Posts Tagged ‘American classical photography

09
Jan
22

Exhibition: ‘Richard Benson: The World Is Smarter Than You Are’ at the Philadelphia Museum of Art

Exhibition dates: 3rd October, 2021 – 23rd January, 2022

Curator: Peter Barberie, Brodsky Curator of Photographs, Alfred Stieglitz Center

Field Galleries and Honickman Galleries 154-157

 

 

Richard Benson (American, 1943-2017) 'Barbara Benson' 1968

 

Richard Benson (American, 1943-2017)
Barbara Benson
1968
Gelatin silver print
Image and sheet: 7 1/2 × 9 1/2 inches
Mount: 9 1/8 × 11 inches
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

 

Welcome to the first posting on Art Blart for 2022 and a Happy New Year to you all.

We start with an exhibition by highly regarded photographic printer (including prints for Paul Strand and Walker Evans and books for Lee Friedlander and about Eugène Atget) and teacher Richard Benson. A master of the craft of photography, “Benson became devoted to the technical aspects of printing and reproducing photographs” … “thoroughly imbued with the tradition, science and artistry of photography.” Benson was also an artist and the exhibition includes prints from the late 1960s until shortly before Benson’s death in 2017, the exhibition tracing his quest for the perfect print.

And therein lies the rub. It feels to me as though Benson’s work is more about the aesthetic of the print than about a good photograph and here I am going to call it as I see it. It might be a little controversial or even sacrilegious to one held in so high esteem for his printing, but I don’t particularly like his photographic work. Why?

Benson’s subject matter (“ageing farm machinery, austerely utilitarian boats, derelict factories, and the frequent intersections of history, nature, and our built environments”) can be found throughout the history of American photography. In that sense he offers few new insights on the environment in which he operates. Further, his “unsentimental specificity” – “or what his friend and fellow photographer Garry Winogrand referred to as the mystery of “a fact clearly described” – leaves me feeling … well, nothing really. To me his photographs are emotionally dead photographic experiments become artefacts. What is the story that he is telling, what was his vision?

Benson went to extraordinary lengths to make the print look how the world looked, because he wanted things to look in a print the way things looked when he saw them. But, as Paul Turounet comments, “Craft and technical execution function to support the photographers’ vision and curiosity with visual engagement, and clarity of intention and purpose. It becomes a tremendous opportunity for the photographer to experience how all of photography’s materials and processes, analog, digital or an alternative / hybrid system, can be used to reveal a personal photographic vision and what pictures are going to be about.”1

A personal photographic vision! What was that for Benson, for he has no signature style, his photographs being a mishmash of influences. As Arthur Lubow has observed, “In some of Benson’s black-and-white photographs of building interiors, like “65 Kenyon Street, Hartford, Connecticut” (1974), I thought of Walker Evans. Edward Weston floated into my consciousness as I looked at the organic semi-abstraction of “Agave” (c. 1975-85). And it was hard to avoid recalling Eggleston in viewing the colour jolts of the vintage red truck in “Wyoming” (2008), or the lime-green rowboat in “Newfoundland” (2006-8).”2 Quite so.

So we are left with what exactly. Beautiful but emotionally stilted representations of the world that offer small insight into the condition of its becoming.

Benson’s two statements, “Go out into the world with the camera and photograph and find out that the world is smarter than you are” and “When I make the picture, I’m seeing how I could make the print” are instructive here. Firstly, the world is not smarter than you are, it’s just more confusing. Nothing is ever as neat and tidy, as perfect as Benson would have us believe in his perfect prints. This is when the mystery of the fact clearly described is just that – a description and not a feeling. Secondly, when he’s taking a photograph he thinking about the print! He’s not thinking about resonances, vibrations of energy, time and space in the place itself but only what he sees as its perfect outcome. But Richard, there are many ways to make a print! You can print a mid-grey Zone V and as near black Zone 2, or use digital manipulation to intensive the feeling of an image. There is no single way to print a photographic image that is “correct” for there are many interpretations of a constructed reality. In my humble opinion Benson has his equation arse about tit. As Minor White in one of his Three Canons (1955) would say,

When the image mirrors the man
And the man mirrors the subject
Something might take over

.
Minor White elaborates further,

“To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work “the mirror with a memory” as if it were a mirage, and the camera as a metamorphosing machine, and the photograph as if it were a metaphor… Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth.”3

.
The critical observation is that craft and technical execution function to support the photographers’ vision and curiosity with visual engagement.

My friend and mentor IL keeps saying to me, “the really good stuff is there, I KNOW its there” – but you have to dig really deep to find it. Perhaps p. 25 in the preview of Benson’s book North South East West gets as close as I have felt (a sense of mystery and subtle spirit) … but I remain a skeptic with regard not to Benson’s craft but to his artistic vision, for he seems to have never freed himself of the tyranny of visual facts bound to their reproduction in the perfect print.

Dr Marcus Bunyan

 

Footnotes

  1. Paul Turounet. “Well-Executed, Poorly Conceived Photographs,” on A Photo Teacher website Nd [Online] Cited 18/12/2021
  2. Arthur Lubow. “When a Master Printer Picks Up the Camera,” on The New York Times website December 30, 2021 [Online] Cited 02/01/2022
  3. Minor White quoted in Beaumont Newhall (ed.,). The History of Photography. Boston: Little, Brown, and Co., 1982, p. 281

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

 

 

The fundamental problem any artist faces in regard to craft is that it must be largely ignored. This seems to be an extreme statement, but it is surely true. Today we are experiencing a revival of sorts of non-silver, or alternative, systems for photographic printing, and the field is littered with well-executed, poorly conceived photographs. It seems to me that this has happened because all these photographers, or printers, are more interested in how they print their pictures than in what these pictures might be about.

