo: Kira Perov

 

Bill Viola. 'Tristan's Ascension (The Sound of a Mountain Under a Waterfall)' 2005

 

Bill Viola (American, born 1951)
Tristan’s Ascension (The Sound of a Mountain Under a Waterfall) (still)
2005
Video/sound installation
Performer: John Hay
Courtesy Bill Viola Studio
Photo: Kira Perov

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation view of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London showing Bill Viola’s Tristan’s Ascension (The Sound of a Mountain Under a Waterfall) 2005 (still). Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

 

Bill Viola, Fire Woman and Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), St Carthage’s Church, Parkville, Melbourne

 

Bill Viola. 'Fire Woman' 2005

 

Bill Viola (American, born 1951)
Fire Woman (still)
2005
Video/sound installation
Performer: Robin Bonaccorsi
Courtesy Bill Viola Studio
Photo: Kira Perov

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation view of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London showing Bill Viola’s Fire Woman 2005 (still). Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation view of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London. Bill Viola, The Veiling, 1995. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation view of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London. Bill Viola, Five Angels for the Millenium, 2001. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

 

Bill Viola, “Departing Angel”, from Five Angels for the Millennium 2001 (excerpt)

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation views of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London. Bill Viola, The Dreamers, 2013. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

 

The Dreamers (2013) consists of seven individual screens, which depict underwater portraits of people who appear to be sleeping. Accompanied by the gentle sounds of water, the viewer is led to feel as if they themselves are submerged with these figures. In this spiritual, immersive subterranean environment, ultimate interpretation is left for the viewer to define, through the lens of their own experiences. (excerpt)

 

 

Bill Viola, The Dreamers (excerpt)

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation view of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London. Bill Viola, Man Searching for Immortality/Woman Searching for Eternity, 2013. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

 

Bill Viola, Man Searching for Immortality/Woman Searching for Eternity, 2013 (excerpt)

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation view of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London. Bill Viola, The Sleep of Reason, 1988. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation view of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London. Bill Viola, Slowly Turning Narrative, 1992. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

 

Bill Viola, The Messenger 1996 (excerpt)

 

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

Installation view of the exhibition 'Bill Viola/Michelangelo: Life, Death, Rebirth' at the Royal Academy of Arts, London

 

Installation views of the exhibition Bill Viola/Michelangelo: Life, Death, Rebirth at the Royal Academy of Arts, London. Bill Viola, The Messenger, 1996. Exhibition organised by the Royal Academy of Arts, London in partnership with Royal Collection Trust and with the collaboration of Bill Viola Studio. David Parry / © Royal Academy of Arts

 

 

Royal Academy of Arts
Burlington House, Piccadilly,
London, W1J 0BD

Opening hours:
Daily 10am – 6pm
Friday 10am – 10pm

Royal Academy of Arts website

LIKE ART BLART ON FACEBOOK

Back to top

16
Feb
19

Exhibition: ‘Ansel Adams in Our Time’ at the Museum of Fine Arts, Boston

Exhibition dates: 13th December 2018 – 24th February 2019

 

Ansel Adams (American, 1902-1984) 'The Golden Gate Before the Bridge, San Francisco' 1932

 

Ansel Adams (American, 1902-1984)
The Golden Gate Before the Bridge, San Francisco
1932
Gelatin silver print
49.5 x 69.9 cm (19 1/2 x 27 1/2 in.)
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston

 

 

Ansel Adams is a wonderful classical, (clinical?), formal photographer… but a photographer of people, Native Indians, Indian dances and the urban landscape, he ain’t. Simply put, he’s not much good at these subjects. In this posting, best stick with what he’s really good at – beautifully balanced art and environmental activist photographs. Oh, the light and form! Images that teeter towards the sublime held in check by F64, perspective and objectivity.

Interesting to have the historical work to riff off, and “contemporary artists whose modern-day concerns centred on the environment, land rights, and the use and misuse of natural resources point directly to Adams’ legacy” … but as with so many exhibitions that try to place an artist within a historical and contemporary context, their work is not necessary. In fact, it probably diminishes the utopian vision of one of the world’s best known photographers.

Marcus

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

 

Ansel Adams in Our Time traces the iconic visual legacy of Ansel Adams (1902-1984), presenting some of his most celebrated prints, from a symphonic view of snow-dusted peaks in The Tetons and Snake River, Grand Teton National Park, Wyoming (1942) to an aerial shot of a knotted roadway in Freeway Interchange, Los Angeles (1967). The exhibition looks both backward and forward in time: his black-and-white photographs are displayed alongside prints by several of the 19th-century government survey photographers who greatly influenced Adams, as well as work by contemporary artists whose modern-day concerns centred on the environment, land rights, and the use and misuse of natural resources point directly to Adams’ legacy.

While crafting his own modernist vision, Adams was inspired by precursors in government survey and expedition photography such as Carleton Watkins (1829-1916), Eadweard Muybridge (1830-1904), Timothy O’Sullivan (1840-1882) and Frank Jay Haynes (1853-1921), who worked with large bulky cameras and glass-plate negatives and set off into the wilderness carrying their equipment on mules. In some cases, Adams replicated their exact views of the Yosemite Valley, Canyon de Chelly, and Yellowstone, producing images that would become emblematic of the country’s national parks. In Clearing Winter Storm, Yosemite National Park (about 1937), the granite crags of the Yosemite Valley are wreathed in clouds after a sudden storm. Executed with unrivalled sensitivity and rigorous exactitude, the artist’s photographs popularised the notion that the American West was a pristine, and largely uninhabited, wilderness.

Ansel Adams in Our Time also brings Adams forward in time, juxtaposing his work with that of contemporary artists such as Mark Klett (born 1962), Trevor Paglen (born 1974), Catherine Opie (born 1961), Abelardo Morell (born 1948), Victoria Sambunaris (born 1964), and Binh Danh (born 1977). The more than 20 present-day photographers in the exhibition have not only been drawn to some of the same locations, but also engaged with many of the themes central to Adams’ legacy: desert and wilderness spaces, Native Americans and the Southwest, and broader issues affecting the environment: logging, mining, drought and fire, booms and busts, development, and urban sprawl.

