Posts Tagged ‘American conceptual photography

23
Sep
21

Exhibition: ‘Dawoud Bey: An American Project’ at the Whitney Museum of American Art, New York

Exhibition dates: 17th April – 3rd October 2021

 

Installation view of 'Dawoud Bey: An American Project' (Whitney Museum of American Art, New York, April 17-October 3, 2021)

Installation view of 'Dawoud Bey: An American Project' (Whitney Museum of American Art, New York, April 17-October 3, 2021)

 

Installation view of Dawoud Bey: An American Project (Whitney Museum of American Art, New York, April 17-October 3, 2021). From left to right: Fresh Coons and Wild Rabbits, Harlem, NY, 1975; A Boy in Front of the Loew’s 125th Street Movie Theater, Harlem, NY, 1976; A Woman and a Child in the Doorway, Harlem, NY, 1975; Clockwise, from top left: Four Children at Lenox Avenue, Harlem, NY, 1977; A Woman and Two Boys Passing, Harlem, NY, 1978; Deas McNeil, the Barber, Harlem, NY, 1976; A Woman Waiting in the Doorway, Harlem, NY, 1976; Two Girls at Lady D’s, Harlem, NY, c. 1976; A Young Boy from a Marching Band, Harlem, NY, 1977; Three Women at a Parade, Harlem, NY, 1978; A Man in a Bowler Hat, Harlem, NY, 1976. Photograph by Ron Amstutz

 

 

To fit it in with other exhibitions closing soon, a mid-week posting on this strong exhibition – Dawoud Bey: An American Project – this time at the Whitney Museum of American Art, with further media images, audio and installation photographs. The first posting with my comments about the exhibition was at the High Museum of Art.

Dr Marcus Bunyan

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

 

 

 

 

Dawoud Bey: An American Project

Since the mid-1970s, Dawoud Bey (b. 1953) has worked to expand upon what photography can and should be. Insisting that it is an ethical practice requiring collaboration with his subjects, he creates poignant meditations on visibility, power, and race. Bey chronicles communities and histories that have been largely underrepresented or even unseen, and his work lends renewed urgency to an enduring conversation about what it means to represent America with a camera.

Spanning from his earliest street portraits in Harlem to his most recent series imagining an escape from slavery on the Underground Railroad, Dawoud Bey: An American Project attests to the artist’s profound engagement with the Black subject. He is deeply committed to the craft of photography, drawing on the medium’s specific tools, processes, and materials to amplify the formal, aesthetic, and conceptual goals of each body of work. Bey views photography not only as a form of personal expression but as an act of political responsibility, emphasising the necessary and ongoing work of artists and institutions to break down obstacles to access, convene communities, and open dialogues.

Dawoud Bey: An American Project is co-organised by the Whitney Museum of American Art and the San Francisco Museum of Modern Art. The exhibition is co-curated by Elisabeth Sherman, Assistant Curator at the Whitney, and Corey Keller, Curator of Photography at SFMOMA.

 

Room 800 Introduction

 

 

Dawoud Bey (American, b. 1953) 'Two Girls at Lady D's, Harlem, NY' c. 1976, printed 2019

 

Dawoud Bey (American, b. 1953)
Two Girls at Lady D’s, Harlem, NY
c. 1976, printed 2019
From Harlem, U.S.A.
Gelatin silver print
11 × 14 in. (27.9 × 35.6cm)
Collection of the artist; courtesy the artist and Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
Image courtesy the artist and Stephen Daiter Gallery, Chicago
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Four Children at Lenox Avenue, Harlem, NY' 1977, printed 2019

 

Dawoud Bey (American, b. 1953)
Four Children at Lenox Avenue, Harlem, NY
1977, printed 2019
From Harlem, U.S.A.
Gelatin silver print
11 × 14 in. (27.9 × 35.6cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

 

1

.
Harlem, U.S.A.

Bey began photographing in Harlem in 1975, at the age of twenty-two. Although he was raised in Queens, Bey was intimately connected to the neighbourhood: his parents had met there, and members of his extended family still made it their home. Drawn to the neighbourhood as both a symbol of and a wellspring for Black American culture, Bey wanted to portray its residents as complex individuals in images free of stereotype. These works all come from the series Harlem, U.S.A. (1975-79).

Bey used a 35mm camera with a slightly wide-angle lens, which required him to get close to his subjects while grounding them in the cityscape behind them. His set-up was nimble and discreet, and let the artist carefully control the framing. In 1979, the series was exhibited at the Studio Museum in Harlem, a museum dedicated to the arts of the African diaspora. Even at this very early moment in his career, it was critical to Bey that the works be shown in the community where they were made, allowing the people he was representing to have access to the work they inspired.

 

Dawoud Bey (American, b. 1953) 'A Woman Waiting in the Doorway, Harlem, NY' 1977, printed 2019

 

Dawoud Bey (American, b. 1953)
A Woman Waiting in the Doorway, Harlem, NY
1977, printed 2019
From Harlem, U.S.A.
Gelatin silver print
14 × 11 in. overall (35.6 × 27.9cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Four Teenagers after Church Service, Syracuse, NY' 1985, printed 2019

 

Dawoud Bey (American, b. 1953)
Four Teenagers after Church Service, Syracuse, NY
1985, printed 2019
Gelatin silver print
20 × 24 in. (50.8 × 61cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York
Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

Installation view of 'Dawoud Bey: An American Project' (Whitney Museum of American Art, New York, April 17-October 3, 2021)

 

Installation view of Dawoud Bey: An American Project (Whitney Museum of American Art, New York, April 17-October 3, 2021). Clockwise, from top left: Two Boys, Syracuse, NY, 1985; A Young Man with a Bus Transfer, Syracuse, NY, 1985; Two Boys at a Syracuse Handball Court, Syracuse, NY, 1985; Car in Backyard, Syracuse, NY, 1985; A Young Woman Waiting for the Bus, Syracuse, NY, 1985; A Young Man at the Bus Stop, Syracuse, NY, 1985; Four Teenagers After Church Service, Syracuse, NY, 1985; Combing Hair, Syracuse, NY, 1986; Clothes Drying on the Line, Syracuse, NY, 1985; A Woman and Three Children, Syracuse, NY, 1985. Photograph by Ron Amstutz

 

Dawoud Bey (American, b. 1953) 'Clothes Drying on the Line, Syracuse, NY' 1985, printed 2019

 

Dawoud Bey (American, b. 1953)
Clothes Drying on the Line, Syracuse, NY
1985, printed 2019
Gelatin silver print
20 × 24 in. (50.8 × 61cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York
Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
Image courtesy the artist and Stephen Daiter Gallery, Chicago
© Dawoud Bey

 

 

2

.
Syracuse, NY

For much of the 1980s Bey continued to use the same slightly wide-angle lens and 35mm camera that he had used to make Harlem, U.S.A. Increasingly attuned to the formal and expressive geometries of the camera’s rectangular frame, he explored new ways to make use of shadow and light to help define a dynamic and improvisational composition. These aesthetic choices were deeply informed by the photographers he knew and studied, most importantly Roy DeCarava (1919-2009).

In 1985 Bey had a residency at Light Work in Syracuse, New York. Residencies and the projects that grew out of them would become a key aspect of his career, allowing him to focus on one place or organisation and incorporate that specificity into his work. In this series of photographs made in Syracuse, Bey portrays the city’s Black community. He noted: “It was a deliberate choice to foreground the Black subject in those photographs, giving them a place not only in my pictures … but on the wall[s] of galleries and museums when that work was exhibited.”

 

Dawoud Bey (American, b. 1953) 'A Young Woman Waiting for the Bus, Syracuse, NY' 1985, printed 2019

 

Dawoud Bey (American, b. 1953)
A Young Woman Waiting for the Bus, Syracuse, NY
1985, printed 2019
Gelatin silver print
20 × 24 in. (50.8 × 61cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

 

Ask a Curator: Dawoud Bey: An American Project

Join assistant curator Elisabeth Sherman and curatorial assistant Ambika Trasi for an overview of the exhibition Dawoud Bey: An American Project. For more than four decades, Dawoud Bey has used the camera to create poignant meditations on visibility, power, and race, chronicling communities and histories that have largely been underrepresented or even unseen. The exhibition traces continuities across Bey’s major series, from his earliest street portraits in Harlem through his most recent project imagining an escape from slavery on the Underground Railroad.

 

Installation view of 'Dawoud Bey: An American Project' (Whitney Museum of American Art, New York, April 17-October 3, 2021)

 

Installation view of Dawoud Bey: An American Project (Whitney Museum of American Art, New York, April 17-October 3, 2021). From left to right: A Couple in Prospect Park, Brooklyn, NY, 1990; A Woman at Fulton Street and Washington Avenue, Brooklyn, NY, 1988; A Man at Fulton Street and Cambridge Place, Brooklyn, NY, 1988; A Young Man Resting on an Exercise Bike, Amityville, NY, 1988; Max, Celia, Ramon, and Candida, New York, NY, 1992; Martina and Rhonda, Chicago, IL, 1993. Photograph by Ron Amstutz

 

Dawoud Bey (American, b. 1953) 'A Man at Fulton Street and Cambridge Place, Brooklyn, NY' 1988, printed 2019

 

Dawoud Bey (American, b. 1953)
A Man at Fulton Street and Cambridge Place, Brooklyn, NY
1988, printed 2019
Pigmented inkjet print
30 × 40 in. (76.2 × 101.6cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

 

3

.
Type 55 Polaroid Street Portraits

After more than a decade of using a handheld 35mm camera, in 1988 Bey chose to slow down his process, moving to a larger and more conspicuous tripod-mounted 4 × 5-inch-format camera to make this series of street portraits. Like many other photographers working at that time, Bey was increasingly concerned with the ethics of traditional street photography, “which privileged the photographer at the expense of the subject,” and sought more equitable, reciprocal relationships with his sitters.

He began openly approaching strangers he wished to photograph in order to give “the Black subjects [a space] to assert themselves and their presence in the world, with their gaze meeting the viewer’s on equal footing.” He used Polaroid Type 55 film, which produced both instant pictures that he gave to the sitters and negatives that could be used later to make additional prints. Printing technologies have advanced in the decades since Bey made the photographs; the images here have been reprinted at nearly life-size, realising his original intention of creating a more heightened encounter between subject and viewer.

 

Dawoud Bey (American, b. 1953) 'A Boy Eating a Foxy Pop, Brooklyn, NY' 1988, printed 2019

 

Dawoud Bey (American, b. 1953)
A Boy Eating a Foxy Pop, Brooklyn, NY
1988, printed 2019
Pigmented inkjet print
40 × 30 in. (101.6 × 76.2cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

Room 803 Young Man at a Tent Revival, Brooklyn, NY

 

 

Dawoud Bey (American, b. 1953) 'Young Man at a Tent Revival, Brooklyn, NY' 1989, printed 2019

 

Dawoud Bey (American, b. 1953)
Young Man at a Tent Revival, Brooklyn, NY
1989, printed 2019
Pigmented inkjet print
40 × 30 in. (101.6 × 76.2cm)
Courtesy the artist and Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

Installation view of 'Dawoud Bey: An American Project' (Whitney Museum of American Art, New York, April 17-October 3, 2021)

 

Installation view of Dawoud Bey: An American Project (Whitney Museum of American Art, New York, April 17-October 3, 2021). From left to right: (clockwise, from top left) Two Boys, Syracuse, NY, 1985; A Young Man with a Bus Transfer, Syracuse, NY, 1985; Two Boys at a Syracuse Handball Court, Syracuse, NY, 1985; Car in Backyard, Syracuse, NY, 1985; A Young Woman Waiting for the Bus, Syracuse, NY, 1985; A Young Man at the Bus Stop, Syracuse, NY, 1985; Four Teenagers After Church Service, Syracuse, NY, 1985; Combing Hair, Syracuse, NY, 1986; Clothes Drying on the Line, Syracuse, NY, 1985; A Woman and Three Children, Syracuse, NY, 1985; Kenosha II, 1996; Hilary and Taro, Chicago, IL, 1992; A Girl with School Medals, Brooklyn, NY, 1988; A Boy Eating a Foxy Pop, Brooklyn, NY, 1988; A Girl with a Knife Nosepin, Brooklyn, NY, 1990. Photograph by Ron Amstutz

 

Dawoud Bey (American, b. 1953) 'Hilary and Taro, Chicago, IL' 1992

 

Dawoud Bey (American, b. 1953)
Hilary and Taro, Chicago, IL
1992
Two dye diffusion transfer prints (Polaroids)
30 1/8 × 44 in. overall (76.5 × 111.8cm)
Whitney Museum of American Art; purchase, with funds from the Photography Committee
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Max, Celia, Ramon and Candida, New York, NY' 1992

 

Dawoud Bey (American, b. 1953)
Max, Celia, Ramon and Candida, New York, NY
1992
Three dye diffusion transfer prints (Polaroid)
30 × 67 7/8 in. overall (76.2 × 167.64cm)
Collection of Candida Alvarez
© Dawoud Bey

 

 

4

.
20 × 24 Polaroids

In 1991, Bey began using the 20 × 24-inch camera that the Polaroid Corporation made available to artists through its Artist Support Program. The camera was gargantuan and cumbersome – more than two hundred pounds and over six feet tall and five feet wide – and required two people to operate it, the photographer and a technician. Unlike the chance, and often brief, encounters with his subjects outside when using a 35mm camera, the Polaroid camera studio sessions offered Bey the opportunity to orchestrate all the conditions of the image and to have a more contemplative and sustained engagement with each sitter.

His earliest subjects were his artist friends; later he photographed teenagers that he met through a series of residencies at high schools and museums around the country. Over the course of Bey’s eight-year engagement with the 20 × 24-inch Polaroid camera, he increasingly explored the possibilities of multi-panel portraiture as a way of conveying a sense of the length of a portrait session as well as acknowledging the reality that no one image can fully portray an individual’s complexity.

 

Room 804 Lorna, New York, NY

 

 

Dawoud Bey (American, b. 1953) 'Lorna, New York, NY' 1992

 

Dawoud Bey (American, b. 1953)
Lorna, New York, NY
1992
Two dye diffusion transfer prints (Polaroid)
30 × 44 in. overall (76.2 × 111.76cm)
Collection of Eileen Harris Norton
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Martina and Rhonda, Chicago, IL' 1993

 

Dawoud Bey (American, b. 1953)
Martina and Rhonda, Chicago, IL
1993
Six dye diffusion transfer prints (Polaroid)
48 × 60 in. overall (121.9 × 152.4cm)
Whitney Museum of American Art; gift of Eric Ceputis and David W. Williams
© Dawoud Bey

 

 

 

Reimagining History: Dawoud Bey in conversation with Jason Moran and Sarah M. Broom

On the occasion of the exhibition Dawoud Bey: An American Project, this conversation brings Dawoud Bey together with artist and musician Jason Moran and writer Sarah M. Broom to discuss their shared interest in specific histories and shared memories as the ground for their respective practices.