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Excerpt from the essay “Print Making” by Richard Benson in the book Paul Strand: Essays on His Life and Work. Aperture, 1991

 

“Isn’t that what we do as artists… don’t we try to create a surrogate that gives to the viewer something that was given to us when we saw the thing.

We get an inkling that there is something extraordinary there, we’ve stumbled on something extraordinary and the picture is our mechanism for understanding it.

When I make the picture, I’m seeing how I could make the print.”

.
Excerpts from a conversation with Richard Benson and Jay Maisel by George Jardine for Adobe Lightroom

 

“In black-and-white and color, in film and digital, in platinum prints, offset lithographs and inkjet prints, Benson mastered the procedures and, when he found them inadequate, invented his own. Like those sonically stunning LPs that were recorded to demonstrate the range of the first generation of stereos, Benson’s photographs often seem designed to mark the outer limits of what photography can practically achieve. …

Walking through the show, I saw the work of someone thoroughly imbued with the tradition, science and artistry of photography. But I was also reminded of a remark by Henry James, in a letter from 1888, about John Singer Sargent, who, similarly, could achieve with a brush anything he asked of it. “Yes, I have always thought Sargent a great painter,” James remarked. “He would be greater still if he had one or two little things he hasn’t – but he will do.””

.
Arthur Lubow. “When a Master Printer Picks Up the Camera,” on The New York Times website December 30, 2021 [Online] Cited 02/01/2022

 

 

 

 

Curators’ Talk on Richard Benson

Curator Peter Barberie and Sarah Meister of Aperture discuss the life and work of photographer Richard Benson.

Speakers

Peter Barberie is Brodsky Curator of Photographs, Alfred Stieglitz Center, at the Philadelphia Museum of Art.
Sarah Meister is Executive Director of Aperture, a not-for-profit foundation, multi-platform publisher, and center for the photo community.

 

Richard Benson (American, 1943-2017) 'Barbara Benson (Young, Skinny, and Pissed Off)' 1970 (negative); 2005-2014 (print)

 

Richard Benson (American, 1943-2017)
Barbara Benson (Young, Skinny, and Pissed Off)
1970 (negative); 2005-2014 (print)
Inkjet print
Image: 17 3/16 × 13 3/8 inches (43.6 × 33.9cm)
Sheet: 19 1/16 × 15 5/16 inches (48.4 × 38.9cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Sarah Benson' 1974

 

Richard Benson (American, 1943-2017)
Sarah Benson
1974
Palladium print
Image: 6 1/2 × 4 5/8 inches
Sheet: 6 3/4 × 4 3/4 inches
Mount: 7 7/8 × 6 inches
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Christopher Benson' 1981-1982 (negative); 1985-1995 (print)

 

Richard Benson (American, 1943-2017)
Christopher Benson
1981-1982 (negative); 1985-1995 (print)
Offset lithograph
Image: 16 1/4 × 12 7/8 inches (41.2 × 32.7cm)
Sheet: 24 15/16 × 19 inches (63.4 × 48.2cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Barbara and Daniel Benson' 1978-79

 

Richard Benson (American, 1943-2017)
Barbara and Daniel Benson
1978-79 (negative), 1985–95 (print)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

 

It’s worth mentioning that this was the late 1980s, when everywhere you looked it appeared as if “art photography” needed big ideas more than it needed great photographs. Benson would shoot down our art-speak while sympathising with our ambitions and the obstacles we faced in wanting to break new ground. He reminded us that “an artist is a person who tends to be really good at one thing but spends most of their time trying to do something else.” For him, the revelations and the ideas in photographs were in the details, in the unsentimental specificity, or what his friend and fellow photographer Garry Winogrand referred to as the mystery of “a fact clearly described.”

Many of the subjects Benson photographed across decades will be instantly familiar to anyone who’s ever crossed the US by car or run a few errands via bicycle in coastal New England: ageing farm machinery, austerely utilitarian boats, derelict factories, and the frequent intersections of history, nature, and our built environments. Benson’s encyclopaedic knowledge of the Industrial Revolution only partly accounts for the complete absence of nostalgia in photographs that regularly describe remnants and artefacts sharing present-tense place and time within a single frame.

At certain moments in his work, Benson chose black-and-white film and inkjet printers. In others he found it necessary – and appropriate – to hack a twenty-first-century desktop printer with nineteenth-century brass registration pins. Or, frustrated with pre-Photoshop colour gamut limitations, he needed to invent a technique combining multiple halftone separations and layers upon layers of hand-applied house paint. It was the only way to produce colour prints from his large-format colour negatives that finally met his exacting standards.

If asked why he had gone to such lengths while others remained content with the latest readymade printer options from Kodak or Epson, Richard would simply offer: “Because that’s the way the world looks … and I want things to look in a print the way things looked when I saw them.”

As fascinating and impressive as many of Benson’s technical innovations may have been, none were intended to be more interesting than the photographs they made possible.

The building blocks of the medium (optics, resolution, inherent qualities of various printing methods) often served as dowsing rods to suggest where, what, or whom to photograph. For example, many of Benson’s photographs of his family are produced with and informed by the unique properties of the 8 x 10-inch view camera and black-and-white negative film. Photographing this way requires a mixture of emphatic care and authoritarian control. But in the course of Benson’s work, photographs of family and other closest-to-home subjects are entirely natural extensions of a larger inquiry into our designs, arrangements, purpose-driven work, civic progress, and looming fragilities written across a landscape without end.

Although Richard Benson’s working life ranged across disciplines (hand-tooled mechanical clockworks, steam and combustion-engine design and restoration, hand-ground lenses, and custom-built telescopes), the exhibition at the museum limits its scope to Benson’s photographs. For Benson, neither capital-A “Art” nor rigorous craft were virtues unto themselves. Yet the world described in these photographs, with their “just-the-facts” titles – places and dates without backstory or anecdote – tell us all we need to know about Benson’s omnivorous curiosity and his belief in the nature and purpose of photographic seeing.