Adams’ stunning images were last on view at the MFA in a major exhibition in 2005; this new, even larger presentation places his work in the context of the 21st century, with all that implies about the role photography has played – and continues to play – in our changing perceptions of the land. The Adams photographs in the exhibition are drawn from the Lane Collection, one of the largest and most significant gifts in MFA history.

Text from the MFA website

 

Ansel Adams (American, 1902-1984) 'Lone Pine Peak, Sierra Nevada, California' 1948

 

Ansel Adams (American, 1902-1984)
Lone Pine Peak, Sierra Nevada, California
1948
Gelatin silver print
38.8 x 49.1 cm (15 1/4 x 19 5/16 in.)
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston

 

Ansel Adams (American, 1902-1984) 'Marion Lake, Kings River Canyon, California' c. 1925

 

Ansel Adams (American, 1902-1984)
Marion Lake, Kings River Canyon, California (from Parmelian Prints of the High Sierras)
c. 1925; print date: 1927
Gelatin silver print
14.6 x 19.8 cm (5 3/4 x 7 13/16 in.)
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston

 

Ansel Adams (American, 1902-1984) 'Early Morning, Merced River Canyon, Yosemite National Park' c. 1950

 

Ansel Adams (American, 1902-1984)
Early Morning, Merced River Canyon, Yosemite National Park
c. 1950
Gelatin silver print
Image/Sheet: 39.4 x 49.7 cm (15 1/2 x 19 9/16 in.)
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston

 

Ansel Adams (American, 1902-1984) 'Cliff Palace, Mesa Verde National Park, Colorado' 1941

 

Ansel Adams (American, 1902-1984)
Cliff Palace, Mesa Verde National Park, Colorado
1941
Gelatin silver print
Image/Sheet: 19.1 x 23.8 cm (7 1/2 x 9 3/8 in.)
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston

 

Ansel Adams (American, 1902-1984) 'Thunderstorm, Ghost Ranch, Chama River Valley, Northern New Mexico' 1937

 

Ansel Adams (American, 1902-1984)
Thunderstorm, Ghost Ranch, Chama River Valley, Northern New Mexico
1937; print date: about 1948
Gelatin silver print
16.6 x 22.9 cm (6 9/16 x 9 in.)
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston

 

Ansel Adams (American, 1902-1984) 'Clearing Winter Storm, Yosemite National Park' c. 1937

 

Ansel Adams (American, 1902-1984)
Clearing Winter Storm, Yosemite National Park
c. 1937
Gelatin silver print
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston
© The Ansel Adams Publishing Rights Trust

 

Ansel Adams (American, 1902-1984) 'Freeway Interchange, Los Angeles' 1967

 

Ansel Adams (American, 1902-1984)
Freeway Interchange, Los Angeles
1967
Gelatin silver print
37.2 x 34.8 cm (14 5/8 x 13 11/16 in.)
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston

 

Ansel Adams (American, 1902-1984) 'Self‑Portrait, Monument Valley, Utah' 1958

 

Ansel Adams (American, 1902-1984)
SelfPortrait, Monument Valley, Utah
1958
Gelatin silver print
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston
© The Ansel Adams Publishing Rights Trust

 

 

Ansel Adams (1902-1984) is the rare artist whose works have helped to define a genre. Over the last half-century, his black-and-white photographs have become, for many viewers, visual embodiments of the sites he captured: Yosemite and Yellowstone National Parks, the Sierra Nevada, the American Southwest and more. These images constitute an iconic visual legacy – one that continues to inspire and provoke. Organised by the Museum of Fine Arts, Boston (MFA), Ansel Adams in Our Time offers a new perspective on one of the best-known and most beloved American photographers by placing him into a dual conversation with his predecessors and contemporary artists. While crafting his own modernist vision, Adams followed in the footsteps of 19th-century forerunners in government survey and expedition photography such as Carleton Watkins, Eadweard Muybridge, Timothy O’Sullivan and Frank Jay Haynes. Today, photographers including Mark Klett, Trevor Paglen, Catherine Opie, Abelardo Morell, Victoria Sambunaris and Binh Danh are engaging anew with the sites and subjects that occupied Adams, as well as broader environmental issues such as drought and fire, mining and energy, economic booms and busts, protected places and urban sprawl. Approximately half of the nearly 200 works in the exhibition are photographs by Adams, drawn from the Lane Collection – one of the largest and most significant gifts in the MFA’s history, which made the Museum one of the major holders of the artist’s work. The photographs by 19th-century and contemporary artists are on loan from public institutions, galleries and private collectors. Ansel Adams in Our Time is on view in the Ann and Graham Gund Gallery from December 13, 2018 through February 24, 2019. Visitors are encouraged to use #AnselAdamsInOurTime to share their exhibition experiences on social media, as well as submit Adams-inspired landscape photos on Instagram for a chance to win an MFA membership, Ansel Adams publication and a private curatorial tour. Ansel Adams in Our Time is presented with proud recognition of The Wilderness Society and the League of Conservation Voters, made possible by Scott Nathan and Laura DeBonis. Sponsored by Northern Trust. Additional support from the Robert and Jane Burke Fund for Exhibitions, and Peter and Catherine Creighton. With gratitude to the Phillip Leonian and Edith Rosenbaum Leonian Charitable Trust for its generous support of Photography at the MFA.

“Ansel Adams is a larger-than-life figure in the field of photography, and the generous gift of more than 450 of his prints from the Lane Collection has inspired me to revisit his work. With this exhibition, I hope to open up new conversations around this seminal artist, by looking both backward and forward in time,” said Karen Haas, Lane Curator of Photographs. “I invite our visitors to explore the role that photography has historically played in our changing perceptions of the American West, as well as to consider Adams’ legacy of environmental activism – one that still speaks to us today.”