Inspired by Bey’s The Birmingham Project (2012) – a tribute to the victims of the 16th Street Baptist Church bombing in Birmingham, AL, in 1963 – and Night Coming Tenderly, Black (2019), which imagines the flight of enslaved Black Americans along the final leg of the Underground Railroad, the three speakers reflect on how an artwork can become an act of commemoration and radical reinvention.

Jason Moran is an interdisciplinary artist, musician, and composer who draws on and celebrates the history of Black music and musicians such as James Reese Europe, Thelonious Monk, and Fats Waller, among others.

Sarah M. Broom is the author of The Yellow House, a memoir that weaves the story of her family in New Orleans across multiple generations.

 

Installation view of 'Dawoud Bey: An American Project' (Whitney Museum of American Art, New York, April 17-October 3, 2021)

 

Installation view of Dawoud Bey: An American Project (Whitney Museum of American Art, New York, April 17-October 3, 2021). From left to right, from Class PicturesKevin, Phillips Academy, Andover, MA, 2005; Simone, Kenwood Academy, Chicago, IL, 2003; Danny, Fashion Industries High School, New York, NY, 2006. Photograph by Ron Amstutz

 

Dawoud Bey (American, b. 1953) 'Kevin, Phillips Academy, Andover, MA' 2005

 

Dawoud Bey (American, b. 1953)
Kevin, Phillips Academy, Andover, MA
2005
From Class Pictures
Pigmented inkjet print
40 × 32 in. (101.6 × 81.3cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

 

5

.
Class Pictures

Bey has long understood that the act of representation – as well as the corollary act of being seen – is both powerful and political. In Class Pictures (1992-2006) he once again turned his attention to teenagers, a population he felt was underrepresented and misjudged, seen either as “socially problematic or as engines for a certain consumerism.” The series originated during a residency at the Smart Museum of Art in Chicago, where Bey began working with local high-school students; during residencies at other museums and schools around the country, he expanded the project to capture a geographically and socioeconomically diverse slice of American adolescence.

Working in empty classrooms between class periods, Bey made careful and tender formal colour portraits of teens. He then invited them to write brief autobiographical statements to accompany their images, giving his subjects voice as well as visibility. Many of the residencies also included a curatorial project with the students using works in the museums’ collections. While the photographs and texts are what remain of these projects, it is the collaborative undertaking that Bey considers the work of Class Pictures.

 

Dawoud Bey (American, b. 1953) 'Jordan, School of the Arts, San Francisco, CA' 2006

 

Dawoud Bey (American, b. 1953)
Jordan, School of the Arts, San Francisco, CA
2006
From Class Pictures
Pigmented inkjet print
40 × 32 in. (101.6 × 81.3cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Omar, Phillips Academy, Andover, MA' 2005, printed 2019

 

Dawoud Bey (American, b. 1953)
Omar, Phillips Academy, Andover, MA
2005, printed 2019
From Class Pictures
Pigmented inkjet print
40 × 32 in. (101.6 × 81.3cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

Room 805 Omar, Phillips Academy, Andover, MA

 

 

Dawoud Bey (American, b. 1953) 'Omar, Phillips Academy, Andover, MA' 2005, printed 2019

 

Dawoud Bey (American, b. 1953)
Omar, Phillips Academy, Andover, MA (detail)
2005, printed 2019
From Class Pictures
Pigmented inkjet print
40 × 32 in. (101.6 × 81.3cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Braxton McKinney and Lavone Thomas, Birmingham, AL' 2012

 

Dawoud Bey (American, b. 1953)
Braxton McKinney and Lavone Thomas, Birmingham, AL
2012
From The Birmingham Project
Pigmented inkjet prints
40 × 32 in. each (101.6 × 81.3cm each)
Rennie Collection, Vancouver
© Dawoud Bey

 

 

6

.
The Birmingham Project

On September 15, 1963, the Ku Klux Klan bombed the 16th Street Baptist Church in Birmingham, Alabama, murdering four Black girls – Addie Mae Collins, Denise McNair, Carole Robertson, and Cynthia Wesley – inside. Two Black boys – Johnny Robinson and Virgil Ware – were also killed in racially motivated violence later that day. Bey’s series The Birmingham Project (2012) commemorated the fiftieth anniversary of this horrific event. The artist made formal portraits of Birmingham residents, pairing children the same ages as the victims with adults fifty years older – the ages the victims would have been had they lived.

Bey said of the experience making these works: “To think of someone striking such a young life down with impunity is a renewed horror each time a young person sits in front of my camera. To see the older men and women, having lived rich full lives, reminds me constantly of the tragically abbreviated lives of those six young people.” Bey made the portraits in two locations: Bethel Baptist Church, an early headquarters for the civil rights movement in Birmingham, and the Birmingham Museum of Art, which in 1963 was a segregated space that admitted Black visitors only one day a week. The resulting works both honour the tragic loss of the six children and make plain the continued impact of violence, trauma, and racism.

 

Dawoud Bey (American, b. 1953) 'Betty Selvage and Faith Speights, Birmingham, AL' 2012

 

Dawoud Bey (American, b. 1953)
Betty Selvage and Faith Speights, Birmingham, AL
2012
From The Birmingham Project
Pigmented inkjet prints
40 × 32 in. each (101.6 × 81.3cm each)
Rennie Collection, Vancouver
© Dawoud Bey

 

Installation view of 'Dawoud Bey: An American Project' (Whitney Museum of American Art, New York, April 17-October 3, 2021)

 

Installation view of Dawoud Bey: An American Project (Whitney Museum of American Art, New York, April 17-October 3, 2021). From left to right, from The Birmingham Project: Braxton McKinney and Lavon Thomas, 2012; Betty Selvage and Faith Speights, 2012; Jean Shamburger and Kyrian McDaniel, 2012. Photograph by Ron Amstutz

 

Installation view of 'Dawoud Bey: An American Project' (Whitney Museum of American Art, New York, April 17-October 3, 2021)

 

Installation view of Dawoud Bey: An American Project (Whitney Museum of American Art, New York, April 17-October 3, 2021). Mathis Menefee and Cassandra Griffin, from The Birmingham Project, 2012. Photograph by Ron Amstutz

 

Room 103 Mathis Menefee and Cassandra Griffin

 

 

Dawoud Bey (American, b. 1953) 'Mathis Menefee and Cassandra Griffin, Birmingham, AL' 2012

 

Dawoud Bey (American, b. 1953)
Mathis Menefee and Cassandra Griffin, Birmingham, AL
2012
From The Birmingham Project
Pigmented inkjet prints
40 × 64 in. each (101.6 × 162.56cm each)
Rennie Collection, Vancouver
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'West 124th Street and Lenox Avenue, NY' 2016, printed 2019

 

Dawoud Bey (American, b. 1953)
West 124th Street and Lenox Avenue, NY
2016, printed 2019
From Harlem Redux
Pigmented inkjet print
40 3/8 × 48 1/4 × 2 in. overall (102.6 × 122.6 × 5.1cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

 

7

.
Harlem Redux

In 2014, Bey began the series of which this work is a part, Harlem Redux. It marked a return to the neighbourhood, where four decades earlier he had made his first critically acclaimed body of work, Harlem, U.S.A. If the earlier series is a love letter to the historic epicentre of Black community and culture in the United States, Harlem Redux (2014-17) is an incisive and elegiac look at its recent, rapid transformation and gentrification. Bey used a medium-format camera and made the pictures large scale and in colour, techniques common to contemporary photography practices, in order to signal that these changes are taking place now, and not in a historical moment.

This series commemorates sites of cultural significance in Harlem – such as the legendary jazz club the Lenox Lounge, which was demolished not long after Bey’s photograph was made – and makes evident the impacts of otherwise invisible socioeconomic forces. In his words, Harlem is now a neighbourhood “increasingly defined by a sense of ‘erase and replace’, wherein pieces of social and cultural history, along with memory itself, are routinely discarded.”

 

Dawoud Bey (American, b. 1953) 'Young Man, West 127th Street, Harlem, NY' 2015, printed 2019

 

Dawoud Bey (American, b. 1953)
Young Man, West 127th Street, Harlem, NY
2015, printed 2019
From Harlem Redux
Pigmented inkjet print
40 3/8 × 48 1/4 × 2 in. overall (102.6 × 122.6 × 5.1cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

Room 801 Girls, Ornaments, and Vacant Lot

 

 

Dawoud Bey (American, b. 1953) 'Girls, Ornaments, and Vacant Lot, NY' 2016, printed 2019

 

Dawoud Bey (American, b. 1953)
Girls, Ornaments, and Vacant Lot, NY
2016, printed 2019
From Harlem Redux
Pigmented inkjet print
40 3/8 × 48 1/4 × 2 in. (102.6 × 122.6 × 5.1cm)
Collection of the artist; courtesy Sean Kelly Gallery, New York; Stephen Daiter Gallery, Chicago; and Rena Bransten Gallery, San Francisco
© Dawoud Bey

 

Dawoud Bey (American, b. 1953) 'Untitled #21 (Farmhouse and Picket Fence II)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #21 (Farmhouse and Picket Fence II)
2017
from Night Coming Tenderly, Black
Gelatin silver print
44 × 54 5/8 in. (111.8 × 138.7cm)
Whitney Museum of American Art, New York; purchase, with funds from the Photography Committee, in honour of Sondra Gilman
© Dawoud Bey

 

 

8

.
Night Coming Tenderly, Black

Bey’s most recent work imagines the flight of enslaved Black Americans along the leg of the Underground Railroad that operated in Ohio – the last fifty or so miles before they reached the vast expanse of Lake Erie, on the other side of which lay Canada, and freedom. As a covert network of safe houses and churches, the sites of the Underground Railroad were by necessity secret. Bey’s photographs suggest the experience of the journey and the landscapes and buildings that may have provided protection along the way. Night Coming Tenderly, Black (2017) marks the first time in his career that Bey turned completely to landscape photography, removing the presence of the figure entirely.

Nonetheless, the images imply the perspective of the individuals whose invisibility was requisite for their safety. Their large scale and rich black tones invite the viewer to engage their own body in the act of looking, taking time for their eyes to adjust and moving around to register the entirety of each image. The series pays homage to two Black American artists, the photographer Roy DeCarava and the poet Langston Hughes. DeCarava’s influence can be seen in the lush and protective darkness of the prints, while the project’s title is drawn from the final couplet of Hughes’s “Dream Variations”: “Night coming tenderly / Black like me.”

 

Dawoud Bey (American, b. 1953) 'Untitled #24 (At Lake Erie)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #24 (At Lake Erie)
2017
from Night Coming Tenderly, Black
Gelatin silver print
48 × 55 in. (121.9 × 139.7cm)
Whitney Museum of American Art, New York; purchase, with funds from the Photography Committee, in honour of Sondra Gilman
© Dawoud Bey

 

Room 806 Untitled #25 (Lake Erie and Sky)

 

 

Dawoud Bey (American, b. 1953) 'Untitled #25 (Lake Erie and Sky)' 2017

 

Dawoud Bey (American, b. 1953)
Untitled #25 (Lake Erie and Sky)
2017
From Night Coming Tenderly, Black
Gelatin silver print
44 × 55 in. (111.8 × 139.7cm)
San Francisco Museum of Modern Art; Accessions Committee Fund purchase
© Dawoud Bey

 

 

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09
Jul
21

Exhibition: ‘Underexposed: Women Photographers from the Collection’ at the High Museum of Art, Atlanta

Exhibition dates: 17th April – 1st August 2021

Curator: Sarah Kennel with Maria Kelly, curatorial assistant for photography

 

 

Paula Chamlee (American, born 1944) 'Nude Collage #1' 1998

 

Paula Chamlee (American, born 1944)
Nude Collage #1
1998
Gelatin silver print
7 ¾ x 9 ½
Gift of Lucinda W. Bunnen for the Bunnen Collection
© Paula Chamlee

 

 

Paula Chamlee’s work stretches beyond the realm of straight photography and into assemblage, painting, and drawing. This collage was inspired by photocopies of prints that her husband, the late photographer Michael A. Smith, intended to share with a prospective collector. Because the photographs’ dimensions did not match with that of the copy machine, the images required cropping and taping. Intrigued by the nature of these cast-off bits piled together and the relationship of the parts to the whole, Chamlee created this collage by piecing together images of her body that Smith had taken.

 

 

Out of energy this weekend with all that is going on with being made redundant at the University. Physically and emotionally drained. Apologies.

So just two words… more please!

Marcus

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Many thankx to the High 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.

 

 

For nearly all of photography’s one hundred eighty-year history, women have shaped the development of the art form and experimented with every aspect of the medium.

Conceived in conjunction with the centennial of the passage of the Nineteenth Amendment, which granted suffrage for some women, this exhibition showcases more than one hundred photographs from the High’s collection, many of them never before on view, and charts the medium’s history from the dawn of the modern period to the present through the work of women photographers.

Organised roughly chronologically, each section emphasises a distinct arena in which women contributed and often led the way. Among the artists featured are pioneers of the medium such as Anna Atkins as well as more recent innovators and avid experimenters, including Betty Hahn, Barbara Kasten, and Meghann Riepenhoff. The exhibition also celebrates the achievements of numerous professional photographers, including Berenice Abbott, Margaret Bourke-White, and Marion Post Wolcott, who worked in photojournalism, advertising, and documentary modes and promoted photography as a discipline.

The exhibition also highlights photographers who photograph other women, children, and families, among them Sally Mann, Nan Goldin, and Diane Arbus, and those who interrogate ideals of femininity through self-portraiture. Also on view will be works by contemporary photographers who challenge social constructions of gender, sexuality, and identity, including Zanele Muholi, Sheila Pree Bright, Cindy Sherman, Mickalene Thomas, and Carrie Mae Weems.