Extract from John Pilson. “Richard Benson’s All-Seeing Eye,” on the Philadelphia Museum of Art website November 15, 2021 [Online] Cited 18/12/2021

 

Richard Benson (American, 1943-2017) 'Luquillo Woman, Puerto Rico' c. 1980

 

Richard Benson (American, 1943-2017)
Luquillo Woman, Puerto Rico
c. 1980
Inkjet print
Image: 13 5/8 × 17 1/8 inches
Sheet: 15 1/2 × 18 7/8 inches
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'John Bull's Great Stone, Common Burying Ground, Newport, Rhode Island' 1973-1978

 

Richard Benson (American, 1943-2017)
John Bull’s Great Stone, Common Burying Ground, Newport, Rhode Island
1973-1978
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

 

One of his early pictures, “John Bull’s Great Stone, Common Burying Ground, Newport, Rhode Island” (1973-78), was made with a large-format view camera and composed of two contact prints mounted side by side. It depicts a series of six headstones for babies in one family, each marker incised with the face of an angel. Benson descended from a family of Newport stone carvers that dated to Colonial times. This composition, framed with perfect symmetry and sharp as a scalpel, is almost palpable, an appreciative flourish across the centuries from one consummate craftsman to another.

Arthur Lubow. “When a Master Printer Picks Up the Camera,” on The New York Times website December 30, 2021 [Online] Cited 02/01/2022

 

Richard Benson (American, 1943-2017) 'John Bull's Great Stone, Common Burying Ground, Newport, Rhode Island' 1973-1978 (detail)

 

Richard Benson (American, 1943-2017)
John Bull’s Great Stone, Common Burying Ground, Newport, Rhode Island (detail)
1973-1978
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) '53 Tilden Avenue Porch' Date unknown

 

Richard Benson (American, 1943-2017)
53 Tilden Avenue Porch
Date unknown
Offset lithograph
Image: 16 3/16 × 12 13/16 inches (41.1 × 32.5cm)
Sheet: 24 15/16 × 19 inches (63.3 × 48.2cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Harford, Connecticut' c. 1974 (negative); c. 2005-2011 (print)

 

Richard Benson (American, 1943-2017)
Harford, Connecticut
c. 1974 (negative); c. 2005-2011 (print)
Inkjet print
Image: 13 9/16 × 17 3/16 inches (34.5 × 43.6cm)
Sheet: 15 7/8 × 19 3/16 inches (40.4 × 48.8cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) '65 Kenyon Street, Hartford, Connecticut' 1974

 

Richard Benson (American, 1943-2017)
65 Kenyon Street, Hartford, Connecticut
1974
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Billy Goode's, Newport, Rhode Island' 1976-1978

 

Richard Benson (American, 1943-2017)
Billy Goode’s, Newport, Rhode Island
1976-1978
Platinum/palladium print
Image: 7 7/16 × 9 7/16 inches (18.9 × 24cm)
Sheet: 8 7/16 × 10 7/8 inches (21.4 × 27.6cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'The Dark House (49 Tilden Avenue, Newport, Rhode Island)' c. 1975-1980

 

Richard Benson (American, 1943-2017)
The Dark House (49 Tilden Avenue, Newport, Rhode Island)
c. 1975-1980
Platinum/palladium print
Image: 9 7/16 × 7 7/16 inches (24 × 18.9cm)
Sheet: 9 13/16 × 7 13/16 inches (24.9 × 19.8cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Puerto Rico' 1977-1985

 

Richard Benson (American, 1943-2017)
Puerto Rico
1977-1985
Platinum/palladium print
Image: 7 3/8 × 9 3/8 inches (18.7 × 23.8cm)
Sheet: 8 × 9 15/16 inches (20.3 × 25.2cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Sugar Mill at Aguirre, Puerto Rico' c. 1978-1985 (negative); 1985-1995 (print)

 

Richard Benson (American, 1943-2017)
Sugar Mill at Aguirre, Puerto Rico
c. 1978-1985 (negative); 1985-1995 (print)
Offset lithograph
Image: 12 3/16 × 15 5/16 inches (31 × 38.9cm)
Sheet: 19 1/8 × 25 inches (48.5 × 63.5cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

 

“Go out into the world with the camera and photograph and find out that the world is smarter than you are.”

With this exhortation, Richard Benson encouraged his students to explore one of photography’s core functions: recording things and events in the world. He wanted them to step out of their own mindsets and grapple with the many challenges – material, physical, and conceptual – encountered when making anything. It is precisely how Benson approached his own art. This exhibition surveys nearly fifty years of his photography, a wide-ranging body of work that reflects his humility and boundless curiosity about the world.

Renowned in photography circles for his acumen and inventiveness at printing and his far-ranging impact as a teacher and dean at the Yale University School of Art, Benson is best known today for the remarkable photography books he helped produce and the prints he made of other artists’ work. This exhibition puts his photography at the centre of these other achievements. It follows his continuous investigation of photographic processes and technologies and explores the dialogue between his pictures and other projects.

 

Benson’s subjects

Benson viewed human knowledge – particularly technology – as a cumulative, almost organic process, more a matter of continual adaptation and adjustment than of individual genius. This outlook is reflected in his photographic subjects. He recorded products of human ingenuity from stone carvings to steam engines and complex constructions of every sort. He also made straightforward and sensitive portraits of people and things he loved. And his subjects include the diverse spaces people create for themselves, which Benson viewed as “living rooms” that help us recover from the continuous disruptions of our technological age.