 

Exhibition overview

Capturing the View

Organised both thematically and chronologically into eight sections, the exhibition begins where Adams’ own photographic life began. Perhaps no place had a more lasting influence on him than Yosemite National Park, in his native California. Adams first visited Yosemite at age 14, bringing along a Kodak Box Brownie camera given to him by his father, and returned almost every year for the rest of his life. It was not only where he honed his skills, but also where he came to recognise the power of photographs to express emotion and meaning. Showcasing its spectacular granite peaks, lakes, rivers and waterfalls, Adams’ photographs of Yosemite have become virtually synonymous with the park itself. Adams, however, was not the first to take a camera into the mountains of California. He acknowledged his debt to the earliest photographers to arrive in the Yosemite Valley, including Carleton Watkins, who in the 1860s began to record scenic views with a cumbersome large-format camera and fragile glass plate negatives processed in the field. Watkins’ 19th-century photographs helped to introduce Americans “back east” to the nation’s dramatic western landscapes, while Adams’ 20th-century images made famous the notion of their “untouched wilderness.” Today, photographers such as Mark Klett are grappling with these legacies. Klett and his longtime collaborator Byron Wolfe have studied canonical views of Yosemite Valley by Adams and Watkins, using the latest technology to produce composite panoramas that document changes made to the landscape over more than a century, as well as the ever-growing presence of human activity.

 

Marketing the View

As a member of the Sierra Club, which he joined in 1919 at age 17, Adams regularly embarked on the environmental organisation’s annual, month-long “High Trips” to the Sierra Nevada mountains. He produced albums of photographs from these treks, inviting club members to select and order prints. This precocious ingenuity ultimately led to the Parmelian Prints of the High Sierras (1927) – one of the earliest experiments in custom printing, sequencing and distributing fine photographs. Sixteen of the 18 prints from the portfolio, including the iconic Monolith – The Face of Half Dome, are on view in the second gallery of the exhibition, which connects Adams’ innovations in marketing his views of the western U.S. to those of his predecessors. In the 19th century, an entire industry of mass-marketing and distributing images of “the frontier” emerged, catering to a burgeoning tourist trade. In addition to engravings and halftones published in books, magazines and newspapers, photographs such as Valley of the Yosemite from Union Point, No. 33 (1872) by Eadweard Muybridge were circulated through stereo cards, which allowed armchair travellers to experience remote places in three dimensions when viewed through a stereoscope. Today, photography remains closely linked with scenic vistas of the American West. Creating works in extended series or grids, artists including Matthew Brandt, Sharon Harper and Mark Rudewel seem to be responding to the earlier tradition of mass-marketing western views, using photography as a medium to call attention to the passage of time and the changing nature of landscapes.

 

San Francisco – Becoming a Modernist

The third section of the exhibition focuses on Adams’ hometown of San Francisco, which has long captured photographers’ imaginations with its rolling hills and dramatic orientation toward the water. The city’s transformation over more than a century – including changes made to the urban landscape following the devastating earthquake and fire in 1906 and the rise of skyscrapers in the later 20th century – can be observed in the juxtaposition of panoramas by Eadweard Muybridge and Mark Klett, taken from the same spot 113 years apart. Adams’ images of San Francisco from the 1920s and 1930s trace his development into a modernist photographer, as he experimented with a large-format camera to produce maximum depth of field and extremely sharp-focused images. During the Great Depression, Adams also took on a wider range of subjects, including the challenging reality of urban life in his hometown. He photographed the demolition of abandoned buildings, toppled cemetery headstones, political signs and the patina of a city struggling during difficult times. One sign of hope for the future at the time was the construction of the Golden Gate Bridge, which began in 1933. Adams’ The Golden Gate before the Bridge (1932), taken near his family home five years before the bridge’s opening in 1937, is displayed alongside four contemporary prints from the Golden Gate Bridge project (Private Collection, Cambridge) by Richard Misrach, taken from his own porch in Berkeley Hills. Placing his large-format camera in exactly the same position on each occasion, Misrach recorded hundreds of views of the distant span, at different times of the day and in every season. The series, photographed over three years from 1997 to 2000, was reissued in 2012 to mark the 75th anniversary of the Golden Gate’s landmark opening. The vast expanses of sky in Misrach’s works echo the focus on the massive cumulus cloud in the earlier photograph by Adams, who was fascinated with changing weather and landscapes with seemingly infinite space.

 

Adams in the American Southwest

Adams produced some of his most memorable images – among them, Moonrise, Hernandez, New Mexico (1941; print date: 1965-75) – during his frequent travels to the American Southwest. He was intrigued by the region’s distinctive landscape, brilliant sunlight and sudden dramatic storms, as well as its rich mix of cultures. Shortly after his first trip to New Mexico in 1927, Adams collaborated with author Mary Hunter Austin on the illustrated book Taos Pueblo (1930, Harvard Art Museums), for which he contributed 12 photographs that reflect his interest in Taos Pueblo’s architecture and activities. Adams shared Austin’s concern that the artistic and religious traditions of the Pueblo peoples were under threat from the increasing numbers of people traveling through or settling in the region. In contrast to the indigenous peoples of Yosemite, who had been forced out of their native lands many years earlier, Pueblo peoples were still living in their ancestral villages. On his return visits to the American Southwest, Adams often photographed the native communities, their dwellings and their ancient ruins. He also photographed Indian dances, which had become popular among tourists who came by train and automobile to be entertained and to buy pottery, jewellery and other souvenirs. Adams’ images of dancers, which emphasise their costumes, postures and expressions, therefore have a complex legacy, as he was one of the onlookers – though he carefully cropped out any evidence of the gathered crowds. Today, indigenous artists including Diné photographer Will Wilson, are creating work that responds to and confronts past depictions of Native Americans by white artists who travelled west to “document” the people who were viewed as a “vanishing race” in the late 19th and early 20th centuries.