 

 

 

Underexposed B roll

 

Mickalene Thomas (American, born 1971) 'Les Trois Femmes Deux' 2018

 

Mickalene Thomas (American, born 1971)
Les Trois Femmes Deux
2018
Dye coupler print
High Museum of Art, Atlanta. purchase with funds from the Friends of Photography

 

 

Mickalene Thomas creates vibrantly layered artworks that reclaim iconic images to centre Black female subjectivity in the history of art. A direct response to Edouard Manet’s Luncheon on the Grass, this photograph transposes the scene of three White figures having a picnic in a park to an interior view of three exquisitely coiffed and adorned Black women (including Thomas’s partner at right) gazing directly and confidently at the viewer. The colourful, wood-panelled living room, complete with fake plants and mismatched African textiles, evokes Thomas’s 1970s childhood and the aesthetics of Blaxploitation cinema, known for its audacious, dangerous, and sexually confident gun-toting heroines.

 

 

This spring, the High Museum of Art will present “Underexposed: Women Photographers from the Collection” (April 17 – August 1), an exhibition featuring more
than 100 photographs from the Museum’s collection, including many that have never before been exhibited. The artworks demonstrate the notable contributions of women throughout the history of photography, spanning from innovators of the medium to contemporary practitioners who investigate the intersections of photography, representation and identity.

Originally conceived in conjunction with the centennial of the passage of the 19th Amendment, “Underexposed” pays homage to the work of women who have pioneered and championed the art of photography, from its earliest days through today. The exhibition is arranged roughly chronologically and showcases distinct arenas in which women photographers flourished and often led the way: as professionals working across multiple genres; as avid experimenters pushing photography into new directions; as teachers and patrons who supported the growth of the medium; and as creative, critically engaged artists exploring such issues as gender, identity and politics.

“With this exhibition’s focus on women photographers, ‘Underexposed’ highlights a trajectory of participation and influence extending from the earliest days of photography to a leading role in defining the medium today,” said Rand Suffolk, the High’s Nancy and Holcombe T. Green, Jr., director.

Sarah Kennel, the High’s Donald and Marilyn Keough Family curator of photography, added, “Focusing on the last 100 years, this exhibition highlights how women have embraced photography as a powerful form of professional and creative expression. In bringing together pioneers of the medium with artists who reflect critically on photography’s capacity to shape and challenge concepts of gender and identity, we have an extraordinary opportunity to expand the history of photography and bring greater recognition to the many women who have contributed to and led the field.”

The exhibition opens with a selection of work by artists who transformed the practice of photography from the 1920s through the 1950s. Coinciding with the global rise of the feminist ideal of the “New Woman” in the late 1900s, practitioners including Ilse Bing, Margaret Bourke White, Dorothea Lange and Imogen Cunningham emerged as savvy leaders in the fields of  documentary, fashion and fine art photography. The exhibition continues with a section focused on artists who have experimented with photographic technologies and alternative processes to redefine the expressive and material limits of the medium. Works made in the 1970s and 1980s by artists including Barbara Kasten, Olivia Parker and Sheila Pinkel join pieces by contemporary makers, such as Meghann Riepenhoff and Elizabeth Turk, who continue to expand the language of photography.

The second half of the exhibition explores how women photographers have used photography to reflect on and interrogate the personal, social and cultural dimensions of gender and identity. Works by Diane Arbus, Nan Goldin, Susan Meiselas, Anne Noggle and Clarissa Sligh reveal different ways women have looked at and photographed other women. Similarly, works by Sheila Pree Bright, Sandy Skoglund and Susan Worsham deconstruct ideas around domesticity and feminine ideals. The exhibition closes with a selection of portraits and self-portraits by Judy Dater, Zaneli Muholi, Cindy Sherman, Mickalene Thomas and Carrie Mae Weems, among others, that explore the intersections of photography, representation and identity.

“Underexposed: Women Photographers from the Collection” will be presented on the lower level of the High’s Wieland Pavilion. This exhibition is curated by Sarah Kennel with Maria Kelly, curatorial assistant for photography.

Press release from the High Museum of Art

 

Anna Atkins (British, 1799-1871) 'Mauritius, from Cyanotypes of British and Foreign Flowering Plants and Fern' 1851-1854

 

Anna Atkins (British, 1799-1871)
Mauritius, from Cyanotypes of British and Foreign Flowering Plants and Fern
1851-1854
Cyanotype
10 1/8 x 7 15/15 inches
Gift in honour of Edward Anthony Hill

 

Doris Ulmann (American, 1884-1934) 'Studious Girl, Fleischman Relative' before 1931

 

Doris Ulmann (American, 1884-1934)
Studious Girl, Fleischman Relative
before 1931
Platinum print
Purchase

 

 

Doris Ulmann began her photographic career while attending the Clarence H. White School of Photography in New York – the first art photography school in the United States. There she worked in the Pictorialist tradition, embraced the “painterly” qualities of soft focus, and manipulated surfaces. After undergoing a major surgery, Ulmann decided to pursue her interest in people “for whom life had not been a dance.” She began traveling throughout the southeastern United States documenting the folk traditions and people of the Appalachian Mountains. She made several sun-dappled portraits of this young girl (identified on other prints as “Kreiger girl”) in and around Berea, Kentucky.

 

Ilse Bing (American, born Germany, 1899-1998) 'Self-Portrait in Mirrors' Paris, 1931

 

Ilse Bing (American, born Germany, 1899-1998)
Self-Portrait in Mirrors
Paris, 1931, printed c. 1941
Gelatin silver print
High Museum of Art, Atlanta
Purchase with funds from Georgia-Pacific Corporation

 

Berenice Abbott (American, 1898-1991) '"El" Station Interior, Sixth and Ninth Avenue Lines, Downtown Side' 1936

 

Berenice Abbott (American, 1898-1991)
“El” Station Interior, Sixth and Ninth Avenue Lines, Downtown Side
1936
Gelatin silver print
10 3/8 x 13 3/8
Purchase with funds from a Friend of the Museum

 

 

A towering figure of photography, Berenice Abbott learned the craft while assisting artist Man Ray in Paris. By 1926, she had established her own portrait studio, capturing the leading cultural icons of the day. She also befriended French photographer Eugène Atget and became his tireless champion, even rescuing many of his negatives after his death. After returning to New York in 1929, Abbott spent the next decade working on a major project documenting the rapidly transforming cityscape, which she published in the 1939 book Changing New York, produced with her partner, art critic Elizabeth McCausland. Although known for her urban views, in the 1950s, Abbott started working with Massachusetts Institute of Technology to explore the potential for photography to illustrate scientific principles and phenomena, as shown in this picture.

 

Lola Alvarez Bravo (Mexican, 1903-1993) 'Frida looking into mirror' 1944

 

Lola Alvarez Bravo (Mexican, 1903-1993)
Frida looking into mirror
1944
Gelatin silver print
8 3/4 x 7 1/4 inches
Purchase with funds from Margaretta J. Taylor
© Lola Alvarez Bravo/Artists Rights Society (ARS), New York

 

Doris Derby (American, b. 1939) 'Grass Roots Organizer, Mississippi' 1968

 

Doris Derby (American, b. 1939)
Grass Roots Organizer, Mississippi
1968
Gelatin silver print
Purchase with funds from Jeff and Valerie Levy

 

 

Dr. Doris Derby is an educator, anthropologist, and photojournalist based in Atlanta. In the 1960s and 1970s, she was an active member of the Student Nonviolent Coordinating Committee (SNCC), the Mississippi Freedom Democratic Party, and the Adult Literacy Project. Derby’s photographs reflect her interest in and concern for the role of poor, disenfranchised women during the movement. Many women had been fired from their jobs for registering to vote; in response, they built skill-based cooperatives and community groups that kept their families and communities together in very difficult times.

 

Diane Arbus. 'A family on their lawn one Sunday in Westchester, N.Y.,' 1968

 

Diane Arbus (American, 1923-1971)
A Family on the Lawn One Sunday in Westchester in June, 1968
1968, printed 1970
Gelatin silver print
14 3/4 x 15 inches
Purchase with funds from a friend of the Museum

 

Imogen Cunningham (American, 1883-1976) 'Magnolia Blossom' 1975

 

Imogen Cunningham (American, 1883-1976)
Magnolia Blossom
1975
Gelatin silver print
10 ¼ x 13 inches
Purchase with funds from a Friend of the Museum
© The Imogen Cunningham Trust

 

Joyce Neimanas (American, b. 1944) 'Daytime Fantasies' 1976

 

Joyce Neimanas (American, b. 1944)
Daytime Fantasies
1976
Gelatin silver print with applied colour
Gift of Lucinda W. Bunnen for the Bunnen Collection

 

 

For most of her career, Joyce Neimanas has created photographic images without directly using a camera, choosing instead to make complex collages and photograms of found imagery derived primarily from mass culture. In this work, Neimanas enlarged and printed a still from a 16 mm pornographic film to which she applied colour and annotated with text drawn from the controversial Kinsey Report on Sexual Behavior in the Human Female (1953). Made at a time of expanded conversation around gender, feminism, and sexual liberation, this work explores and challenges conventional representations of women’s sexuality.

 

Cindy Sherman (American, b. 1954) 'Untitled' 1979

 

Cindy Sherman (American, b. 1954)
Untitled
1979, printed 1989
From the Untitled Film Stills series
Chromogenic print
Gift of Lucinda W. Bunnen for the Bunnen Collection

 

 

Cindy Sherman has used self-portraiture as a strategy to interrogate representations of identity, gender, and mass culture. In her breakout Untitled Film Stills series, she photographed herself in varied guises inspired by generic Hollywood depictions of female characters: the bereft housewife, the sultry vamp, the wide-eyed ingénue. She challenges traditional understandings of photography and self-portraiture and exposes mass media’s constructed norms and ideas about femininity. Although she shot the original series in black and white as a nod to mid-twentieth-century B-grade black and white films, she also reprised the themes in colour works like this one.

 

Graciela Iturbide (Mexican, b. 1942) 'Magnolia, Juchitán, México' 1986

 

Graciela Iturbide (Mexican, b. 1942)
Magnolia, Juchitán, México
1986
Gelatin silver print
20 x 16 inches

 

Nan Goldin (American, b. 1953) 'Cookie and Sharon on the Bed, Provincetown, MA, Sept. 1989' 1989

 

Nan Goldin (American, b. 1953)
Cookie and Sharon on the Bed, Provincetown, MA, Sept. 1989
1989
Dye destruction print
Gift of Lucinda W. Bunnen for the Bunnen Collection

 

 

One of the most important photographers of her generation, Nan Goldin is an artist whose personal life is at the centre of her art. Her Cookie Portfolio documents her intimate friendship with Cookie Mueller. This photograph strikes a somber note as we see Cookie’s friend and lover Sharon sitting at the front of her bed, disconnected from a frail-appearing Cookie, who lies underneath her wedding picture. Cookie’s husband, Vittorio, died from AIDS the month this picture was made, and Cookie would die two months later. Despite the palpable loss sensed in the distance between the earlier and later works in the portfolio, Goldin conveys the steadfastness and tenderness of female friendship and support, which also infused her process: “I’m looking with a warm eye, not a cold eye. I’m not analysing what’s going on – I just get inspired to take a picture by the beauty and vulnerability of my friends.”

 

Sandy Skoglund (American, born 1946) 'Gathering Paradise' 1991

 

Sandy Skoglund (American, born 1946)
Gathering Paradise
1991
Dye coupler print
47 x 60 ½ inches
Gift of Mr. and Mrs. James L. Henderson, III

 

 

Like many of installation artist and photographer Sandy Skoglund’s surrealist views of domestic spaces, this macabre, pink-tinged scene of squirrels running riot across a patio suggests the frenetic anxiety that bubbles beneath the placid appearance of suburban life. Eschewing digital manipulation, Skoglund meticulously constructs room-size theatrical sets – in this case, complete with sculpted squirrels – which she then photographs. At once funny and unsettling, her photographs of everyday spaces invaded by a menagerie of fantastical animals reveal the nightmarish aspects of the American dream.

 

Judy Dater (American, born 1941) 'Self-Portrait on Deserted Road' 1982

 

Judy Dater (American, born 1941)
Self-Portrait on Deserted Road
1982
Gelatin silver print
14 ¼ x 18 ¼
Gift of Lucinda W. Bunnen for the Bunnen Collection

 

 

Over the course of her career, Judy Dater has primarily photographed women, including herself. This work is from a series she made during ten trips to national parks in the West between 1980 and 1983, where she photographed herself nude amidst the grandeur of nature. Seemingly stranded on an empty, endless road, she appears vulnerable and lost, but across the larger series, her photographs veer from savage self-examination to carefully constructed performances that explore identity, subjectivity, and femininity. One of the key influences on Dater’s photography is the work of Imogen Cunningham, who was also a close friend.

 

Barbara Kasten (American, b. 1936) 'Architectural Site 17' 1988

 

Barbara Kasten (American, b. 1936)
Architectural Site 17
1988
Dye destruction print
Support/Overall: 50 x 60 inches
Purchase

 

Sheila Pree Bright (American, born 1967) 'Untitled 13' 2006

 

Sheila Pree Bright (American, b. 1967)
Untitled 13
2006
From the Suburbia series
Dye coupler print, 49 1/2 inches
Gift of Sandra Anderson Baccus in loving memory of Lloyd Tevis Baccus, M.D.
© Sheila Pree Bright

 

Sheila Pree Bright (American, b. 1967) '#1960Now Ferguson protest: National March in Ferguson, "We Can't Stop" Mike Brown, Ferguson, MO, March 2015' 2015

 

Sheila Pree Bright (American, b. 1967)
#1960Now Ferguson protest: National March in Ferguson, “We Can’t Stop” Mike Brown, Ferguson, MO, March 2015
2015
From the series #1960Now
Gelatin silver print
Purchase with funds from the Friends of Photography

 

 

Sheila Pree Bright is one of Atlanta’s most prominent photographers working today. For the ongoing series #1960Now, she travels with and photographs the civic actions and protests of the Black Lives Matter movement. The title refers to the similarities between these contemporary protests and the civil rights movement and photography of the 1960s. The hashtag in the title refers to social media’s growing role in circulating images and defining current events. Here, two young girls and a little boy are at the forefront of a march in Ferguson, emphasising how the youth of today can be change makers for tomorrow.

 

Xaviera Simmons (American, born 1974) '10A Untitled' 2010

 

Xaviera Simmons (American, born 1974)
10A Untitled
2010
From the Utah series
Dye coupler print, 30 x 40 inches, 2010.21. Purchase with David C. Driskell African American Art Acquisition Fund. © Xaviera Simmons

 

Zanele Muholi (South African, born 1972) 'Zibuyile I (Syracuse)' 2015

 

Zanele Muholi (South African, born 1972)
Zibuyile I (Syracuse)
2015
Gelatin silver print
25 5/8 x 17 inches
Purchase with funds from the Donald and Marilyn Keough Family and the H. B. and Doris Massey Charitable Trust

 

 

Visual activist Zanele Muholi, whose personal gender pronoun is they, uses self-portraiture to address the politics of gender and race in the ongoing body of work Somnyama Ngonyama (which translates to “Hail, The Dark Lioness” from their mother tongue, Zulu). Muholi poses in locations around the world and incorporates everyday found objects such as props, costumes, and set dressing to build images that draw on their personal family history, consumer culture, and art history. In this photograph, Muholi addresses the viewer with a forceful, piercing gaze, challenging the conventional exoticised, othered, and sexualised depictions of Black female bodies.