 

Richard Benson (American, 1943-2017) 'Fort Adams, Newport, Rhode Island' 1975 (negative); 1975 (print)

 

Richard Benson (American, 1943-2017)
Fort Adams, Newport, Rhode Island
1975 (negative); 1975 (print)
Platinum/palladium print
Image: 7 7/8 × 9 5/8 inches (20 × 24.4cm)
Sheet: 8 1/16 × 10 1/8 inches (20.5 × 25.7cm)
Mount: 8 7/8 × 11 inches (22.5 × 27.9cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Fall River Boiler' 1978 (negative); 1985-1995 (print)

 

Richard Benson (American, 1943-2017)
Fall River Boiler
1978 (negative); 1985-1995 (print)
Offset lithograph
Image: 16 3/8 × 13 1/16 inches (41.6 × 33.1cm)
Sheet: 24 15/16 × 18 15/16 inches (63.3 × 48.1cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

 

For reproducing photographs in a 1985 book devoted to the extraordinary Gilman Paper Company Collection (later acquired by the Metropolitan Museum of Art), he amplified the duotone process, where ink is passed through a fine mesh screen to impart subtle shades of black, gray and even, for older photographs, purple and sepia. The technique also allowed him to enlarge a negative without sacrificing detail. “Fall River Boiler,” a black-and-white image that he photographed in 1978 and printed a decade or so later, is a nocturne of texture and tone: feathery asbestos, gloppy encrustations, circular black holes.

Arthur Lubow. “When a Master Printer Picks Up the Camera,” on The New York Times website December 30, 2021 [Online] Cited 02/01/2022

 

Richard Benson (American, 1943-2017) 'Hector Morales's Horse, Don Pedro, San Juan, Puerto Rico' 1977-1982

 

Richard Benson (American, 1943-2017)
Hector Morales’s Horse, Don Pedro, San Juan, Puerto Rico
1977-1982
Platinum/palladium print
Image: 7 5/8 × 9 1/2 inches (19.4 × 24.1cm)
Sheet: 8 × 10 1/8 inches (20.3 × 25.7cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Poplar Street Driftway, Newport, Rhode Island' 1975-1985

 

Richard Benson (American, 1943-2017)
Poplar Street Driftway, Newport, Rhode Island
1975-1985
Gelatin silver print
Image and sheet: 7 1/2 × 9 1/2 inches (19.1 × 24.1cm)
Mount: 18 × 14 inches (45.7 × 35.6cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Agave plant' 1975-1985

 

Richard Benson (American, 1943-2017)
Agave plant
1975-1985
Collection of Barbara Benson

 

Richard Benson (American, 1943-2017) 'New Orleans Tugboat' Mid-1980s (negative); 1985-1995 (print)

 

Richard Benson (American, 1943-2017)
New Orleans Tugboat
Mid-1980s (negative); 1985-1995 (print)
Offset lithograph
Image: 12 15/16 × 16 1/4 inches (32.9 × 41.3cm)
Sheet: 19 1/16 × 25 inches (48.4 × 63.5cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Puerto Rico Landscape' c. 1980

 

Richard Benson (American, 1943-2017)
Puerto Rico Landscape
c. 1980
Gelatin silver print
Image and sheet: 7 1/2 × 9 1/2 inches
Mount: 18 × 14 inches
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Memphis, TN' 1987

 

Richard Benson (American, 1943-2017)
Memphis, TN
1987
Offset lithograph
Image: 12 7/8 × 16 3/4 inches
Sheet: 16 × 19 3/8 inches
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Scottish Engine, Puerto Rico' c. 1980

 

Richard Benson (American, 1943-2017)
Scottish Engine, Puerto Rico
c. 1980
Gelatin silver print
Image and sheet: 7 1/2 × 9 1/2 inches
Mount: 18 × 14 inches
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Scottish Engine, Puerto Rico' c. 1980

 

Richard Benson (American, 1943-2017)
Scottish Engine, Puerto Rico
c. 1980; 2005-2014 (print)
Gelatin silver print
Image: 13 9/16 × 17 3/16 inches
Sheet: 15 7/16 × 18 7/8 inches
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

 

Steam engines were among Richard Benson’s many enthusiasms. He was particularly excited to come across this one in a field in Puerto Rico, recognising it as a version of the engine invented by Scottish engineer James Watt in 1776. Watt’s engine was one of the key developments of the Industrial Revolution. Benson surmised this example was a relic from one of the sugar plantations that existed on the island in the 1800s.

 

Richard Benson (American, 1943-2017) 'The Beaubourg, Paris, France' 1976

 

Richard Benson (American, 1943-2017)
The Beaubourg, Paris, France
1976
Platinum/palladium print
Image: 7 1/2 × 9 1/2 inches (19.1 × 24.1cm)
Sheet: 8 1/2 × 11 inches (21.6 × 27.9cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Wildwood, New Jersey' Date unknown

 

Richard Benson (American, 1943-2017)
Wildwood, New Jersey
Date unknown
Offset lithograph
Image: 16 3/8 × 13 1/16 inches
Sheet: 24 15/16 × 19 1/16 inches
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

 

In October, the Philadelphia Museum of Art will present an exhibition dedicated to the late Richard Benson, who is most often celebrated as a virtuoso printer and gifted teacher and is perhaps best known for helping produce some of the most significant photography books of the past fifty years. The World Is Smarter Than You Are is the first in-depth survey of Benson’s own photography. This exhibition includes around 100 works that convey his pathfinding exploration of photographic processes, his embrace of technologies old and new, and his deep empathy for his human subjects and the objects and environments they have built. It celebrates an important promised gift of Benson’s art, assembled by the artist and offered to the museum by his close friends, collectors William H. and Elizabeth Ann Kahane. It is accompanied by a major publication of the same title.

Including prints from the late 1960s until shortly before Benson’s death in 2017, the exhibition traces his quest for the perfect print. This reflects both his abiding interest in improving traditional photo-making methods as well as his gradual embrace of digital photography and experiments in printing that yielded new directions for his artistic craft. It also explores his philosophical musings and writings, teaching materials and work as a printer, underscoring the deep connections between his intellectual, technical, and creative pursuits.