 

Picturing the National Parks

The largest section of the exhibition examines the critical role that photography has played in the history of the national parks. In the 19th century, dramatic views captured by Carleton Watkins and other photographers ultimately helped convince government officials to take action to protect Yosemite and Yellowstone from private development. Adams, too, was aware of the power of the image to sway opinions on land preservation. In 1941 Harold Ickes, Secretary of the Interior, hired Adams to make a series of mural-sized photographs of the national parks for the capital’s new Interior Building. Although his government funding was cut short by America’s entry into World War II and the murals were never realised, Adams felt so strongly about the value of the project that he sought financial assistance on his own. He secured Guggenheim Foundation grants in 1946 and 1948, which allowed him to travel to national parks from Alaska to Texas, Hawaii to Maine. Marked by a potent combination of art and environmental activism, the photographs he made spread his belief in the transformative power of the parks to a wide audience. Many contemporary artists working in the national parks acknowledge, as Adams did, the work of the photographers who came before them. But the complicated legacies of these protected lands have led some – including Catherine Opie, Arno Rafael Minkkinen, Binh Danh and Abelardo Morell – to take more personal and political approaches to the work they are making in these spaces.

 

The Other Side of the Mountains

Adams made his reputation mainly through spectacular images of “unspoiled” nature. Less well known are the photographs he produced of the more forbidding, arid landscapes in California’s Death Valley and Owens Valley, just southeast of Yosemite. Here, on the other side of the Sierra Nevada, Adams’ work took a dramatic detour. Fellow photographer Edward Weston introduced Adams to Death Valley, where he captured images of sand dunes, salt flats and sandstones canyons. Owens Valley, located to the west, was once verdant farmland, but was suffering by the 1940s, its water siphoned off to supply the growing city of Los Angeles. In 1943, Adams also traveled to nearby Manzanar, where he photographed Japanese Americans forcibly relocated to internment camps shortly after the U.S. entered World War II. Trevor Paglen, Stephen Tourlentes and David Benjamin Sherry are among the contemporary photographers who continue to find compelling subjects in these remote landscapes. Some are drawn to them as “blank slates” upon which to leave their mark, while others explore the raw beauty of the desolate terrain and the many, sometimes unsettling ways it used today – including as a site for maximum-security prisons and clandestine military projects.

 

The Changing Landscape

Adams’ photographs are appreciated for their imagery and formal qualities, but they also carry a message of advocacy. The last two sections of the exhibition examine the continually changing landscapes of the sites once captured by Adams. In his own time, the photographer was well aware of the environmental concerns facing California and the nation – thanks, in part, to his involvement with the Sierra Club and Wilderness Society. As his career progressed, Adams began to move away from symphonic and pristine wilderness landscapes in favour of images that showed a more nuanced vision. He photographed urban sprawl, freeways, graffiti, oil drilling, ghost towns, rural cemeteries and mining towns, as well as quieter, less romantic views of nature, such as the aftermath of forest fires – subjects that resonate in new ways today. For contemporary photographers working in the American West, the spirit of advocacy takes on an ever-increasing urgency, as they confront a terrain continually altered by human activity and global warming. Works by artists including Laura McPhee, Victoria Sambunaris, Mitch Epstein, Meghann Riepenhoff, Bryan Schutmaat and Lucas Foglia bear witness to these changes, countering notions that natural resources are somehow limitless and not in need of attention and protection.

Press release from the MFA

 

Carelton E. Watkins. 'The Yosemite Falls' 1861

 

Carleton E. Watkins (American, 1829-1916)
Printed by Taber & Co. (American, active in 1850-1860)
The Yosemite Falls
1861, printed 1880-1890
Albumen print
Image/Sheet: 39.8 x 51.2 cm (15 11/16 x 20 3/16 in.)
A. Shuman Collection – Abraham Shuman Fund

 

Catherine Opie (American, born in 1961) 'Untitled #1 (Yosemite Valley)' 2015

 

Catherine Opie (American, born in 1961)
Untitled #1 (Yosemite Valley)
2015
Pigment print
Museum of Fine Arts, Boston
Courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong, and Seoul
© Catherine Opie

 

Carleton E. Watkins (American, 1829-1916) 'Mount Starr King and Glacier Point, Yosemite, No. 69' 1865-66

 

Carleton E. Watkins (American, 1829-1916)
Mount Starr King and Glacier Point, Yosemite, No. 69
1865-66
Mammoth albumen print from wet collodion negative
Museum of Fine Arts, Boston. Ernest Wadsworth Longfellow Fund
Photograph © Museum of Fine Arts, Boston

 

Eadweard J. Muybridge (American, 1830-1904) 'Valley of the Yosemite from Union Point, No. 33' 1872

 

Eadweard J. Muybridge (American, 1830-1904)
Valley of the Yosemite from Union Point, No. 33
1872
Albumen print
Image/Sheet: 42.5 x 54.2 cm (16 3/4 x 21 5/16 in.)
Gift of Charles T. and Alma A. Isaacs
Museum of Fine Arts, Boston

 

Frank Jay Haynes (American, 1853-1921) 'Grand Canyon of Yellowstone and Falls' c. 1887

 

Frank Jay Haynes (American, 1853-1921)
Grand Canyon of Yellowstone and Falls
c. 1887
Albumen print
Museum of Fine Arts, Boston. Sophie M. Friedman Fund
Photograph © Museum of Fine Arts, Boston

 

Ansel Adams (American, 1902-1984) 'The Tetons and Snake River, Grand Teton National Park, Wyoming' 1942

 

Ansel Adams (American, 1902-1984)
The Tetons and Snake River, Grand Teton National Park, Wyoming
1942
Gelatin silver print
47.1 x 61.2 cm (18 9/16 x 24 1/8 in.)
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston
© The Ansel Adams Publishing Rights Trust

 

Abelardo Morell (American (born in Cuba, 1948)) 'Tent‑Camera Image on Ground: View of Mount Moran and the Snake River from Oxbow Bend, Grand Teton National Park, Wyoming' 2011