 

Jill Frank (American, born 1978) 'everyone who woke up at the yellow house' 2016

 

Jill Frank (American, born 1978)
everyone who woke up at the yellow house
2016
Double sided inkjet print
High Museum of Art, gift of Louis Corrigan

 

V. Elizabeth Turk (American, born 1945) 'Calaeno' 2018

 

V. Elizabeth Turk (American, born 1945)
Calaeno
2018
Van Dyke print
High Museum of Art, Atlanta, purchase with funds from Lucinda W. Bunnen for the Bunnen Collection
© Elizabeth Turk

 

 

The High Museum of Art
1280 Peachtree St NE
Atlanta, GA
30309

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Sunday 12 – 5pm
Monday closed

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24
Jan
20

Exhibition: ‘Illusions of the Photographer: Duane Michals at the Morgan’ at The Morgan Library & Museum

Exhibition dates: 25th October 2019 – 2nd February 2020

Curator: Joel Smith

 

 

Duane Michals (American, b. 1932) 'Self-Portrait Asleep in a Tomb of Mereruka Sakkara' 1978

 

Duane Michals (American, b. 1932)
Self-Portrait Asleep in a Tomb of Mereruka Sakkara
1978
6 (5 x 7 inch) silver gelatin prints with hand-applied text
© Duane Michals, Courtesy DC Moore Gallery, New York
The Morgan Library & Museum

 

 

The things-for-which-there-are-no-words

Duane Michals is one of the greatest photographic storytellers of the twentieth century. His parables – seemingly simple stories used to illustrate a moral or spiritual lesson – resonate, vibrate, with energy, and insight into, the human condition. They are as profound as the air we breathe but cannot see – expressing the invisible, presencing the spiritual. I feel, I know these stories, intimately. Those things-for-which-there-are-no-words.
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Presencing. In 1885, Van Gogh, wrote a letter to his brother Theo: ‘Rembrandt goes so deep into the mysterious that he says things for which there are no words in any language. It is with justice that they call Rembrandt – [a] magician.’ (Letter from Vincent van Gogh to Theo van Gogh [letter 534], on or about 10 October 1885, in Leo Jansen, Luijten and Nienke Bakker (eds.,). Vincent van Gogh: The Letters. Van Gogh Museum and the Huygens Institute, Amsterdam, 2009 [Online] Cited 11/10/2019)

The things-for-which-there-are-no-words remain hidden when approached with conceptual thought. They need to be experienced to be known. The currency of this experience, as we have seen, is deeply personal, but in allowing it we can touch on truth, perhaps even the truth.”1

 

There are things here not seen in this photograph. The spirit leaves the body. William Blake and Duane Michals. Enchanted melancholy. The mysterious / music. In swift embrace. In love. In memory. In death. The fluidity of the line of the artist. Things are queer. The world implodes and ravages itself. Paradise is reborn. The letter, and love, from my father that I, also, never did receive. The nature of reality. Truth?

“I’m completely overwhelmed by the nature of our reality,” he is quoted as saying in the exhibition catalog about human evolution. “We’ve been working on this version of man for a thousand years. He lives longer, he’s healthier, but he’s still an unproven product. Still the same greedy little bastard.”

“For Michals, photography is not documentary in nature but theatrical and fictive: the camera is one of many tools humanity uses to construct a comprehensible version of reality. In his imaginative, visually rich photographs, the artist exploits the medium’s storytelling capacity,” says the press release. Isobel Crombie suggests the ‘medium’ of photography has ‘The ability to speak to us across time and to connect to the mind and the heart.’2

When I was young. What was time?

Dr Marcus Bunyan

 

  1. Kim Devereux. “Me and My Muse,” in the NGV Magazine Issue 19 Nov-Dec 2019, p. 55
  2. Isobel Crombie. “One Suggestive Moment,” in the NGV Magazine Issue 19 Nov-Dec 2019, p. 33

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Many thankx to The Morgan Library & Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“I write with this photograph not to tell you what you can see, rather to express what is invisible.”

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Duane Michals 1966 in Johnson, B. (ed.,) 2004, ‘Photography speaks: 150 photographers on their art’, Aperture, New York p. 150

 

“I think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody’s face in a photograph. The magic is in seeing people in new ways.”

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Duane Michals

 

Duane Michals uses visual narrative, symbolism and metaphysical imagery to interpret the human condition. His photographic sequences have a film-like appearance and represent intangible elements of dreams, imagination, death, time, myth and spirit. A freelance commercial photographer, Michals began experimenting with sequence works in the 1960s, later adding text to illuminate emotion and philosophical ideas and following in the tradition of painters such as René Magritte and Giorgio de Chirico whom he greatly admired. His staged, fictive tableaux vivants are intimate scenes that explore the atmosphere of the invisible and metaphysical…

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

 

 

DEATH

Robert Wiles. 'Evelyn Francis McHale May 1, 1947' 1947

 

Robert Wiles
Evelyn Francis McHale May 1, 1947
1947
Gelatin silver print
Overall: 9 1/2 × 8 in. (24.1 × 20.3 cm)
Purchased on the Goldsmith Fund for Americana
The Morgan Library & Museum

 

 

On 30 April she visited her fiancée in Easton presumably to celebrate his 24th birthday and boarded a train back to NYC at 7 a.m., 1 May 1947. Barry [Rhodes] stated to reporters that “When I kissed her goodbye she was happy and as normal as any girl about to be married.”

Of course we’ll never know what went through Evelyn’s mind on 66 mi train ride home. But after she arrived in New York she went to the Governor Clinton Hotel where she wrote a suicide note and shortly before 10:30 a.m. bought a ticket to the 86th floor observation deck of the Empire State Building.

Around 10:40 am Patrolman John Morrissey, directing traffic at Thirty-fourth Street and Fifth Avenue, noticed a white scarf floating down from the upper floors of the building. Moments later he heard a crash and saw a crowd converge on 34th street. Evelyn had jumped, cleared the setbacks, and landed on the roof of a United Nations Assembly Cadillac limousine parked on 34th street, some 200 ft west of Fifth Ave.

Across the street, Robert C. Wiles, a student photographer, also noticed the commotion and rushed to the scene where he took several photos, including this one, some four minutes after her death. Later, on the observation deck, Detective Frank Murray found her tan (or maybe gray, reports differ) cloth coat neatly folded over the observation deck wall, a brown make-up kit filled with family pictures and a black pocketbook with the note which read:

“I don’t want anyone in or out of my family to see any part of me. Could you destroy my body by cremation? I beg of you and my family – don’t have any service for me or remembrance for me. My fiance asked me to marry him in June. I don’t think I would make a good wife for anybody. He is much better off without me. Tell my father, I have too many of my mother’s tendencies.”

Lizz Buzz. “The Story Behind the “The Most Beautiful Suicide” Picture of Evelyn McHale (1947),” on the Atchuup! website April 23, 2019 [Online] Cited 17/11/2019

 

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

 

Duane Michals (American, b. 1932)
The Spirit Leaves the Body
1968
Gift of Richard and Ronay Menschel
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'I Build a Pyramid' 1978

 

Duane Michals (American, b. 1932)
I Build a Pyramid
1978
6 (5 x 7 inch) silver gelatin prints with hand-applied text
The Morgan Library & Museum

 

 

ILLUSION

Francesco Salviati (1510-1563) 'Emblematic Design with Two-Headed Horse and Moth' c. 1550-63

 

Francesco Salviati (1510-1563)
Emblematic Design with Two-Headed Horse and Moth
c. 1550-63
Pen and brown ink, brown wash, on paper; framing lines at upper left and right edges in pen and brown ink
Overall: 7 1/2 × 7 3/8 in. (19.1 × 18.7 cm)
Gift of János Scholz
The Morgan Library & Museum

 

William Blake (British, 1757-1827) 'Satan Smiting Job with Boils' c. 1805-10

 

William Blake (British, 1757-1827)
Satan Smiting Job with Boils
c. 1805-10
Pen and black and gray ink, gray wash, and watercolour, over faint indications in pencil, on paper
Overall: 9 3/16 x 11 inches (233 x 280 mm)
Purchased by Pierpont Morgan (1837-1913) in 1909
The Morgan Library & Museum

 

Jehan Georges Vibert (1840-1902) 'A Cardinal in Profile' 1880

 

Jehan Georges Vibert (French, 1840-1902)
A Cardinal in Profile
1880
Watercolour on paper
Overall: 4 7/8 × 3 3/8 in. (12.4 × 8.6 cm)
Gift of John M. Thayer
The Morgan Library & Museum

 

Henry Pearson (American, 1914-2006) '128th Psalm (Study for "Five Psalms")' 1968

 

Henry Pearson (American, 1914-2006)
128th Psalm (Study for “Five Psalms”)
1968
Chinese ink on heavy paper
Overall: 23 1/2 × 18 in. (59.7 × 45.7 cm)
Gift of Regina and Lawrence Dubin, M.D
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'The Illuminated Man' 1968

 

Duane Michals (American, b. 1932)
The Illuminated Man
1968
Gelatin silver print, unique print
Image: 15 5/8 x 22 7/8 inches
The Morgan Library & Museum

 

 

When Michals arrived in New York from Pittsburgh in the early 1950s, the city provided not only freedom from the strict conventions of his Catholic upbringing, but an opening to worlds of ideas and experiences that extended in all directions. By the early 1960s, he was living with his life partner, the architect Frederick Gorree (who passed away in 2017) and experimenting with the photographic image beyond the single frame, often including handwritten texts.

“Duane cut photography’s umbilical cord,” Smith said about the photographer’s contributions to the medium. “He saw there’s no reason to limit the camera to what you find in the world; it should be part of the history of expressing ideas.” Michals’s 1970 one-man show at the Museum of Modern Art confirmed his significance in establishing a new genre.

In the 1960s, he became interested in Buddhism and meditation, further expanding his artistic concerns. At the Morgan, Michals walked over to a large, eye-popping ink drawing by Henry Pearson, an abstract artist loosely associated with the Op Art movement. Pearson’s “128th Psalm (Study for ‘Five Psalms’)” from 1968, is a light-bulb-shaped form with lines emanating from the center like electrified nerve endings and pulsating out beyond the frame.

“This drawing is pure energy,” he said. That same year, Michals – who had not known Pearson’s work – made “The Illuminated Man,” a photograph of a male figure facing the camera, his head emanating light, suggesting enlightenment. “The Illuminated Man” and “128th Psalm” share the theme of spiritual radiance.

Michals cited a 1937 painting by René Magritte not in the Morgan Collection called “The Pleasure Principle.” It is a portrait of the poet Edward James, a patron of Surrealist art, his head a glowing light bulb. “I only discovered the painting later,” he said, after he had made his own photographic homage, in 1965, in which Magritte appears ghostlike in double exposure, against a canvas on an easel, behind an empty chair. “I was very proud to have had a similar idea to one of my deities,” he said.

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

Duane Michals (American, b. 1932) 'The Human Condition' 1969

 

Duane Michals (American, b. 1932)
The Human Condition
1969
© Duane Michals via DC Moore Gallery
The Morgan Library & Museum

 

 

“The nature of consciousness is always the central question,” he asserted. In The Human Condition, his panel of six photographs from 1969 begins with a man standing on the 14th Street subway platform; the train arrives and he is bathed in a halo of light; the light becomes a swirl and in the last frame he is swept into a white disc the size of a galaxy passing through the night sky. From the immediate to the universal in six frames.

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

 

Duane Michals (American, b. 1932)
The Bewitched Bee
1986
Gelatin silver print
Gift of Duane Michals
The Morgan Library & Museum

 

 

IMAGE AND WORD

Duane Michals (American, b. 1932) 'There Are Things Here Not Seen in This Photograph' 1977

 

Duane Michals (American, b. 1932)
There Are Things Here Not Seen in This Photograph
1977
10 15/16 x 13 7/8 inches
The Morgan Library & Museum

 

Duane Michals. From the series 'I Remember Pittsburgh' 1982

 

Duane Michals (American, b. 1932)
I Remember Pittsburgh 8
1982
Gelatin silver print
The Morgan Library & Museum

 

Ciro Ferri (Italian, 1634-1689) 'Fame Painting a Portrait Held by Religion' 17th century

 

Ciro Ferri (Italian, 1634-1689)
Fame Painting a Portrait Held by Religion
17th century
Brush and brown and white gouache, pen and and brown ink, over black chalk, on brown toned paper
Overall: 11 x 7 9/16 inches (279 x 192 mm)
Purchased as the gift of the Fellows
The Morgan Library & Museum

Design for a frontispiece engraved by Gérard Audran for a volume of portraits of cardinals published by Giovanni Giacomo de’ Rossi

 

Irving Penn (American, 1917-2009) 'Giorgio de Chirico, Rome' Rome, 1944

 

Irving Penn (American, 1917-2009)
Giorgio de Chirico, Rome
Rome, 1944 (negative), 1946-47 (print)
Gelatin silver print on paper; mounted to cardstock
Image And Sheet: 7 1/16 × 7 3/8 in.
Gift of Irving Penn, 2006
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'Andy Warhol' 1958

 

Duane Michals (American, b. 1932)
Andy Warhol
1958
Gelatin silver print
8 × 10 inches (20.3 × 25.4 cm)
Collection of Richard and Ronay Menschel
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'René Magritte at His Easel' 1965

 

Duane Michals (American, b. 1932)
René Magritte at His Easel
1965
77/8 × 97/8 inches (20 × 25.1 cm)
Collection of Richard and Ronay Menschel
The Morgan Library & Museum

 

Florian, Marquis de (1755-1794) 'Red leather portfolio [realia]' 18th century

 

Florian, Marquis de (1755-1794)
Red leather portfolio [realia] – Portefeuille de Monsieur de Voltaire and Donné à Monsieur de Florian
“Voltaire’s briefcase”
18th century
Leather, gold clasp
Stamped on front: “Portefeuille de Monsieur / de Voltaire”; on back: “Donné a Monsieur / de Florian”
Overall: 16 15/16 × 12 5/8 in. (43 × 32 cm)
Purchased by Pierpont Morgan, 1911
Pierpont Morgan Library Dept. of Literary and Historical Manuscripts
The Morgan Library & Museum

 

 

Voltaire gave this briefcase to the marquis de Florian, the husband of his niece Elisabeth Mignot. Her sister, Marie-Louise Mignot, Mme Denis, was Voltaire’s companion for the last twenty-nine years of his life. With extensive decorative gold tooling. Exhibited numerous times at the Morgan Library as “Voltaire’s briefcase.”