Benson’s interest in photography began with utilising this medium to document examples of fine craftsmanship and technological innovation, ranging from stone carving and antique buildings to machines such as steam engines or contemporary feats of engineering in steel and other modern materials. This breadth of interests can be seen in work from visits he made to France in the 1970s, when he recorded such sites as the Château de Maintenon and the recently completed Centre Pompidou. In another project of the 1970s, Benson photographed grave markers in the Common Burying Ground in his hometown of Newport, Rhode Island. He was the son and brother of celebrated stone carvers, and these pictures reflect his desire to document not only this antique art form, but also his developing ideas about the continual evolution of human technology which, in his thinking, comprised everything from language to microchips.

During this same decade Benson also made sensitive portraits of friends and family members – most notably his wife, Barbara Benson – and views of interiors and townscapes that often stand as indirect portraits of anonymous subjects. Numerous family portraits are presented throughout the exhibition and a concentrated grouping appears in the first galleries.

In the late ’70s and early ’80s, Benson made several trips to Puerto Rico. Included in the exhibition are his records of an antique steam engine he discovered on an old sugar plantation, Scottish Engine, Puerto Rico, c. 1980, and a variety of portraits and landscapes that represent the unique characteristics of the island. Luquillo Woman, Puerto Rico (c. 1980), is representative of the candid pictures he captured during these visits.

Benson embarked on his most ambitious book project in 1981, dedicated to the Gilman Paper Company Collection. It was considered to be one of the most important private photography collections ever assembled and included rare nineteenth-century prints in diverse processes as well as works by noted twentieth-century photographers such as Diane Arbus, Henri Cartier-Bresson, and Alfred Stieglitz, among others. Benson’s efforts to make the reproductions in this book by using offset lithography, printing each sheet up to six times in order to achieve specific print tonalities, remain unmatched. Spreads from the book, Photographs from the Collection of the Gilman Paper Company, will be on view in the exhibition. Displayed in cases are other notable books on which he worked including Lay This Laurel (Benson and Lincoln Kirstein); The American Monument (Lee Friedlander); The Face of Lincoln (James Mellon); O, Write My Name (a portfolio of Benson photogravures from Carl Van Vechten photographs); Paul Strand prints of Wall Street and Wild Iris, Maine; and three later Benson books, A Maritime Album, The Printed Picture, and North South East West.

As his reputation as an innovator in printing processes grew, so too did his influence. In 1986, following the success of the Gilman Paper Company Collection project, Benson was awarded both his second Guggenheim Fellowship and a MacArthur Fellowship. Seven years earlier, in 1979, Benson had begun teaching at Yale University, where he would become a professor and later Dean of the Art School. His idiosyncratic teaching style is described by the noted artist An-My Lê, who reflects in her essay: “His lectures were dazzling with information, but we were chided for taking notes. This was in line with this wanting us to think for ourselves and not passively absorb information that was thrown at us. As I have progressed in my work over the years, I have come to realise that one of Richard’s most important lessons was about humility.”

Another section of the exhibition will be devoted to his work in colour photography. Benson had avoided colour photography through much of his career, in part because of the unreliability of colour processes. But with the emergence of digital photography in the 1990s, he embraced working in colour, leading to the creation of an extraordinary body of pictures. Three works known as “photographs in paint” will be shown with two chromogenic prints from the 1990s to demonstrate his shift from offset lithography to inkjet printing. Moving into the early 2000s, Benson would fully deploy colour into his photographic practice. This shift can be seen in the examples of his pictures taken on the road in Georgia (2007), Texas (2008), Ohio (2009), and even Apples for John (2007).

The exhibition is organised by Peter Barberie, the Brodsky Curator of Photographs, Alfred Stieglitz Center, Philadelphia Museum of Art, who also edited the book that accompanies the exhibition. Barberie said: “In the photography world, Benson is highly regarded as a printer and teacher, but never before has there been an in-depth survey to explore his own photographs, which are challenging, difficult, and beautiful representations of everyday life. His free-thinking blend of traditional craftsmanship, cutting-edge technology, and human empathy resulted in a unique and powerful body of work, and I am gratified to bring his important contributions to photography to audiences in Philadelphia and beyond.”

 

Related publication

The first major survey of Benson’s photography, this volume features works from the gift complemented by important prints from other collections and comparative illustrations from several of the photography books Benson helped produce in his career. It includes a critical and historical essay about Benson’s photography by Peter Barberie. Artist An-My Lê has written an essay about her memories of her teacher and friend. Publication date: September 2021 (160 pages; $45.00).

 

About Richard Benson (1943-2017)

Richard Benson spent much of his life in Newport, Rhode Island, where he grew up. His father, John Howard Benson (1901-1956), was a noted stone carver and calligrapher who in 1927 acquired the John Stevens Shop, which had been in operation since 1705. It became under the elder Benson’s direction a nationally celebrated firm for monumental lettering. Known by his nickname “Chip,” Richard occupied a workshop at the back of their house, where he pursued his craft and tinkered with a variety of creative pursuits including antique vehicles.

In 1961 he enrolled at Brown University but left after one semester before serving for three years in the Navy, studying at its Optical Repair School. He also took courses at the Art Students League in New York City. In 1966, after marrying Barbara Murray, he obtained a job at Meriden Gravure, a printing company in Connecticut that would expose him to the highest levels of craft in printing and set the course for his career in books and photography.

Benson became devoted to the technical aspects of printing and reproducing photographs. He made fine prints for other artists, including Paul Strand and Walker Evans and helped produce many of the finest photography books of his generation, including Lee Friedlander’s American Monument (1976); The Work of Atget (4 vols., 1981-84); and Photographs from the Collection of the Gilman Paper Company (1985). During these years, he quietly pursued his own photography, working with a large camera and producing black-and-white prints in various processes.