 

Abelardo Morell (American (born in Cuba, 1948))
TentCamera Image on Ground: View of Mount Moran and the Snake River from Oxbow Bend, Grand Teton National Park, Wyoming
2011
Inkjet print
Museum of Fine Arts, Boston

 

Adam Clark Vroman. 'Four of Hearts (Bashful)' c. 1894

 

Adam Clark Vroman (American, 1856-1916)
Publisher Lazarus and Melzer (American)
Four of Hearts (Bashful)
c. 1894
Playing card with halftone print
8.9 x 6.4 cm (3 1/2 x 2 1/2 in.)
Gift of Lewis A. Shepard
Museum of Fine Arts, Boston

 

John K. Hillers (American (born in Germany), 1843-1925) 'Big Navajo' c. 1879-80

 

John K. Hillers (American (born in Germany), 1843-1925)
Big Navajo
c. 1879-80
Albumen print
22.9 x 19.1 cm (9 x 7 1/2 in.)
Gift of Jessie H. Wilkinson – Jessie H. Wilkinson Fund
Museum of Fine Arts, Boston
Photograph © Museum of Fine Arts, Boston

 

John K. Hillers. 'Heaipu, Navaho Woman' c. 1879

 

John K. Hillers (American (born in Germany), 1843-1925)
Heaipu, Navaho Woman
c. 1879
Albumen print
Gift of Jessie H. Wilkinson – Jessie H. Wilkinson Fund
Museum of Fine Arts, Boston
Photograph © Museum of Fine Arts, Boston

 

Will Wilson (Diné (Navajo), born in 1969) 'How the West is One' 2014

 

Will Wilson (Diné (Navajo), born in 1969)
How the West is One
2014
Inkjet print
Museum of Fine Arts, Boston
© Will Wilson

 

Trevor Paglen (American, born in 1974) 'Untitled (Reaper Drone)' 2015

 

Trevor Paglen (American, born in 1974)
Untitled (Reaper Drone)
2015
Pigment print
Museum of Fine Arts, Boston
Courtesy of the artist and Metro Pictures, New York

 

Ansel Adams (American, 1902-1984) 'Monolith - The Face of Half Dome, Yosemite National Park' 1927

 

Ansel Adams (American, 1902-1984)
Monolith – The Face of Half Dome, Yosemite National Park
1927; print date: 1950-60
Gelatin silver print
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston
© The Ansel Adams Publishing Rights Trust

 

Bryan Schutmaat (American, born in 1983) 'Cemetery, Tonopah, NV' 2012

 

Bryan Schutmaat (American, born in 1983)
Cemetery, Tonopah, NV
2012
Archival inkjet print
Museum of Fine Arts, Boston

 

Ansel Adams (American, 1902-1984) 'Moonrise, Hernandez, New Mexico' 1941

 

Ansel Adams (American, 1902-1984)
Moonrise, Hernandez, New Mexico
1941; print date: 1965-75
Gelatin silver print
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston
© The Ansel Adams Publishing Rights Trust

 

Ansel Adams (American, 1902-1984) 'Moonrise, Hernandez, New Mexico' 1941 (detail)

 

Ansel Adams (American, 1902-1984)
Moonrise, Hernandez, New Mexico (detail)
1941; print date: 1965-75
Gelatin silver print
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston
© The Ansel Adams Publishing Rights Trust

 

Ansel Adams (American, 1902-1984) 'Pine Forest in Snow, Yosemite National Park' c. 1932

 

Ansel Adams (American, 1902-1984)
Pine Forest in Snow, Yosemite National Park
c. 1932
Gelatin silver print
Gift of Saundra B. Lane
The Lane Collection
Museum of Fine Arts, Boston
© The Ansel Adams Publishing Rights Trust

 

Laura McPhee (American, born in 1958) 'Midsummer (Lupine and Fireweed)' 2008

 

Laura McPhee (American, born in 1958)
Midsummer (Lupine and Fireweed)
2008
Archival pigment print
Museum of Fine Arts, Boston
© Laura McPhee

 

Ansel Adams (American, 1902-1984) 'Grass and Burned Stump, Sierra Nevada, California' 1935

 

Ansel Adams (American, 1902-1984)
Grass and Burned Stump, Sierra Nevada, California
1935
Gelatin silver print
The Lane Collection
Museum of Fine Arts, Boston
© The Ansel Adams Publishing Rights Trust

 

Ansel Adams (American, 1902-1984) 'Cemetery Statue and Oil Derricks, Long Beach, California' 1939

 

Ansel Adams (American, 1902-1984)
Cemetery Statue and Oil Derricks, Long Beach, California
1939
Gelatin silver print
The Lane Collection
Museum of Fine Arts, Boston
© The Ansel Adams Publishing Rights Trust

 

Mitch Epstein (American, born in 1952) 'Altamont Pass Wind Farm, California' 2007

 

Mitch Epstein (American, born in 1952)
Altamont Pass Wind Farm, California
2007
Chromogenic print
Reproduced with permission
Museum of Fine Arts, Boston

 

 

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

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

Museum of Fine Arts, Boston website

LIKE ART BLART ON FACEBOOK

Back to top

20
Aug
18

Exhibition: ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

Exhibition dates: 22nd June – 2nd September 2018

 

Dorothea Lange. 'Migratory Cotton Picker, Eloy, Arizona' 1940

 

Dorothea Lange
Migratory Cotton Picker, Eloy, Arizona
1940
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California

 

 

Damaged, desperate and displaced

I am writing this short text on a laptop in Thailand which keeps jumping lines and mispelling words. The experience is almost as disorienting as the photographs of Dorothea Lange, with their anguished angles and portraits of despair. Her humanist, modernist pictures capture the harsh era of The Great Depression and the 1930s in America, allowing a contemporary audience to imagine what it must have been like to walk along blistering roads with five children, not knowing where your next meal or drink of water is coming from.