Text from The Morgan Library & Museum website

 

Duane Michals (American, b. 1932) 'Candide, 2019'

 

Duane Michals (American, b. 1932)
Candide, 2019
2019
Inspired by Voltaire
© Duane Michals via DC Moore Gallery
The Morgan Library & Museum

 

 

“The things we chose from the collection were so close to what my instincts are,” he said to Joel Smith, the curator of photography at the Morgan, who organised the show with Michals.

The photographer was referring to the kinship between things he chose and the irreverent nature of his own work. “I’m completely overwhelmed by the nature of our reality,” he is quoted as saying in the exhibition catalog about human evolution. “We’ve been working on this version of man for a thousand years. He lives longer, he’s healthier, but he’s still an unproven product. Still the same greedy little bastard.”

To illustrate the point, he reached for Voltaire’s briefcase among the holdings in the Morgan’s collection. It dates from the 1700s and is decorated with gold-leaf filigree on its red leather casing.

Smith recalled that Michals was so “wowed at the thought of Voltaire’s ideas living inside it and amused by the showbiz of its provenance” that he went home and painted a portrait of Candide on an old tintype, adding Voltaire’s bitterly ironic refrain in white block letters: “This Is the Best of All Possible Worlds.” The briefcase and Candide, 2019 are both in the show.

Yet, Michals doesn’t share Voltaire’s bleak view of existence. His own work is often characterised by an iconoclastic wit, imbued with serious metaphysical inquiry – a “curiosity about the nature of reality, in a much more profound sense than just a bunch of atoms.”

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

Auguste Rodin. 'Lucifer' c. 1900

 

Auguste Rodin (French, 1840-1917)
Lucifer
c. 1900
Pencil and watercolour, on paper
Overall: 9 3/8 × 12 7/16 in. (23.8 × 31.6 cm)
Gift of Alexandre P. Rosenberg
The Morgan Library & Museum

 

Egon Schiele (Austrian, 1890-1918) 'Embrace' 1914

 

Egon Schiele (Austrian, 1890-1918)
Embrace
1914
Graphite on wove paper
Overall: 19 1/8 × 12 3/4 in. (48.6 × 32.4 cm)
Bequest of Fred Ebb
The Morgan Library & Museum

 

 

[Looks at Egon Schiele’s drawing Embrace (p. 22)] There’s so much emotion in this; it’s so immediate. There’s a few things happening: physical entanglement, then you see the look on his face, registering some kind of emotional response. I love the idea: Schiele had no thought that in a hundred years we’d be standing here or how we’d be talking about it. Art is not really about the future.

Duane Michals in Illusions of the Photographer: Duane Michals at the Morgan exhibition catalogue 2019, p. 21

 

In this depiction of the artist in the arms of an unidentified companion, the jagged, seemingly erratic contours suggest a psychological agitation characteristic of Schiele’s self-portraits. A feeling of tension derives from the position of the artist’s head-turned away from the woman embracing him – as well as from the placement of the couple to the left of the sheet, with the figure of the woman cropped. The resulting asymmetry conveys the artist’s emotional unbalance and emphasises his egocentric character while demonstrating the amazing technical agility he brought to bear to express a wide range of emotions.

Text from The Morgan Library & Museum website

 

Duane Michals (American, b. 1932) 'A Letter from My Father' 1960

 

Duane Michals (American, b. 1932)
A Letter from My Father
1960 (image), 1975 (text)
15 3/4 × 19 7/8 inches (40 × 50.5 cm)
Gift of Duane Michals
The Morgan Library & Museum

 

 

The Morgan Library & Museum proudly presents an exhibition combining a six-decade retrospective of Duane Michals with an artist’s-choice selection of works from all corners of the permanent collection. Michals is known for his picture sequences, inscribed photographs, and, more recently, films that pose emotional, conceptual, and cosmic questions beyond the scope of the lone camera image. Illusions of the Photographer: Duane Michals at the Morgan (October 25, 2019 to February 2, 2020) takes viewers on a tour of the artist’s mind, putting work from his expansive career in conversation with Old Master and modern drawings, books, manuscripts, and historical objects.

The first retrospective on Michals to be mounted by a New York City institution, the exhibition is organised around animating themes in the artist’s work: Theatre, Reflection, Love and Desire, Playtime, Image and Word, Nature, Immortality, Time, Death, and Illusion. It showcases his storytelling instincts, both in stand-alone staged photographs and in sequences. The exhibition also includes screenings of short films, Michals’s preferred medium in recent years.

For Michals, photography is not documentary in nature but theatrical and fictive: the camera is one of many tools humanity uses to construct a comprehensible version of reality. In his imaginative, visually rich photographs, the artist exploits the medium’s storytelling capacity. For example, the six images in I Build a Pyramid (1978) find the artist in Egypt, stacking stones in a modest pile that, from the camera’s perspective, appears to rival the scale of the ancient pharaohs’ monuments. Michals reveals that the scenario echoes his childhood habit of building cities from stones in his backyard in McKeesport, Pennsylvania. In the exhibition, Michals’s staged scenes are juxtaposed with those of his creative heroes, who include William Blake, Edward Lear, and Saul Steinberg. In his dual role as artist and curator he matches wits with writers, stage designers, toy makers, and his fellow portraitists of the past and the present.

Since 2015 Michals has focused his creative efforts on filmmaking, a natural outgrowth of his directorial habits as a photographer. On a screen in the exhibition, three short films are featured amid a cycle of over 200 photographs from the series Empty New York (1964-65), the project through which the artist first recognised his theatrical vision of reality. Michals will host two special programs of film screenings in the Morgan’s Gilder Lehrman Hall, introducing films that have never been screened publicly before.

Illusions of the Photographer revives the format of the 2015 exhibition Hidden Likeness: Emmet Gowin at the Morgan, which The New York Times said “all but redefined the genre” of the collection dive curated by a contemporary artist. The present project is a personal one for Michals, who explains, “The Morgan literally is my favourite museum in New York. I always learn something at the Morgan. I’m so thrilled about this show, because it’s probably going to be the very last time to see me there, with all my resources and touchstones. I’m … archaic, in a way. I’m eighty-seven! I’m of my generation. My references are not at all to what people are talking about today. I’m comfortable there, that’s where I belong – and that’s what I contribute.”

Joel Smith, the Morgan’s Richard L. Menschel Curator and Department Head, says “Duane Michals’s art is contemplative, confessional, and comedic. It transcends the conventional bounds, and audience, of photography. Through narration and sequencing he reorients the camera towards timeless human dilemmas; he derives poetic effects from technical errors such as double exposure and motion blur. His originality and intimacy as an artist come through in the discoveries he brings to light from the Morgan’s collection.”

Illusions of the Photographer: Duane Michals at the Morgan is accompanied by an 88-page softcover catalogue featuring a wide-ranging interview with the artist and illustrations of seventy works, including his selections from the Morgan’s collection and the previously unpublished 1969 title sequence.

 

About Duane Michals

Duane Michals (b. February 18, 1932, McKeesport, Pennsylvania) is an American photographer who often combines images with text in a format that recalls cinematic storytelling. Michals received his BA from the University of Denver in 1953. He began photographing for magazines in 1960 and became a prolific portraitist of artists such as Andy Warhol, René Magritte, and Marcel Duchamp. His first solo exhibition was held at the Museum of Modern Art, New York, in 1970. Michals lives and works in New York City.

Press release from The Morgan Library & Museum [Online] Cited 14/11/2019

 

 

NATURE

James Jacques Joseph Tissot (French, 1836-1902) 'God Creating the World' c. 1900-1902

 

James Jacques Joseph Tissot (French, 1836-1902)
God Creating the World
c. 1900-1902
Gouache on board
7 3/4 x 5 1/4 inches (201 x 135 mm)
Morgan Family Collection

 

James Jacques Joseph Tissot (French, 1836-1902) 'God Creates Eve while Adam is Asleep' c. 1900-1902

 

James Jacques Joseph Tissot (French, 1836-1902)
God Creates Eve while Adam is Asleep
c. 1900-1902
Gouache on board
12 x 9 1/8 inches (305 x 233 mm)
Morgan Family Collection

 

James Jacques Joseph Tissot (French, 1836-1902) 'Adam and Eve in the Garden of Eden' c. 1900-1902

 

James Jacques Joseph Tissot (French, 1836-1902)
Adam and Eve in the Garden of Eden
c. 1900-1902
Gouache on board
11 x 8 inches (279 x 203 mm)
Morgan Family Collection

 

James Jacques Joseph Tissot (French, 1836-1902) 'Adam and Eve Perceive their Nakedness' c. 1900-1902

 

James Jacques Joseph Tissot (French, 1836-1902)
Adam and Eve Perceive their Nakedness
c. 1900-1902
Gouache on board
12 1/8 x 8 3/4 inches (308 x 221 mm)
Morgan Family Collection

 

Duane Michals. 'Paradise Regained' 1968

Duane Michals. 'Paradise Regained' 1968

Duane Michals. 'Paradise Regained' 1968

Duane Michals. 'Paradise Regained' 1968

Duane Michals. 'Paradise Regained' 1968

Duane Michals. 'Paradise Regained' 1968

 

Duane Michals (American, b. 1932)
Paradise Regained
1968
6 silver gelatin prints with hand-applied text

 

 

… He picked up a panel of gouache drawings from around 1900 by French illustrator James Jacques Joseph Tissot titled “God Creating the World,” a biblical morality tale in a series of lighthearted scenes depicting the creation of Adam; then Eve; the two of them frolicking; Eve eating the apple; and their banishment from paradise. The Tissot sequence is among nearly 60 works in his final selection for the current exhibition Illusions of the Photographer: Duane Michals at the Morgan, through Feb. 2. His pick of drawings, paintings and artefacts resides in dialogue with 38 of Michals’s photographic works – his narrative sequences as well as stand-alone prints, projected images from a series titled “Empty New York,” and several of his recent short films.

He pointed out a link between the Tissot drawings and his own “Paradise Regained,” from 1968: a suite of six images that begins with a well-dressed young couple sitting and facing the camera in an empty apartment. With each frame they get progressively undressed, and more and more plants fill up the space behind them. In the final image, they are naked amid a lush, domestic Eden.

“I had been looking at a lot of Rousseau paintings when I made the sequence,” Michals said, referring to the jungle scenes of the French Post-Impressionist. While he loves the Tissot panel, he admitted, “I’m a raging atheist,” distancing himself from its religious message. “I was a pretend Catholic and then I stopped pretending.” The spiritual dimension of “Paradise Regained” is balanced by the artist’s tongue-in-cheek view of urban life, where men and women only return to a natural state indoors, where everything is unnatural.

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

Jacob Hoefnagel (1573? - c. 1632) 'Orpheus Charming the Animals' 1613

 

Jacob Hoefnagel (1573? – c. 1632)
Orpheus Charming the Animals
1613
Watercolour and gouache, heightened with white gouache, over traces of black chalk, on vellum mounted to panel; bordered in gold
Overall: 6 9/16 × 8 5/16 in. (16.7 × 21.1 cm)
Purchased on the Sunny Crawford von Bülow Fund 1978
Morgan Family Collection

 

Duane Michals (American, b. 1932) 'Warren Beatty' 1967

 

Duane Michals (American, b. 1932)
Warren Beatty
1967
Gelatin silver print
8 × 9 15/16 inches (20.3 × 25.2 cm)
Purchased on the Photography Acquisition Fund
The Morgan Library & Museum

 

 

PLAYTIME

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

 

Duane Michals (American, b. 1932)
Things Are Queer
1973
Nine gelatin silver prints
Images: 5 × 7 inches (12.7 × 17.8 cm) each
Gift of Duane Michals
The Morgan Library & Museum

 

 

REFLECTION

Wallace Studio, Manchester, New Hampshire. 'Untitled (Mirror)' c. 1880s

 

Wallace Studio, Manchester, New Hampshire
Untitled (Mirror)
c. 1880s
Cabinet card with rounded corners
Mount: 6 7/16 × 4 3/16 in. (16.4 × 10.6 cm)
Print: 5 11/16 × 4 in. (14.4 × 10.2 cm)
Gift of Adam Fuss
The Morgan Library & Museum

 

Carlo Galli Bibiena (1728 - c. 1778) 'Interior of a Gallery' 1750s

 

Carlo Galli Bibiena (1728 – c. 1778)
Interior of a Gallery
1750s
Pen and black ink and gray and brown wash
Sheet is framed by an overmount of paper that leaves around 8 5/8 x 11 7/8 inches visible
Overall: 9 1/4 × 12 13/16 in. (23.5 × 32.5 cm)
Thaw Collection
The Morgan Library & Museum

 

John F. Collins (American, 1888-1990) 'Multiple Self-Portrait' 1935

 

John F. Collins (American, 1888-1990)
Multiple Self-Portrait
1935
Gelatin silver print
Image: 13 3/4 × 10 9/16 in. (34.9 × 26.8 cm)
Purchase on the Photography Collectors Committee Fund
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'A Story About a Story' 1989

 

Duane Michals (American, b. 1932)
A Story About a Story
1989
15 7/8 x 19 3/4 inches (40.3 × 50.2 cm)
Purchased on the Photography Collectors Committee Fund
The Morgan Library & Museum

 

 

In Michals work, the immediate and the infinite spar. In the show is a single image by a little-known photographer named John F. Collins. The 1935 self-portrait shows Collins looking at us while holding a large photograph of himself; in that photograph he is looking down at the same photograph of himself. In each subsequent picture within a picture, he is looking out, and then into the photograph he is holding, into a spiralling infinity.

It is a striking parallel to Michals’ “A Story Within a Story” of 1989, in which a man leans against a mirror in the corner of the frame and faces a mirror in which his reflection echoes repeatedly as it recedes behind him. “This is a story about a man telling a story about a man. …” starts his text.

He might as well have been describing himself.