In 1979 Benson began teaching at Yale University School of Art, where he eventually served as dean from 1996 to 2006. He mentored younger colleagues and a generation of art students, many of whom recall his teaching as a formative experience. The unique quality of his teaching is reflected in his book The Printed Picture (2008), a survey of the entire history of printing as seen in the teaching materials he assembled over forty years. …

In the 1990s Benson embraced digital photography and dove into colour. He experimented with inkjet printing and traveled broadly to make photographs, many of which were published in North South East West (2011), a collection of his pictures from the previous six years.

Benson’s work is represented in the collections of the Eakins Press Foundation, Los Angeles County Museum of Art, Metropolitan Museum of Art, San Francisco Museum of Art, Whitney Museum of American Art, and Yale University Art Gallery.

 

About the Promised Gift

In 2015, William H. and Elizabeth Ann Kahane, collectors and close friends of Richard Benson, pledged a promised gift of 180 of Benson’s works to the Philadelphia Museum of Art, which fulfilled a commitment they had made to the artist to keep a significant body of his work intact as a single collection. The exhibition and the publication have been six years in the making.

 

Richard Benson (American, 1943-2017) 'Manhattan Waterfront Project' c. 1992

 

Richard Benson (American, 1943-2017)
Manhattan Waterfront Project
c. 1992
Chromogenic print
Image: 8 3/8 × 12 5/8 inches (21.3 × 32.1cm)
Sheet: 10 7/8 × 14 inches (27.6 × 35.6cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Manhattan Waterfront Project' c. 1992

 

Richard Benson (American, 1943-2017)
Manhattan Waterfront Project
c. 1992
Chromogenic print
Image: 8 3/8 × 12 5/8 inches (21.2 × 32cm)
Sheet: 10 15/16 × 13 15/16 inches (27.8 × 35.4cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'New Mexico' 2006

 

Richard Benson (American, 1943-2017)
New Mexico
2006
Pigment print
Image: 13 3/8 × 20 1/16 inches (34 × 51cm)
Sheet: 16 × 21 15/16 inches (40.7 × 55.8cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Newfoundland (Green Boat)' c. 2006

 

Richard Benson (American, 1943-2017)
Newfoundland (Green Boat)
c. 2006
Multiple impression pigment print
Image: 11 9/16 × 17 3/8 inches
Sheet: 12 15/16 × 19 inches
© Estate of Richard M. A. Benson. Collection of Barbara Benson
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Georgia' 2007

 

Richard Benson (American, 1943-2017)
Georgia
2007
Pigment print
Image: 20 × 13 3/8 inches (50.8 × 34cm)
Sheet: 22 × 16 inches (55.9 × 40.6cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

 

“Georgia” (2007), which portrays a vertical array of four signs – two red octagonal stop signs, two circular railroad crossings, in yellow and orange – makes a visual counterpoint to three storage silos in the background that are painted red, blue and yellow-embellished silver. But the most virtuosic turn is the rendition of the sky, which is bleached out to a pale blue-gray at the horizon and gradually darkens to a full-throated cerulean at the top. If, as Willem de Kooning once remarked, flesh was the reason oil paint was created, Benson in his many crepuscular photographs makes the case that twilight skies were the reason color film was invented.

Arthur Lubow. “When a Master Printer Picks Up the Camera,” on The New York Times website December 30, 2021 [Online] Cited 02/01/2022

 

Richard Benson (American, 1943-2017) 'Apples for John' 2007

 

Richard Benson (American, 1943-2017)
Apples for John
2007
Pigment print
Image: 13 3/8 × 20 inches
Sheet: 15 7/8 × 22 inches
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Selma, Alabama' 2007

 

Richard Benson (American, 1943-2017)
Selma, Alabama
2007
Pigment print
Image: 11 5/8 × 17 3/8 inches (29.5 × 44.1cm)
Sheet: 13 × 19 inches (33 × 48.3cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Kentucky' 2007

 

Richard Benson (American, 1943-2017)
Kentucky
2007
Pigment print
Image: 11 5/8 × 17 3/8 inches (29.5 × 44.2cm)
Sheet: 12 15/16 × 19 inches (32.8 × 48.2cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Okeechobee, Florida' 2007

 

Richard Benson (American, 1943-2017)
Okeechobee, Florida
2007
Pigment print
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Wyoming (Reinke Sprinkler)' 2008

 

Richard Benson (American, 1943-2017)
Wyoming (Reinke Sprinkler)
2008
Multiple impression pigment print
Image: 13 3/8 × 20 1/8 inches
Sheet: 16 1/8 × 22 inches
© Estate of Richard M. A. Benson. Collection of Barbara Benson
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Untitled (Cotton Farm)' 2008

 

Richard Benson (American, 1943-2017)
Untitled (Cotton Farm)
2008
Pigment print
Image: 13 3/8 × 20 inches (34 × 50.8cm)
Sheet: 14 15/16 × 21 15/16 inches (38 × 55.8cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Louisiana' 2008

 

Richard Benson (American, 1943-2017)
Louisiana
2008
Pigment print
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Texas' 2008

 

Richard Benson (American, 1943-2017)
Texas
2008
Pigment print
Image: 13 3/8 × 20 inches
Sheet: 15 9/16 × 22 inches
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Arizona' 2008

 

Richard Benson (American, 1943-2017)
Arizona
2008
Pigment print
Image: 13 3/8 × 20 inches (34 × 50.8cm)
Sheet: 14 15/16 × 21 15/16 inches (38 × 55.8cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Ohio' 2009

 

Richard Benson (American, 1943-2017)
Ohio
2009
Pigment print
Image: 13 3/8 × 20 inches (34 × 50.8cm)
Sheet: 16 × 22 inches (40.6 × 55.9cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

Richard Benson (American, 1943-2017) 'Untitled (Celeryville field)' 2009 (negative); 2009 (print)

 

Richard Benson (American, 1943-2017)
Untitled (Celeryville field)
2009 (negative); 2009 (print)
Pigment print
Image: 13 3/8 × 20 inches (34 × 50.8cm)
Sheet: 14 15/16 × 21 15/16 inches (38 × 55.8cm)
© Estate of Richard M. A. Benson. Promised gift of William M. and Elizabeth Ann Kahane
Image courtesy Philadelphia Museum of Art, 2021

 

 

Publication

A wide-ranging retrospective that reveals a master printer’s own photographs to be technically brilliant work of remarkable breadth and complexity.