Like Lewis Hine and Jacob Riis from an earlier era, Lange’s photographs are about the politics of seeing. They are about human beings in distress and how photography can raise awareness of social injustice and disenfranchisement in the name of cultural change.

#dorothealange @barbicancentre

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

 

 

Dorothea Lange. 'Migrant Mother, Nipomo, California' 1936

 

Dorothea Lange
Migrant Mother, Nipomo, California
1936
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California

 

 

Dorothea Lange took this photograph in 1936, while employed by the U.S. government’s Farm Security Administration (FSA) program, formed during the Great Depression to raise awareness of and provide aid to impoverished farmers. In Nipomo, California, Lange came across Florence Owens Thompson and her children in a camp filled with field workers whose livelihoods were devastated by the failure of the pea crops. Recalling her encounter with Thompson years later, she said, “I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction.”1 One photograph from that shoot, now known as Migrant Mother, was widely circulated to magazines and newspapers and became a symbol of the plight of migrant farm workers during the Great Depression.

As Lange described Thompson’s situation, “She and her children had been living on frozen vegetables from the field and wild birds the children caught. The pea crop had frozen; there was no work. Yet they could not move on, for she had just sold the tires from the car to buy food.”2 However, Thompson later contested Lange’s account. When a reporter interviewed her in the 1970s, she insisted that she and Lange did not speak to each other, nor did she sell the tires of her car. Thompson said that Lange had either confused her for another farmer or embellished what she had understood of her situation in order to make a better story.

Text from the MoMA Learning website

 

  1. Dorothea Lange, “The Assignment I’ll Never Forget,” Popular Photography 46 (February, 1960). Reprinted in Photography, Essays and Images, ed. Beaumont Newhall (New York: The Museum of Modern Art), 262-65
  2. Dorothea Lange, paraphrased in Karin Becker Ohm, Dorothea Lange and the Documentary Tradition (Baton Rouge, LA: Louisiana State University Press, 1980), 79

 

Installation view of the exhibition ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

Installation view of the exhibition ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

 

Installation views of the exhibition Dorothea Lange: Politics of Seeing at the Barbican Art Gallery, London showing Dorothea Lange’s photograph Migrant Mother, Nipomo, California 1936
Photos: Ian Gavan/Getty Images for Barbican Art Gallery

 

 

“I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean- to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it.” (From: Popular Photography, Feb. 1960).

The images were made using a Graflex camera. The original negatives are 4×5″ film. It is not possible to determine on the basis of the negative numbers (which were assigned later at the Resettlement Administration) the order in which the photographs were taken.

Text from The Library of Congress website

 

Florence Owens Thompson: The Story of the “Migrant Mother” 2014

Thompson’s identity was discovered in the late 1970s; in 1978, acting on a tip, Modesto Bee reporter Emmett Corrigan located Thompson at her mobile home in Space 24 of the Modesto Mobile Village and recognized her from the 40-year-old photograph.[10] A letter Thompson wrote was published in The Modesto Bee and the Associated Press distributed a story headlined “Woman Fighting Mad Over Famous Depression Photo.” Florence was quoted as saying “I wish she [Lange] hadn’t taken my picture. I can’t get a penny out of it, she didn’t ask my name. She said she wouldn’t sell the pictures, she said she’d send me a copy. She never did.”[2]

Lange was funded by the federal government when she took the picture, so the image was in the public domain and Lange never directly received any royalties. However, the picture did help make Lange a celebrity and earned her “respect from her colleagues.”[11]

In a 2008 interview with CNN, Thompson’s daughter Katherine McIntosh recalled how her mother was a “very strong lady”, and “the backbone of our family”, she said: “We never had a lot, but she always made sure we had something. She didn’t eat sometimes, but she made sure us children ate. That’s one thing she did do.”

Florence Owens Thompson on the WikiVisually website

 

Dorothea Lange. 'White Angel Breadline, San Francisco' 1933

 

Dorothea Lange
White Angel Breadline, San Francisco
1933
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California

 

 

“There are moments such as these when time stands still and all you do is hold your breath and hope it will wait for you. And you just hope you will have enough time to get it organised in a fraction of a second on that tiny piece of sensitive film. Sometimes you have an inner sense that you have encompassed the thing generally. You know then that you are not taking anything away from anyone: their privacy, their dignity, their wholeness.” ~ Dorothea Lange 1963

Davis K F 1995, The photographs of Dorothea Lange, Hallmark Cards Inc, Missouri p. 20.

 

White angel breadline, San Francisco is Lange’s first major image that encapsulates both her sense of compassion and ability to structure a photograph according to modernist principles. The diagonals of the fence posts and the massing of hats do not reduce this work to the purely formal – the figure in the front middle of the image acts as a lightening rod for our emotional engagement.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

There was a real “White Angel” behind the breadline that served the needy men photographed by Dorothea Lange. She was a widow named Lois Jordan. Mrs. Jordan, who gave herself the name White Angel, established a soup kitchen during the Great Depression to feed those who were unemployed and destitute. Relying solely on donations, she managed to supply meals to more than one million men over a three-year period.

Jordan’s soup kitchen occupied a junk-filled lot in San Francisco located on the Embarcadero near Filbert Street. This area was known as the White Angel Jungle. The Jungle was not far from Lange’s studio. As she began to change direction from portrait to documentary photography, Lange focused her lens on the poignant scenes just beyond her window. White Angel Breadline is the result of her first day’s work to document Depression-era San Francisco. Decades later, Lange recalled: “[White Angel Breadline] is my most famed photograph. I made that on the first day I ever went out in an area where people said, ‘Oh, don’t go there.’ It was the first day that I ever made a photograph on the street.”