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

N. Institoris (d. 1845) 'Interior of a Prison' c. 1825-45

 

N. Institoris (d. 1845)
Interior of a Prison
c. 1825-45
Pen and black ink, with gray wash, over pencil, on paper; verso contains slight sketch of a building, in graphite.
13 x 17 1/2 inches (330 x 445 mm)
Gift of Mrs. Donald M. Oenslager, 1982
The Morgan Library & Museum

 

Gabriel Pierre Martin Dumont (French, 1720-1791) 'Perspective View of the Mechanical Works and Construction of a Theater. Verso: Sketch of an elevation of a colonnade' 18th century

 

Gabriel Pierre Martin Dumont (French, 1720-1791)
Perspective View of the Mechanical Works and Construction of a Theater. Verso: Sketch of an elevation of a colonnade
18th century
Pen and black ink, with gray wash, over graphite, on paper; verso: graphite
12 1/4 x 14 9/16 inches (310 x 369 mm)
Purchased as the gift of Mrs. Donald M. Oenslager in memory of her husband
The Morgan Library & Museum

 

Eugène Atget (French, 1857-1927) 'Cour de Rouen' 1898

 

Eugène Atget (French, 1857-1927)
Cour de Rouen
1898
Albumen print
Overall: 8 × 6 3/4 in. (20.3 × 17.1 cm)
Purchased on the Photography Collectors Committee Fund
The Morgan Library & Museum

 

Louis Faurer (1916-2001) 'Penn Station Lovers' 1946-47, printed c. 1981

 

Louis Faurer (1916-2001)
Penn Station Lovers
1946-47, printed c. 1981
Gelatin silver print
14 x 11 in. (sheet)
Purchased as the gift of Elaine Goldman
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'Empty New York, Subway Interior' c. 1964

 

Duane Michals (American, b. 1932)
Empty New York, Subway Interior
c. 1964
Gelatin silver print
8 × 10 inches (20.3 × 25.4 cm)
Collection of Nancy and Burt Staniar
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'Empty New York' c. 1964

 

Duane Michals (American, b. 1932)
Empty New York, Dry cleaners upper East side
c. 1964
Gelatin silver print
8 × 10 inches (20.3 × 25.4 cm)
Collection of Nancy and Burt Staniar
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'Empty New York' c. 1964

Duane Michals (American, b. 1932) 'Empty New York' c. 1964

Duane Michals (American, b. 1932) 'Empty New York' c. 1964

 

Duane Michals (American, b. 1932)
From the series Empty New York
c. 1964
Gelatin silver prints
8 × 10 inches (20.3 × 25.4 cm)
Collection of Nancy and Burt Staniar
The Morgan Library & Museum

 

 

TIME

Herbert Matter (1907-1984) 'Alexander Calder hanging mobile in motion' 1936

 

Herbert Matter (1907-1984)
Alexander Calder hanging mobile in motion
1936
Gelatin silver print with additions by hand
5 9/16 × 6 3/16 in. (14.13 × 15.72 cm)
Purchased as the gift of Richard and Ronnie Grosbard
The Morgan Library & Museum

 

Saul Steinberg (American, b. Romania, 1914-1999) 'Untitled (Cat and wheel of time)' 1965

 

Saul Steinberg (American, b. Romania, 1914-1999)
Untitled (Cat and wheel of time)
1965
Ink (black, blue, red, green, brown) and pencil on laid Strathmore
19 × 25 in. (48.26 × 63.5 cm)
Gift of the Saul Steinberg Foundation
The Morgan Library & Museum

 

 

Saul Steinberg defined drawing as “a way of reasoning on paper,” and he remained committed to the act of drawing. Throughout his long career, he used drawing to think about the semantics of art, reconfiguring stylistic signs into a new language suited to the fabricated temper of modern life. Sometimes with affection, sometimes with irony, but always with virtuoso mastery, Saul Steinberg peeled back the carefully wrought masks of 20th-century civilisation.

Text from The Morgan Library & Museum website

 

Duane Michals (American, b. 1932) 'When He Was Young' 1979

 

Duane Michals (American, b. 1932)
When He Was Young
1979
8 x 9 15/16 inches (20.3 × 25.2 cm)
Purchased on the Photography Collectors Committee Fund
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'What is Time?' 1994

 

Duane Michals (American, b. 1932)
What is Time?
1994
Gelatin silver print
16 × 19 7/8 inches (40.6 × 50.5 cm)
Gift of Duane Michals
The Morgan Library & Museum

 

 

Included in his selection from the Morgan is an amusing drawing by Saul Steinberg, “Cat and the Wheel of Time,” 1965, in which the months of the year, the days of the week, and the hours of the day are written in circles inside a large wheel following a small cat down a hill. “Time has always been central to so much of my thinking,” Michals said. Smith handed him his text and image piece, What Is Time? from 1994, in which an eternally handsome young man holds an old-fashioned round clock to his ear. The text beneath it begins, “Time is the duration of everything, and life is an event, a fluttering of wings … the moment is the interval between now and then and, then, again.”

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

 

The Morgan Library & Museum
225 Madison Avenue at 36th Street, New York, NY
Phone: (212) 685-0008

Opening hours:
Tuesday through Thursday: 10.30 am – 5 pm
Friday: 10.30 am – 9 pm
Saturday: 10 am – 6 pm
Sunday: 11 am – 6 pm

The Morgan Library & Museum website

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08
Sep
17

Exhibition: ‘Louise Lawler: WHY PICTURES NOW’ at the Museum of Modern Art (MoMA), New York

Exhibition dates: 30th April – 30th July 2017

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

 

 

Louise Lawler. 'Pollyanna (adjusted to fit) distorted for the times' 2007/2008/2012

 

Louise Lawler
Pollyanna (adjusted to fit) distorted for the times
2007/2008/2012
As adjusted for the MoMA exhibition WHY PICTURES NOW, 2017
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

Louise Lawler. 'Pollyanna (adjusted to fit)' 2007/2008/2012

 

Louise Lawler
Pollyanna (adjusted to fit)
2007/2008/2012
As adjusted for the MoMA exhibition WHY PICTURES NOW, 2017
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

Louise Lawler. 'Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit), distorted for the times' 1995/2010

 

Louise Lawler
Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit), distorted for the times
1995/2010
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

(Note on reproducing Lawler’s Adjusted to Fit works: Each time these images are reproduced, they should be stretched to the space given to the reproduction. The original file (un-stretched) is the origin point for anything that is then adjusted by the photo editor.)

 

Louise Lawler. 'Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit)' 1995/2010

 

Louise Lawler
Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit), distorted for the times
1995/2010
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

 

I missed the closing date for this exhibition due to the ongoing problems with my hand. However, I believe it is valuable to post these images because Louise Lawler is an always provocative, thoughtful and interesting artist. She shines a light or, more possibly, pokes a big stick at patriarchal systems of value in art – turning perceived points of view, ways of seeing, and “the cultural circumstances that support art’s production, circulation, and presentation” on their head.

“… behind Ms. Lawler’s shape-shifting works lies a poetic intelligence, a political sharpness and an understanding of the artwork as a form of value, but also as a source and an object of love.” Well said.

Lawler possesses a unique understanding of the forms of culture embodied within images and also an intimate knowledge of the archetypal forms buried deep within their bones. Is the pattern immanent in the paper (the cosmos), or is the paper a blank slate to be written on by the creator?

Distorted, restaged, reframed and re-presented for the times…

Marcus

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

#art #moma #museumofmodernart #museum #modernart #nyc #education #artist #photography #womenartists #femaleartists #louiselawler #whypicturesnow

 

Louise Lawler: WHY PICTURES NOW is the first major survey in New York of the artist Louise Lawler (American, b. 1947), spanning the 40-year creative output of one of the most influential artists working in the fields of image production and institutional critique. The exhibition takes its title from one of Lawler’s most iconic works, Why Pictures Now (1982), a black-and-white photograph showing a matchbook propped up in an ashtray. Reminiscent of an advertising photograph or a film noir still, it asks the viewer to consider why the work takes the form of a picture, and why the artist is making pictures now. Lawler came of age as part of the Pictures Generation, a loosely knit, highly independent group of artists named for an influential exhibition, Pictures, organised in 1977 by art historian Douglas Crimp at Artists Space in New York. These artists used photography and appropriation-driven strategies to examine the functions and codes of representation. Lawler’s signature style was established in the late 1970s and early 1980s, when she began taking pictures of other artists’ works displayed in collectors’ homes, museums, storage spaces, and auction houses to question the value, meaning, and use of art.

WHY PICTURES NOW is organised by Roxana Marcoci, Senior Curator, with Kelly Sidley, Curatorial Assistant, Department of Photography.

 

 

“Ms. Lawler and Roxana Marcoci, the exhibition’s curator, have devised something quite different: an open, airy survey with lots of room for roaming, some chairs for sitting and two conjoined, markedly different halves focusing on Ms. Lawler’s activities with pictures and then words. The first half is dominated by photographs in various shapes and guises, including mural-size images. The second, which seems almost empty at first, contains two large vitrines of ephemera that show off Ms. Lawler’s gifts for graphic design and for language, with displays of everything from matchbook covers and napkins to exhibition announcements and art books that she photo-edited. …

Ms. Lawler’s images have multiple lives, exposing the ceaseless flexibility of photographs. Constantly recycled, they go from framed and portable to paperweights to the wall-covering murals of her “adjusted to fit” series. In the show’s first half, four “adjusted” photos cover immense, staggered walls, looming like ocean liners sliding out of their docks. Their monumentality thrills but also chides the art world for its embrace of spectacle and the overblown. …

It is hard to know if these words [“Why Pictures Now”] proclaim the power, or the worthlessness, of pictures. Probably both. Either way, behind Ms. Lawler’s shape-shifting works lies a poetic intelligence, a political sharpness and an understanding of the artwork as a form of value, but also as a source and an object of love.”

.
Roberta Smith. “Louise Lawler’s Stealth Aesthetic (and Muted Aura),” on the New York Times website

 

 

 

Louise Lawler: WHY PICTURES NOW | MoMA LIVE

Join us for a conversation with MoMA director Glenn Lowry and curator Roxana Marcoci on the opening of the exhibition, Louise Lawler: WHY PICTURES NOW. The first New York museum survey of the work of American artist Louise Lawler, this exhibition is an exploration of her creative output, which has inspired fellow artists and cultural thinkers alike for the past four decades.

Among the most intriguing aspects of Lawler’s working process is her continuous re-presentation, reframing, or restaging in the present, a strategy through which she revisits her own images by transferring them to different formats – from photographs to paperweights, tracings, and works she calls “adjusted to fit” (images stretched or expanded to fit the location of their display). Lawler’s critical strategies of reformatting existing content not only suggest the idea that pictures can have more than one life, but underpin the intentional, relational character of her farsighted art.

 

 

Louise Lawler | HOW TO SEE the artist with MoMA curator Roxana Marcoci

Can the exact same image have a completely different meaning if its title or medium is changed? Explore the work of one of today’s most influential female artists, Louise Lawler, in the new exhibition Louise Lawler: WHY PICTURES NOW.

MoMA curator Roxana Marcoci gives us a tour of the exhibition that charts Lawler’s continuous re-presentation, reframing, or restaging of the present, a strategy through which Lawler revisits her own images by transferring them to different formats – from photographs to paperweights, tracings, and works she calls “adjusted to fit” (images stretched or expanded to fit the location of their display).

 

 

Louise Lawler’s Birdcalls at MoMA

You’re not hearing things. For the duration of the Louise Lawler exhibition, a stroll through our Abby Aldrich Rockefeller Sculpture Garden places you squarely in the middle of Birdcalls, the artist’s defiant, humorous critique of the art world’s captivation with male artists. Find out what exhibition inspired Lawler’s sole sound piece with MoMA curator Roxana Marcoci.

 

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

 

Installation views of Louise Lawler: WHY PICTURES NOW
© 2017 The Museum of Modern Art
Photo: Martin Seck

 

 

Lawler’s study of art in its commercial context will be complemented by the display of a work by a younger artist that highlights a different kind of economy. The sculpture New York State Unified Court System (top photo), by artist Cameron Rowland, included in the artist’s knockout exhibition at Artists Space this winter, takes the form of four oak benches used in courtrooms and built using prison labour. (Text from the Artnet website)

 

Louise Lawler. 'Why Pictures Now' 1981

 

Louise Lawler
Why Pictures Now
1981
Gelatin silver print
3 x 6” (7.6 x 15.2 cm)
The Museum of Modern Art, New York
Acquired with support from Nathalie and Jean-Daniel Cohen in honour of Roxana Marcoci
© 2016 Louise Lawler

 

Louise Lawler. 'Why Pictures Now (traced)' 1981/2013

 

Louise Lawler
Why Pictures Now (traced)
1981/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. '(Roy Lichtenstein and Other Artists) Black' 1982

 

Louise Lawler
(Roy Lichtenstein and Other Artists) Black
1982
Silver dye bleach print
28 ½ x 37 ¼” (72.4 x 94.6 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. '(Andy Warhol and Other Artists) Tulip' 1982

 

Louise Lawler
(Andy Warhol and Other Artists) Tulip
1982
Silver dye bleach print
38 ½ x 60 ½” (97.8 x 153.7 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Monogram' 1984

 

Louise Lawler
Monogram
1984
Silver dye bleach print
39 1/2 × 28″ (100.3 × 71.1 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

 

“Swimming among the show’s images are words and wordplay that can have a few layers. One of Ms. Lawler’s better-known photographs shows Jasper Johns’s creamy “White Flag” (1955) hanging above a bed with an equally creamy monogrammed satin spread. The image is sensibly titled “Monogram,” all the more fittingly since “Monogram” is also the title of one of Robert Rauschenberg’s combines from the 1950s, when he and Mr. Johns were lovers.

Roberta Smith. “Louise Lawler’s Stealth Aesthetic (and Muted Aura),” on the New York Times website

 

Louise Lawler. 'Untitled, 1950-51' 1987

 

Louise Lawler
Untitled, 1950-51
1987
Silver dye bleach print
29 3/8 × 39 1/4″ (74.6 × 99.7 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Does Andy Warhol Make You Cry?' 1988

 

Louise Lawler
Does Andy Warhol Make You Cry?
1988
Silver dye bleach print with text on Plexiglass wall label
Image (shown): 27 ¼ x 39” (69.2 x 99.1 cm); Label: 4 3/8 x 6 3/8 in. (11.1 x 16.2 cm)
The Museum of Modern Art, New York
Gift of Gabriella de Ferrari in honour of Karen Davidson
© 2016 Louise Lawler

 

 

“Lawler’s suspicion of the image is nothing new. In WHY PICTURES NOW, her career survey currently on view at the Museum of Modern Art, the Pictures Generation artist is again and again engaged in taking the familiar – a famous work of art, different forms of banal ephemera – and making it abnormal through clever subversion. There is a timid jostling of her male peers, a slight nudge off the pedestal of reverence, which is evident in much of her work and makes it eminently appealing – even if some of its institutional critique is diminished under the museum’s glow of prestige. But what is often obscured in Lawler’s work is the way that it’s not only questioning the apparatus of making and displaying art, but also its reception – the formalised way that we, the spectators, are looking.”