This book presents the first in-depth survey of photographs by Richard Benson (1943-2017), who approached photography as a thrilling set of technical challenges and used the medium to craft profound depictions of people, the spaces of their lives and work, and the products of their labor. An essay by curator Peter Barberie interweaves examination of Benson’s photographic practices with the story of his ideas, writing, and reproductive printing, while photographer An-My Lê, Benson’s former student, offers her perspective on his teaching, family life, and art. The book begins with his stunning darkroom prints in silver and platinum and follows his trajectory toward extraordinary digital photography, culminating in later colour prints that are at once elegant and garish, representing the contemporary world in vivid detail. Benson’s democratic eye also extended to human subjects: he photographed loved ones and strangers with extraordinary attention, and directed the same gaze to the buildings and landscapes entwined with individual lives.

  • Author: Peter Barberie
  • Hardcover
  • Publisher: Philadelphia Museum of Art, October 2021
  • 152 pages, 11 3/4 x 9 3/4
  • 134 color illustrations
  • ISBN: 9780876332016

 

Richard Benson: The World Is Smarter Than You Are

Richard Benson: The World Is Smarter Than You Are

Richard Benson: The World Is Smarter Than You Are

Richard Benson: The World Is Smarter Than You Are

Richard Benson: The World Is Smarter Than You Are

Richard Benson: The World Is Smarter Than You Are

Richard Benson: The World Is Smarter Than You Are

Richard Benson: The World Is Smarter Than You Are

 

Richard Benson: The World Is Smarter Than You Are publication

 

 

Philadelphia Museum of Art
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Philadelphia, PA 19130

Opening hours:
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Closed Tuesday and Wednesday

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15
Dec
16

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

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

 

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

 

 

Nothing SALACIOUS

.
to see here

 

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

 

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

 

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

 

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

But I can’t.

Why not?

 

Because of the

un/solicitous

 

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

and

innocuous

 

 

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

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

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

 

And there’s the rub.

LIKE RUBBING TWO COCKS TOGETHER.

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

 

We can’t have them being seen online

 

 

Cocks forbidden

 

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

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

No comment is possible.

Dr Marcus Bunyan

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

 

 

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

.
Juergen Teller

 

 

Robert Mapplethorpe. 'Pods' 1985

 

Robert Mapplethorpe (American, 1946-1989)
Pods
1985
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Madeline Stowe' 1982

 

Robert Mapplethorpe (American, 1946-1989)
Madeline Stowe
1982
© Robert Mapplethorpe Foundation. Used by permission
Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Apartment Window' 1977

 

Robert Mapplethorpe (American, 1946-1989)
Apartment Window
1977
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Frogs' 1984

 

Robert Mapplethorpe (American, 1946-1989)
Frogs
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

 

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

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

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

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

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

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

 

Short biographies

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

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

Press release from Alison Jacques Gallery

 

Robert Mapplethorpe. 'Arthur Diovanni' 1982

 

Robert Mapplethorpe (American, 1946-1989)
Arthur Diovanni
1982
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Cookie Mueller' 1978

 

Robert Mapplethorpe (American, 1946-1989)
Cookie Mueller
1978
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Paris Fashion Dovanna' 1984

 

Robert Mapplethorpe (American, 1946-1989)
Paris Fashion Dovanna
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Tattoo Artists' Son' 1984

 

Robert Mapplethorpe (American, 1946-1989)
Tattoo Artists’ Son
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Michael Reed' 1987

 

Robert Mapplethorpe (American, 1946-1989)
Michael Reed
1987
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Shoes on Plates' 1984

 

Robert Mapplethorpe (American, 1946-1989)
Shoes on Plates
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

 

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

Opening hours:
Tuesday – Saturday 11am – 6pm
Closed Sunday and Monday

Alison Jacques Gallery website

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26
Feb
12

Exhibition: ‘Harry Callahan at 100’ at the National Gallery of Art, Washington

Exhibition dates:  2nd October 2011 – 4th March 2012

 

Harry Callahan. 'Detroit' 1943

 

Harry Callahan (American, 1912-1999)
Detroit
1943
Gelatin silver print
Overall (sheet, trimmed to image): 8.3 x 11cm (3 1/4 x 4 5/16 in)
National Gallery of Art, Washington
Gift of the Callahan Family
© Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York

 

 

For me, the early photographs of his wife Eleanor and Eleanor with their child Barbara and the most poignant, intimate and beautiful of Callahan’s work while the later modernist Cape Cod photographs presage the spirit and aesthetics of the New Topographics: Photographs of a Man-Altered Landscape of 1975. Mario Cutajar observes

“These pictures of strangely vacant, light haunted intersections of sky, land, and ocean are confrontations with the limits of both the ego and photography itself as the ego’s instrument. They are oriented toward death rather than life, intimating in a cold, unsentimental way passage to another world or, perhaps, the engulfing oblivion at the horizon.”