Text from the Arts Edge website

 

Dorothea Lange. 'Drought Refugees' c. 1935

 

Dorothea Lange
Drought Refugees
c. 1935
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California

 

Dorothea Lange. 'Family walking on highway - five children. Started from Idabel, Oklahoma, bound for Krebs, Oklahoma' June 1938

 

Dorothea Lange
Family walking on highway – five children. Started from Idabel, Oklahoma, bound for Krebs, Oklahoma
June 1938
Silver gelatin print
Library of Congress

 

Dorothea Lange. 'Cars on the Road' August 1936

 

Dorothea Lange
Cars on the Road
August 1936
Silver gelatin print
Library of Congress

 

Dorothea Lange. 'Dust Bowl, Grain Elevator, Everett, Texas' June 1938

 

Dorothea Lange
Dust Bowl, Grain Elevator, Everett, Texas
June 1938
Silver gelatin print
Library of Congress

 

 

This summer, Barbican Art Gallery stages the first ever UK retrospective of one of the most influential female photographers of the 20th century, the American documentary photographer Dorothea Lange (1895-1965). A formidable woman of unparalleled vigour and resilience, the exhibition charts Lange’s outstanding photographic vision from her early studio portraits of San Francisco’s bourgeoisie to her celebrated Farm Security Administration work (1935-1939) that captured the devastating impact of the Great Depression on the American population. Rarely seen photographs of the internment of Japanese-Americans during the Second World War are also presented as well as the later collaborations with fellow photographers Ansel Adams and Pirkle Jones documenting the changing face of the social and physical landscape of 1950s America. Opening 22 June at Barbican Art Gallery, Dorothea Lange: Politics of Seeing is part of the Barbican’s 2018 season, The Art of Change, which explores how the arts respond to, reflect and potentially effect change in the social and political landscape.

Dorothea Lange: Politics of Seeing encompasses over 300 objects from vintage prints and original book publications to ephemera, field notes, letters, and documentary film. Largely chronological, the exhibition presents eight series in Lange’s oeuvre spanning from 1919 to 1957.

Jane Alison, Head of Visual Arts, Barbican, said: “This is an incredible opportunity for our visitors to see the first UK survey of the work of such a significant photographer. Dorothea Lange is undoubtedly one of the great photographers of the twentieth century and the issues raised through her work have powerful resonance with issues we’re facing in society today. Staged alongside contemporary photographer Vanessa Winship as part of The Art of Change, these two shows are unmissable.”

Opening the exhibition are Lange’s little known early portrait photographs taken during her time running a successful portrait studio in San Francisco between 1919 and 1935. Lange was at the heart of San Francisco’s creative community and her studio became a centre in which bohemian and artistic friends gathered after hours, including Edward Weston, Anne Brigman, Alma Lavenson, Imogen Cunningham, and Willard van Dyke. Works from this period include intimate portraits of wealthy West Coast families as well as of Lange’s inner circle, counting amongst others photographer Roi Partridge and painter Maynard Dixon, Lange’s first husband and father of her two sons.

The Great Depression in the early 1930s heralded a shift in her photographic language as she felt increasingly compelled to document the changes visible on the streets of San Francisco. Taking her camera out of the studio, she captured street demonstrations, unemployed workers, and breadline queues. These early explorations of her social documentary work are also on display.

The exhibition charts Lange’s work with the newly established historical division of the Farm Security Administration (FSA), the government agency tasked with the promotion of Roosevelt’s New Deal programme. Alongside Lange, the FSA employed a number of photographers, including Walker Evans, Ben Shahn and Arthur Rothstein, to document living conditions across America during the Great Depression: from urban poverty in San Francisco to tenant farmers driven off the land by dust storms and mechanisation in the states of Oklahoma, Arkansas and Texas; the plight of homeless families on the road in search of better livelihoods in the West; and the tragic conditions of migrant workers and camps across California. Lange used her camera as a political tool to critique themes of injustice, inequality, migration and displacement, and to effect government relief.

Highlights in this section are, among others, a series on sharecroppers in the Deep South that exposes relations of race and power, and the iconic Migrant Mother, a photograph which has become a symbol of the Great Depression, alongside images of vernacular architecture and landscapes, motifs often overlooked within Lange’s oeuvre. Vintage prints in the exhibition are complemented by the display of original publications from the 1930s to foreground the widespread use of Lange’s FSA photographs and her influence on authors including John Steinbeck, whose ground-breaking novel The Grapes of Wrath was informed by Lange’s photographs. Travelling for many months at a time and working in the field, she collaborated extensively with her second husband Paul Schuster Taylor, a prominent social economist and expert in farm labour with whom she published the seminal photo book An American Exodus: A Record of Human Erosion in 1939, also on display in the exhibition.

The exhibition continues with rarely seen photographs of the internment of more than 100,000 American citizens of Japanese descent that Lange produced on commission for the War Relocation Authority following the Japanese attack on the American naval base at Pearl Harbor in 1941. Lange’s critical perspective of this little discussed chapter in US history however meant that her photographs remained unpublished during the war and stored at the National Archives in Washington. It is the first time that this series will be shown comprehensively outside of the US and Canada.

Following her documentation of the Japanese American internment, Lange produced a photographic series of the wartime shipyards of Richmond, California with friend and fellow photographer Ansel Adams (1902-1984). Lange and Adams documented the war effort in the shipyards for Fortune magazine in 1944, recording the explosive increase in population numbers and the endlessly changing shifts of shipyard workers. Capturing the mass recruitment of workers, Lange turned her camera on both female and black workers, for the first time part of the workforce, and their defiance of sexist and racist attitudes.

The exhibition features several of Lange’s post-war series, when she photographed extensively in California. Her series Public Defender (1955-1957) explores the US legal defence system for the poor and disadvantaged through the work of a public defender at the Alameda County Courthouse in Oakland. Death of a Valley (1956-57), made in collaboration with photographer Pirkle Jones, documents the disappearance of the small rural town of Monticello in California’s Berryessa Valley as a consequence of the damming of the Putah Creek. Capturing the destruction of a landscape and traditional way of life, the photographs testify to Lange’s environmentalist politics and have not been displayed or published since the 1960s.