.
Craig Hulbert on the Hyperallergic website

 

 

The Museum of Modern Art announces Louise Lawler: WHY PICTURES NOW, the first major survey in New York of the artist Louise Lawler (American, b. 1947). Spanning the 40-year creative output of one of the most influential artists working in the fields of image production and institutional critique, the exhibition will be on view from April 30 to July 30, 2017, in The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor, along with one sound work, Birdcalls (1972-81), which will be installed in The Abby Aldrich Rockefeller Sculpture Garden. The exhibition takes its title from one of Lawler’s most iconic works, Why Pictures Now (1982), a black-and-white photograph showing a matchbook propped up in an ashtray. Reminiscent of an advertising photograph or a film noir still, it asks the viewer to consider why the work takes the form of a picture, and why the artist is making pictures at this moment. Lawler came of age as part of the Pictures Generation, a loosely knit, highly independent group of artists named for an influential exhibition, Pictures, organised in 1977 by art historian Douglas Crimp at Artists Space in New York. These artists used photography and appropriation-driven strategies to examine the functions and codes of representation. Lawler’s signature style was established in the late 1970s and early 1980s, when she began taking pictures of other artists’ works displayed in collectors’ homes, museums, storage spaces, and auction houses to question the value, meaning, and use of art. WHY PICTURES NOW is organised by Roxana Marcoci, Senior Curator, with Kelly Sidley, Curatorial Assistant, Department of Photography.

Lawler’s work offers a defiant, witty, and sustained feminist analysis of the strategies that inform art’s production and reception. In 1971, she was invited to assist several artists for independent curator Willoughby Sharp’s Pier 18, an exhibition that featured 27 male artists on an abandoned pier on the Hudson River. While walking home after leaving the pier one evening, Lawler began to mimic birdlike sounds in order to ward off any unwanted interactions, chanting “Willoughby! Willoughby!” This parody evolved into Birdcalls, a seven-minute audio piece in which Lawler squawks, chirps, and twitters the names of famous male artists, from Vito Acconci to Lawrence Weiner – an astute critique of the name recognition enjoyed by her male contemporaries. Birdcalls thematises Lawler’s strategy of resistance to the authoritative and the patronymic proper name. This work will be played throughout the course of the exhibition, in MoMA’s Abby Aldrich Rockefeller Sculpture Garden.

An intriguing aspect of Lawler’s practice is her process of continuous re-presentation, reframing, or restaging in the present: she revisits her own work by transferring her images to different formats, from a photograph to a tracing, and to works that she calls “adjusted to fit.” The “tracings” are large-format black-and-white line versions of her photographs that eliminate colour and detail, functioning instead as “ghosts” of the originals. “Adjusted to fit” images are stretched or expanded to fit the location of their display, not only suggesting the idea that pictures can have more than one life, but also underpinning the intentional, relational character of Lawler’s farsighted art.

The exhibition consists of a sequence of mural-scale, “adjusted to fit” images set in dynamic relation to non-linear groupings of photographs – of collectors’ homes, auction houses, and museum installations – distinctive of Lawler’s conceptual exercises. Additionally, a deceptively empty gallery presents black-and-white tracings of Lawler’s photographs that have been printed on vinyl and mounted directly on the wall. A display of the artist’s ephemera from the 1970s to today highlights the feminist and performative undercurrents of her art. Lawler’s long history of artistic collaborations, with Sherrie Levine, Allan McCollum, Andrea Fraser, Felix Gonzalez-Torres, Christopher d’Arcangelo, Peter Nadin, and Lawrence Weiner, among others, come full circle in the ephemera on display. Furthermore, on the platform outside the gallery space, two “adjusted to fit” images are shown together with Cameron Rowland’s work New York State Unified Court System. Comprised of four oak courtroom benches, it was included in Rowland’s exhibition 91020000, presented at Artists Space in 2016. Lawler and Rowland share an interest in examining the imbalances of exploitative economies, the use value and exchange value of art, the politics of space, and the interplay of power between human relations and larger institutional structures, including markets, museums, prisons, and governments. Additionally, Andrea Fraser will perform her work May I Help You? in the exhibition space. In foregrounding her work’s relationship to the economies of collaboration and exchange, Lawler shifts focus from the individual picture to the broader history of art. Her careful attention to artistic contexts, modes of presentation, and viewers’ receptions generates witty, affective situations that contribute to institutional transformation.

Press release from MoMA

 

Louise Lawler. 'Untitled (Salon Hodler)' 1992

 

Louise Lawler
Untitled (Salon Hodler)
1992
Paperweight (silver dye bleach print, crystal, felt) with text on wall
Paperweight: 2″ (5.1 cm) high, 3 1/2″ (8.9 cm) diam.
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Salon Hodler (traced)' 1992/1993/2013

 

Louise Lawler
Salon Hodler (traced)
1992/1993/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Sentimental' 1999/2000

 

Louise Lawler
Sentimental
1999/2000
Silver dye bleach print
40 ¾ x 46 ¾” (103.5 x 118.7 cm)
The Museum of Modern Art, New York
Promised gift of Glenn and Amanda Fuhrman
© 2016 Louise Lawler

 

Louise Lawler. 'WAR IS TERROR' 2001/2003

 

Louise Lawler
WAR IS TERROR
2001/2003
Silver dye bleach print
30 × 25 3/4″ (76.2 × 65.4 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Nude' 2002/2003

 

Louise Lawler
Nude
2002/2003
Silver dye bleach print
59 1/2 × 47 1/2″ (151.1 × 120.7 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'White Gloves' 2002/2004

 

Louise Lawler
White Gloves
2002/2004
Silver dye bleach print
29 × 27 1/2″ (73.7 × 69.9 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Life After 1945 (Faces)' 2006/2007

 

Louise Lawler
Life After 1945 (Faces)
2006/2007
Silver dye bleach print
40 x 33 ¼” (101.6 x 84.5 cm)
The Museum of Modern Art, New York
Promised gift of Glenn and Amanda Fuhrman
© 2016 Louise Lawler

 

Louise Lawler. 'Triangle (adjusted to fit)' 2008/2009/2011

 

Louise Lawler
Triangle (adjusted to fit)
2008/2009/2011
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'No Drones' 2010/2011

 

Louise Lawler
No Drones
2010/2011
Chromogenic colour print
29 ¼ x 19 ¾” (74.3 x 50.2 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Marie +270' 2010/2012

 

Louise Lawler
Marie +270
2010/2012
Chromogenic colour print
59 x 45 ½” (149.9 x 115.6 cm)
The Museum of Modern Art, New York
Promised gift of Ricki Gail Conway
© 2016 Louise Lawler

 

Louise Lawler. 'Pollock and Tureen (traced)' 1984/2013

 

Louise Lawler
Pollock and Tureen (traced)
1984/2013
Dimensions variable
The Museum of Modern Art, New York
The Abby Aldrich Rockefeller Endowment
© 2016 Louise Lawler

 

 

One of her most famous images, “Pollock and Tureen” (1984), shows a fragment of a painting by Jackson Pollock above an antique soup tureen. In the photograph, the colour relationships are clear, offering insight into the choices of the collectors who “arranged” (a favourite word of Lawler’s) the scene. The work is about class, capitalism, and domesticity, not to mention reality and fiction. But when all the site-specific context is removed [in the tracing] … all we’re left with is contemplating the original Lawler artwork’s role in art history and the market.

In Benjamin Buchloh’s essay for Lawler’s retrospective last year at the Museum Ludwig, one of his most cogent points is about the nature of melancholy in her original photographs. “[H]er images,” he writes, “leave equally little doubt that there is hardly a more melancholic space than that of a fulfilled and seemingly satisfied utopian aspiration, one that has, however, not quite lived up to the originary promises … ”

Hrag Vartanian on the Hypoallergic website

 

Louise Lawler. 'Hand on Her Back (traced)' 1997/1998/2013

 

Louise Lawler
Hand on Her Back (traced)
1997/1998/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Evening Sale' 2010/2015

 

Louise Lawler
Evening Sale
2010/2015
Silver dye bleach print
50 x 36 5/8” (127 x 93 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Big (adjusted to fit)' 2002/2003/2016

 

Louise Lawler
Big (adjusted to fit)
2002/2003/2016
Dimensions variable
The Museum of Modern Art, New York
Acquired through the generosity of The Modern Women’s Fund and The Contemporary Arts Council
© 2016 Louise Lawler

 

Louise Lawler. 'Still Life (Candle) (adjusted to fit)' 2003/2016

 

Louise Lawler
Still Life (Candle) (adjusted to fit)
2003/2016
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Arranged by Donald Marron, Susan Brundage, Cheryl Bishop at Paine Webber Inc. (adjusted to fit)' 1982/2016

 

Louise Lawler
Arranged by Donald Marron, Susan Brundage, Cheryl Bishop at Paine Webber Inc. (adjusted to fit)
1982/2016
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

 

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15
Mar
16

Exhibition: ‘Photo-Poetics: An Anthology’ at the Solomon R. Guggenheim Museum, New York

Exhibition dates: 20th November 2015 – 23rd March 2016

 

Photo-Poetics image

 

 

My apologies, I am feeling very poorly at the moment, so just a small comment on this exhibition.

After the trilogy of 19th century photography, now for something completely different… two consecutive postings on contemporary photography.

In this art, the photograph becomes a conceptual “speech” act, where the artists speak with photographs, working with the context of the image – the image as concept, as talk.

It’s not just that the artists make photographic objects, they push what the medium can do. As the press release observes, “Theirs is a sort of “photo poetics,” an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object.” It is art that requires contemplation and meditation on source by Self. I have included several videos and extra text to illuminate aspects of the work in the posting.

I like the intertextuality that the artists employ when pushing the boundaries of photographic practice and representation, particularly Claudia Angelmaier’s series Works on Paper (2008-) and Lisa Oppenheim’s series The Sun is Always Setting Somewhere Else (2006).

Marcus

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

 

 

99 SECONDS OF: PHOTO-POETICS: An Anthology / Guggenheim New York

 

 

The exhibition and its accompanying catalogue examine an important new development in contemporary photography, offering an opportunity to define the concerns of a younger generation of artists and contextualise their work within the history of art and visual culture. Drawing on the legacies of Conceptualism, these artists pursue a largely studio-based approach to still-life photography that centres on the representation of objects, often printed matter such as books, magazines, and record covers. The result is an image imbued with poetic and evocative personal significance – a sort of displaced self-portraiture – that resonates with larger cultural and historical meanings. Driven by a profound engagement with the medium of photography, these artists investigate the nature, traditions, and magic of photography at a moment characterised by rapid digital transformation. They attempt to rematerialise the photograph through meticulous printing, using film and other disappearing photo technologies, and creating artist’s books, installations, and photo-sculptures. While they are invested in exploring the processes, supports, and techniques of photography, they are also deeply interested in how photographic images circulate. Theirs is a sort of “photo poetics,” an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object.

Text from the exhibition web page.

 

Anne Collier. 'Crying' 2005

 

Anne Collier (American, b. 1970)
Crying
2005
Chromogenic print
99.1 x 134cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by Mr. and Mrs. Aaron M. Tighe
© Anne Collier

 

 

Collier’s photographs offer a straightforward presentation of found images and printed ephemera, and explore themes of appropriation, iconography, and surrogacy… Though implicitly layered with feminist critiques of mass media, Collier’s images of famous women – especially those of other artists, like Cindy Sherman, for example – can also be interpreted as oblique self-portraits.

Text from the Guggenheim artist’s web page

 

“Ephemera and mediation are at the quiet center of Collier’s Crying, one of her works in the exhibition. Seen from across the room, “Crying” looks like a photograph overlaid upon a painted surface, or perhaps a portrait integrated within a two-dimensional space. The image, indeed a photo, is divided horizontally; the upper two-thirds are white, the bottom third is black, and on the left-hand side there is a small square close-up of a distraught woman crying. The woman is Ingrid Bergman, and this is the cover of the LP that accompanied her 1943 film For Whom the Bell Tolls. The LP is upright, facing the viewer dead-on, and up close we can see that there are a number of records behind it and that the flat spaces above and below are actually a white wall and black floor. The work is in no way overwhelming; there is nothing bombastic about it. Rather, the thrill of it comes from the reading it requires. Collier deploys her references strategically – this brings to mind abstract painting, Bas Jan Ader’s I’m Too Sad to Tell You, Bergman’s films and unconventional life, and the joy of the collector in the record store. Should that not be enough, it also awakens the empathy centers that begin firing when we see someone cry. Crying is part of a series involving records – others are of The Smiths and Sylvia Plath – but it contains the tensions within all of her work: advertising and fine art, nostalgia and distance, the camera and the eye. Collier has said she is interested in photographing objects that have “had previous lives… been handed and used,” and these rely on a kind of slow intertextuality; the gradual unfolding of meaning and feeling working towards a dizzying remove. It’s disorienting and evocative, a poetics in which the camera is not just the set-up but the punchline, and all the previous lives can be felt lurking beneath the surface.”

Anonymous text from “Woman with Camera: Anne Collier’s Feminist Image Critique,” on the Deutsche Bank ArtMag 88 website Nd [Online] Cited 13/03/2016.

 

Moyra Davey. 'Les Goddesses' 2011

 

Moyra Davey (American, b. 1958)
Les Goddesses (still)
2011
HD colour video, with sound, 61 min.
Courtesy the artist and Murray Guy, New York
© Moyra Davey

 

 

In the mid-2000s, the moving image took on a renewed prominence in Davey’s work. Inspired by her deep interest in the process of reading and writing, the artist’s essayistic video practice layers personal narrative with detailed explorations of the texts and lives of authors and thinkers she admires, such as Walter Benjamin, Jean Genet, and Mary Wollstonecraft. Davey’s own writing is central to her videos. The transcript of Fifty Minutes (2006), in which the artist reflects on her years in psychoanalysis, was published as a personal essay in the artist book Long Life Cool White: Photographs and Essays by Moyra Davey (2008), and her text “The Wet and the Dry” formed the basis of the narration of Les Goddesses (2011).