Dr Marcus Bunyan

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

 

Harry Callahan. 'Eleanor and Barbara, Chicago' 1953

 

Harry Callahan (American, 1912-1999)
Eleanor and Barbara, Chicago
1953
Gelatin silver print
Overall (image): 19.5 x 24.45cm (7 11/16 x 9 5/8 in)
National Gallery of Art, Washington
Promised Gift of Susan and Peter MacGill
© Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York

 

Harry Callahan. 'Cape Cod' 1972

 

Harry Callahan (American, 1912-1999)
Cape Cod
1972
Gelatin silver print
Overall (image): 23.7 x 23.9cm (9 5/16 x 9 7/16 in)
National Gallery of Art, Washington
Gift of Joyce and Robert Menschel
© Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York

 

Harry Callahan.
 'Ansley Park, Atlanta' 1992


 

Harry Callahan (American, 1912-1999)
Ansley Park, Atlanta
1992
Gelatin silver print
Overall (image): 15.72 x 15.72cm (6 3/16 x 6 3/16 in)
National Gallery of Art, Washington
Gift of Susan and Peter MacGill
© Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York

 

 

The year 2012 marks the centenary of the birth of Harry Callahan (1912-1999), whose highly experimental, visually daring, and elegant photographs made him one of the most innovative artists of the 20th century.

On view in the West Building of the National Gallery of Art from October 2, 2011, through March 4, 2012, Harry Callahan at 100 explores all facets of his work in some 100 photographs, from its genesis in the early 1940s Detroit to its flowering in Chicago in the late 1940s and 1950s, and finally to its maturation in Providence and Atlanta from the 1960s through the 1990s. In 1996, the Gallery organised the exhibition Harry Callahan, which traveled to Philadelphia, Atlanta, Detroit, and Chicago, and included numerous works on loan from the artist.

“Using the rich holdings of the Gallery’s own collection of Callahan’s work, as well as a large collection of photographs on long-term loan from the artist’s widow, the exhibition will reveal the remarkable consistency of his vision and will demonstrate how his strong, inventive formal language repeatedly enriched his art,” said Earl A. Powell III, director, National Gallery of Art.

 

The Exhibition

Organised thematically and chronologically, Harry Callahan at 100 examines Callahan’s work in relation to the places where he lived and to his family, unveiling his unparalleled devotion to both his subjects and the medium of photography.

In his earliest photographs made in and around Detroit, Callahan explored the limits of the camera, constructing photographs of multiple exposures in both black-and-white and colour. In works such as Twig in Snow (c. 1942) and Store Front and Reflections (c. 1943), he sought to capture simultaneously the simplicity and complexity of nature and the theatre of urban life.

Callahan continued his aesthetic and technical experiments through photographs of his wife, Eleanor. His nudes play with dramatic contrasts of light and dark: his layered multiple exposures reveal Eleanor’s body against landscapes and frosted glass windows (Eleanor, Chicago, 1948). His photographs of his wife and their daughter, Barbara, in the lake, the city, and the woods (Eleanor and Barbara, Lake Michigan, c. 1953) exploit the spontaneity and intimacy of snapshots – yet, paradoxically, were made with a large, cumbersome 8- x 10-inch view camera.

Callahan’s twin interests in the city and the land expanded during his years in Chicago and Providence, where he created both spare and evocative photographs of the natural landscape and complex compositions of urban architecture and pedestrians. He began to document anonymous women on the streets of Chicago, first in close shots of squinting eyes, open mouths, and downcast faces seen in Chicago (1950), then in full-figure shots from a low angle that feature the women against backgrounds of skyscrapers and flagpoles, as in Chicago (1961).

In the 1970s Callahan returned to color photography, continuing to push the boundaries of the medium, seen in the well-known Providence (1977). Taken in Atlanta and during travels abroad, his late photographs emphasized vibrant colors, long shadows, and the complex humanity of urban life, seen in Morocco (1981) and Atlanta (1985).

 

Harry Callahan (1912-1999)

Born in Detroit in 1912, Callahan began to photograph in 1938. Although he received no formal training in the medium, his exceptional talent was immediately recognised. In 1946 László Moholy-Nagy hired him to teach at the Institute of Design in Chicago. There and at the Rhode Island School of Design (he moved to Providence in 1961) he taught generations of younger photographers, inspiring them both with the creativity of his vision and his steadfast commitment to the medium. In a career that spanned nearly six decades, he repeatedly explored a few select themes – his wife Eleanor and daughter Barbara, nature, and the urban environment. Yet each time he returned to a familiar subject, he reinvented it, endowing each photograph with both a personal and symbolic significance.

Press release from the National Gallery of Art website

 

Harry Callahan. 'Eleanor, New York' 1945

 

Harry Callahan (American, 1912-1999)
Eleanor, New York
1945
Gelatin silver print
Overall (image): 21.2 x 16.83cm (8 3/8 x 6 5/8 in)
National Gallery of Art, Washington
Gift of the Callahan Family
© Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York

 

Harry Callahan. 'Eleanor, Chicago' 1948

 

Harry Callahan (American, 1912-1999)
Eleanor, Chicago
1948
Gelatin silver print
Overall (image): 11.59 x 8.5cm (4 9/16 x 3 3/8 in)
National Gallery of Art, Washington
The Joyce and Robert Menschel Fund
© Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York

 

Harry Callahan. 'Eleanor, Chicago' c. 1947

 

Harry Callahan (American, 1912-1999)
Eleanor, Chicago
c. 1947
Gelatin silver print
Overall (sheet, trimmed to image): 11.91 x 8.6cm (4 11/16 x 3 3/8 in)
National Gallery of Art, Washington
Promised Gift of Susan and Peter MacGill
© Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York

 

Harry Callahan. 'Chicago' 1961

 

Harry Callahan (American, 1912-1999)
Chicago
1961
Gelatin silver print overall (image):
40.6 x 27.1cm (16 x 10 11/16 in)
National Gallery of Art, Washington
Gift of the Callahan Family
© Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York

 

 

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

Opening hours:
Daily 10.00am – 5.00pm

National Gallery of Art website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor 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.

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