The exhibition concludes with Lange’s series of Ireland (1954), the first made outside the US. Spending six weeks in County Clare in western Ireland, Lange captured the experience of life in and around the farming town of Ennis in stark and evocative photographs that symbolise Lange’s attraction to the traditional life of rural communities.

An activist, feminist and environmentalist, Lange used her camera as a political tool to critique themes of injustice, inequality, migration and displacement that bear great resonance with today’s world, a prime example of which is her most iconic image the Migrant Mother (1936). Working in urban and rural contexts across America and beyond, she focused her lens on human suffering and hardship to create compassionate and piercing portraits of people as well as place in the hope to forge social and political reform – from the plight of sharecroppers in the Deep South to Dust Bowl refugees trekking along the highways of California in search of better livelihoods.

Dorothea Lange: Politics of Seeing is organised by the Oakland Museum of California. The European presentation has been produced in collaboration with Barbican Art Gallery, London and Jeu de Paume, Paris.

Press release from the Barbican Art Gallery

 

Installation view of the exhibition ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

Installation view of the exhibition ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

Left: Dorothea Lange. Displaced Tennant Farmers, Goodlet, Hardeman Co., Texas 1937. ‘All displaced tenant farmers, the oldest 33. None able to vote because of Texas poll tax. They support an average of four persons each on $22.80 a month’. Second left: Dorothea Lange. Woman of the High Plains, Texas Panhandle June 1938

 

Dorothea Lange. 'Woman of the High Plains, Texas Panhandle' June 1938

 

Dorothea Lange
Woman of the High Plains, Texas Panhandle
June 1938
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California
Gift of Paul S. Taylor

 

Installation view of the exhibition ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

Second left top: Dorothea Lange. Mexican field labourer at station in Sacramento after 5 day trip from Mexico City. Imported by arrangements between Mexican and US governments to work in sugar beets. 6 October 1942. Second left bottom: Dorothea Lange. Filipino Field Worker, Spring Plowing, Cauliflower Fields, Guadalupe, California. March 1937. Right: Dorothea Lange. Damaged Child, Shacktown, Elm Grove, Oklahoma. 1936

Installation views of the exhibition Dorothea Lange: Politics of Seeing at the Barbican Art Gallery, London
Photos: Ian Gavan/Getty Images for Barbican Art Gallery

 

Dorothea Lange. 'Filipino Field Worker, Spring Plowing, Cauliflower Fields, Guadalupe, California' March 1937

 

Dorothea Lange
Filipino Field Worker, Spring Plowing, Cauliflower Fields, Guadalupe, California
March 1937
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California
Gift of Paul S. Taylor

 

Dorothea Lange. 'Damaged Child, Shacktown, Elm Grove, Oklahoma' 1936

 

Dorothea Lange
Damaged Child, Shacktown, Elm Grove, Oklahoma
1936
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland
Gift of Paul S. Taylor

 

Dorothea Lange. 'San Francisco, California. Flag of allegiance pledge at Raphael Weill Public School, Geary and Buchanan Streets' 1942

 

Dorothea Lange
San Francisco, California. Flag of allegiance pledge at Raphael Weill Public School, Geary and Buchanan Streets. Children in families of Japanese ancestry were evacuated with their parents and will be housed for the duration in War Relocation Authority centers where facilities will be provided for them to continue their education
1942
Silver gelatin print
Courtesy National Archives, photo no. 210-G-C122

 

Dorothea Lange. 'Centerville, California. This evacuee stands by her baggage as she waits for evacuation bus' 1942

 

Dorothea Lange
Centerville, California. This evacuee stands by her baggage as she waits for evacuation bus. Evacuees of Japanese ancestry will be housed in War Relocation Authority centers for the duration
1942
Silver gelatin print
Courtesy National Archives, photo no. 210-G-C241

 

Dorothea Lange. 'Manzanar Relocation Center, Manzanar, California. An evacuee is shown in the lath house sorting seedlings for transplanting' 1942

 

Dorothea Lange
Manzanar Relocation Center, Manzanar, California. An evacuee is shown in the lath house sorting seedlings for transplanting. These plants are year-old seedlings from the Salinas Experiment Station
1942
Silver gelatin print
Courtesy National Archives, photo no. 210-GC737

 

Dorothea Lange. 'Manzanar Relocation Center' 1942

 

Dorothea Lange
Manzanar Relocation Center, Manzanar, California
July 3, 1942
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California

 

Paul S. Taylor. 'Dorothea Lange in Texas on the Plains' c. 1935

 

Paul S. Taylor
Dorothea Lange in Texas on the Plains
c. 1935
Silver gelatin print
© The Dorothea Lange Collection, the Oakland Museum of California

 

Dorothea Lange. 'Sacramento, California. College students of Japanese ancestry' 1942

 

Dorothea Lange
Sacramento, California. College students of Japanese ancestry who have been evacuated from Sacramento to the Assembly Center
1942
Silver gelatin print
Courtesy National Archives, photo no. 210-GC471

 

Installation view of the exhibition ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

Installation view of the exhibition ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

 

Installation views of the exhibition Dorothea Lange: Politics of Seeing at the Barbican Art Gallery, London
Photos: Ian Gavan/Getty Images for Barbican Art Gallery

 

Installation view of the exhibition ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

Installation view of the exhibition ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

Installation view of the exhibition ‘Dorothea Lange: Politics of Seeing’ at the Barbican Art Gallery, London

 

Installation views of the exhibition Dorothea Lange: Politics of Seeing at the Barbican Art Gallery, London
Photos: Ian Gavan/Getty Images for Barbican Art Gallery

 

 

Barbican Art Gallery
Barbican Centre
Silk Street, London, EC2Y 8DS

Opening hours:
Mon – Sat: 9am – 11pm
Sun: 11am – 11pm
Bank Holidays: 12 noon – 11pm

Barbican Art Gallery website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Mask’ 1994

Join 2,503 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

May 2019
M T W T F S S
« Apr    
 12345
6789101112
13141516171819
20212223242526
2728293031  

Archives

Categories