Text from the Guggenheim artist’s web page

 

Erin Shirreff. 'UN 2010' 2010

 

Erin Shirreff (Canadian, b. 1975)
UN 2010 (still)
2010
HD color video, silent, 17 min.
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by Erica Gervais
© Erin Shirreff

 

 

Erin Shirreff (Canadian, b. 1975)
UN 2010 (excerpt)
2010
HD color video, silent, 17 min.
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by Erica Gervais
© Erin Shirreff

 

 

Shirreff’s work in photography, video, and sculpture reflects on the distance between an object and its representation, exploring the capacities of photography in conveying a sculptural experience.

Since scale and presence were central concerns of much mid-century abstract sculpture, Shirreff often draws on images of such works as she explores the disjunction between photographs and their subjects. Sculpture Park (Tony Smith) (2006), Shirreff’s first video work, features small cardboard maquettes the artist made of five Tony Smith sculptures. Filmed against a black background, their dark forms become discernible only as “snow” (Styrofoam) slowly accumulates on their surfaces. For subsequent video works, including Ansel Adams, RCA Building, circa 1940 (2009), Roden Crater (2009), and UN 2010 (2010), Shirreff photographed printed pictures of her subjects – often landscapes or iconic modernist buildings – under varying lighting conditions in the studio, inputting the resultant images into video editing software. These videos appear at first to be long, static shots of the subjects pictured, but eventually belie their own artifice as the viewer becomes gradually aware of the texture of the image surface.

Text from the Guggenheim artist’s web page

 

Lisa Oppenheim. 'The Sun is Always Setting Somewhere Else' 2006 (detail)

 

Lisa Oppenheim (American, b. 1975)
The Sun is Always Setting Somewhere Else (detail)
2006
Slide projection of fifteen 35 mm slides, continuous loop, dimensions variable
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee

 

 

Oppenheim’s work explores the interactions between an image, its source, and the context in which it is encountered. The Sun is Always Setting Somewhere Else (2006) originates from photographs of the setting sun taken by U.S. soldiers in Iraq, which Oppenheim found on the image-sharing website Flickr. Holding each photograph at arm’s length in such a way that it aligns with the horizon of the setting sun in the artist’s native New York, the artist reshot the images as the sun set within the frame. Presented as a 35 mm slide show, the significance of seemingly quotidian sunsets shifts with the knowledge of who captured them and where.

Text from the Guggenheim artist’s web page

 

 

Guggenheim Examines New Developments in Contemporary Photography with Photo-Poetics: An Anthology

The Solomon R. Guggenheim Museum presents Photo-Poetics: An Anthology, an exhibition documenting recent developments in contemporary photography and consisting of photographs, videos, and slide installations by ten international artists. With more than 70 works by Claudia Angelmaier, Erica Baum, Anne Collier, Moyra Davey, Leslie Hewitt, Elad Lassry, Lisa Oppenheim, Erin Shirreff, Kathrin Sonntag, and Sara VanDerBeek, the exhibition runs from November 20, 2015 – March 23, 2016, and presents a focused study into the nature, traditions, and magic of photography in the context of the rapid digital transformation of the medium.

Organised by Jennifer Blessing, Senior Curator, Photography, with Susan Thompson, Assistant Curator, Solomon R. Guggenheim Museum, Photo-Poetics: An Anthology offers an opportunity to define the concerns of a new generation of photographic artists and contextualise their work within the history of art and visual culture. These artists mainly pursue a studio-based approach to still-life photography that centres on the representation of objects, often printed matter such as books, magazines, and record covers. The result is often an image imbued with poetic and evocative personal significance that resonates with larger cultural and historical meanings.

The artists in the exhibition attempt to rematerialise the photograph through meticulous printing, using film and other disappearing photo technologies. Drawing on the legacies of Conceptualism and invested in exploring the processes and techniques of photography, they are also deeply interested in how photographic images circulate. Theirs is a sort of “photo poetics,” an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object. The works in the exhibition, rich with detail, reward close and prolonged regard; they ask for a mode of looking that is closer to reading than the cursory scanning fostered by the clicking and swiping functionalities of smartphones and social media. Both the exhibition and its accompanying catalogue are conceived as anthologies, as independent vehicles to introduce each artist’s important and unique practice. #photopoetics

Press release from the Solomon R. Guggenheim Museum

 

Sara VanDerBeek. 'From the Means of Reproduction' 2007

 

Sara VanDerBeek (American, b. 1976)
From the Means of Reproduction
2007
Chromogenic print
101.6 x 76.2cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee
© Sara VanDerBeek

 

 

VanDerBeek’s photographs utilise a variety of formal strategies and references yet remain consistently engaged with issues of memory and the experience of time and space.

VanDerBeek first became known in the mid-2000s for photographs featuring her own makeshift sculptural configurations in which appropriated photos were combined into collages that resounded with personal and political meaning. Constructed in the studio out of found images and pieces of wood, metal, and string, these works, such as From the Means of Reproduction (2007) and Calder and Julia (2006), were created solely for the camera and were disassembled after being photographed.

Text from the Guggenheim artist’s web page

 

Kathrin Sonntag. 'Mittnacht' 2008 (detail)

 

Kathrin Sonntag (German, b. 1981)
Mittnacht (detail)
2008
Slide projection of eighty one 35 mm slides, continuous loop, dimensions variable
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee and Manuel de Santaren
© Kathrin Sonntag

 

Kathrin Sonntag. 'Mittnacht' 2008 (detail)

 

Kathrin Sonntag (German, b. 1981)
Mittnacht (detail)
2008
Slide projection of eighty one 35 mm slides, continuous loop, dimensions variable
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee and Manuel de Santaren
© Kathrin Sonntag

 

 

Encompassing sculpture, photography, film, and drawing, Sonntag’s work offers a complex analysis of the nature of objects and the division between fiction and reality. Using stools, tripods, tables, and mirrors to create unusual perspectives, her installations strip meaning from readily identifiable objects via photographic experiments within the confines of her studio. Mittnacht (2008) comprises eighty-one slides of found images of paranormal phenomena photographed among the artist’s studio tools and furniture. The supernatural elements are enhanced by their disorienting placement within the studio, which both creates illusions and allows errors and smudges in processing to cast an eerie shadow on certain images in the series.

Text from the Guggenheim artist’s web page

 

Claudia Angelmaier. 'Betty' 2008

 

Claudia Angelmaier (German, b. 1972)
Betty
2008
Chromogenic print, face-mounted to acrylic
130 x 100cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee with additional funds contributed by Mr. and Mrs. Aaron M. Tighe, and Rona and Jeffrey Citrin
© Claudia Angelmaier

 

 

Taking art historical masterpieces – and, by extension, art history itself – as her referents, Angelmaier traces the photographic representation of artworks across the pages of textbooks, classroom slides, coffee table monographs, and postcards. Cognisant that major artworks are most often encountered via reproduction rather than in person, she highlights the analogue media that have facilitated the circulation of such images for many decades…

The larger scope of Angelmaier’s concerns is particularly evident in the series Works on Paper (2008- ). Here, the artist photographs the backlit versos of postcards from museum gift shops. The artwork pictured on a card’s front appears muted yet faintly discernible, while the caption information and museum insignia on the back remain fully legible. By foregrounding the text, logos, and barcodes, Angelmaier not only examines the material realities of the postcard, but the social and economic systems both the souvenir and the work it depicts inhabit.

Text from the Guggenheim artist’s web page

 

Erica Baum. 'Jaws' (from the series 'Naked Eye'), 2008

 

Erica Baum (American, b. 1961)
Jaws (from the series Naked Eye)
2008
Inkjet print
47 x 41.6cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by Mr. and Mrs. Aaron M. Tighe
© Erica Baum

 

 

Baum takes the printed page as her primary subject, photographing fragments of found language at close range. Commingling image and text, her works often operate simultaneously as both photograph and poem… For the Naked Eye series (2008- ), Baum directs her camera into the partially opened pages of stipple-edged paperbacks from the 1960s and ’70s, capturing slivers of image and text separated by the vertical striations of adjacent pages’ brightly dyed edges. Although the compositions are each the result of a single, unaltered photograph, they operate visually as collages and veer toward abstraction.

Text from the Guggenheim artist’s web page

 

Elad Lassry. 'Bengal' 2011

 

Elad Lassry (Israeli-American, b. 1977)
Bengal
2011
Chromogenic print in painted frame
36.8 x 29.2 x 3.8cm
A.P. 1/2, edition of 5
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Committee
© Elad Lassry. Photo: Kristopher McKay © Solomon R. Guggenheim Foundation

 

Elad Lassry. 'Untitled (Woman, Blond)' 2013

 

Elad Lassry (Israeli-American, b. 1977)
Untitled (Woman, Blond)
2013
Chromogenic print in walnut frame with four-ply silk
36.8 x 29.2 x 3.8cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee
© Elad Lassry

 

 

Lassry positions his photographic works as “pictures,” entities that operate simultaneously as both objects and images. In doing so, he shifts their relationship to the viewer, inviting a broader examination of how photographs are seen and understood.

Lassry regularly presents his photographs in lacquered frames that match the colours of his bright, saturated images, or in warm walnut frames in the case of his work in black and white. The artist used this approach as early as 2008, in works such as Wolf (Blue) (2008). The continuity between frame and photo, heightened by the absence of matting, highlights the physicality of the picture without disrupting the illusion of depth in the photographic image. Lassry’s pictures derive from his own studio-based photographs as well as appropriated imagery. In both cases, the images reference the language of advertising and stock photography – and the attendant notions of desire therein. However, the would-be product is either obscured or excluded, removing the sense of purpose that drives such imagery. The artist sometimes employs techniques such as double exposure, blurring, superimposition, or collage that create an unsettling instability within his pictures. In more recent works, Lassry has incorporated sculptural elements, most often silk valances that cover significant sections of the image, as in Untitled (Woman, Blond) (2013), or looping coloured wires that penetrate it, as in Untitled (Dolphins, Two) (2014).

Text from the Guggenheim artist’s web page

 

Leslie Hewitt. 'Riffs on Real Time (3 of 10)', 2006–09

 

Leslie Hewitt (American, b. 1977)
Riffs on Real Time (3 of 10)
2006-09
Chromogenic print
76.2 x 61cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee

 

 

Commingling photography and sculpture, Hewitt’s works often present arrangements of personally and politically charged materials – including historically significant books and magazines from the 1960s and ’70s as well as family photos (not necessarily her own) – that conjure associative meaning through juxtaposition.

In Hewitt’s series Riffs on Real Time (2006-09), snapshots lay atop appropriated printed matter shot against a wood floor or carpet so that the contrasting textures of these layered materials build up and outward toward the viewer. In Hewitt’s various photo-sculptural series, the photographs begin to pointedly inhabit the space of the viewer. Positioned on the floor, their frames lean against the gallery walls, asserting their own materiality and calling attention to the space of the gallery.

Text from the Guggenheim artist’s web page

 

 

Solomon R. Guggenheim Museum
1071 5th Avenue (at 89th Street)
New York

Opening hours:
Thursday – Monday 11am – 6pm

Solomon R. Guggenheim Museum website

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30
Jan
15

Exhibition: ‘Storyteller: The Photographs of Duane Michals’ at Carnegie Museum of Art, Pittsburgh

Exhibition dates: 1st November 2014 – 16th February 2015

 

Duane Michals. 'A Letter from My Father' 1960/1975

 

Duane Michals
A Letter from My Father
1960/1975
Gelatin silver print with hand-applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

 

Exposing your/self

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Viva Michals! Viva Michals!

Magician, poet, storyteller, philosopher and dreamer.

Not for him the overblown statement (huge prints the size of billboards) but small, dark, rough prints assembled in photo-sequences, often incorporating text, that examine the human condition in every aspect. This is emotional work and Michals has a unique style and voice as an artist. You always know that you are looking at a sequence by Michals, for his signature is that distinctive.

As he says, his work goes beyond description, beyond surfaces, to reveal the subject – not as it looks but as it feels. In his sequences he usually achieves this by posing a question that has no answer, a question that is like a Zen koan…. what is the sound of one hand clapping? The grandfather ascends smilingly to heaven with little wings on his back as the child waves goodbye (if youth knew, if age could); the man as human condition turns into a galaxy; and the spirit leaves the body as it was left before.

Various Michals sequences, such as The Spirit Leaves The Body (1968, below), have a circular construction. Another sequence, Things are Queer (1973, below) is also a circular spatio-temporal enigma where instead of moving forward, the camera and the viewer are pulled backwards in a space-time continuum… where Michals forces you to question what reality really is. These two sequences are my personal favourites, and I had to scour the internet to find images for them as you rarely see them online.

His most famous sequence, the one that you see most often, is Chance Meeting (1970, below) – again an open-ended, intimate but puzzling encounter with a reflection of the self. Michals sequences are full of ghosts, uncommon intimacies, nubile females and delicious males (Michals is gay and has just celebrated his 54th anniversary with his partner). Dealing “with topics such as death, desire, and the passage of time” his work peers inward to examine “his own thoughts and dreams, to blur the lines between photography and philosophy.”

All is not sunshine and light, and I feel that there is a nebulous, obsidian energy hovering not too far below the surface. The photographs have high contrast and the subjects are very closely framed, giving the sequences an almost claustrophobic quality, as though you are having the life, the energy gently yet forcibly manipulated around you. The photographs rarely breathe freely and you feel as though you are almost trapped within their spaces.

Then there is the text. Never used to excess in the sequences (the title does that job alone), the singular images are extended into a longer narrative by biting, poignant words – sentences that utter harsh truths and tell it how it really is. I can’t look at the image and read that text from A Letter from My Father (1960 / 1975, above) without thinking of my abusive father and wondering what happened to his love – whether he hadn’t hidden it, he just didn’t have any to start with. For any child inside an adult who has been abused, the image cuts to the bone.

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Michals staged, narrative scenes take us on a journey into his reality, one which “has entered a realm beyond observation.” He poses difficult questions that force us to examine ideas beyond the world of phenomena, beyond the world of surfaces. He challenges our repressed inner lives and our idealised image of ourselves, disturbing the boundaries of personality, ego, and identity.1 He wrestles with Sartre’s noumenal world (the world of the subconscious, dreams), the “being-in-itself” or sometimes simply “the in-itself,” as Sartre calls it (what Kant called the noumenal world), where Sartre does not see man comfortably installed in the world.

“All of us, says Sartre, have a “pre-ontological comprehension” of being-in-itself, that is to say, an opaque, inarticulate, but very real sense of its presence and nature. The world is but a “varnish” on the surface of the being-in-itself; or, changing the metaphor, the world is but a “thin crust” of meaning which we impose upon being-in-itself. Ordinarily this thin crust of meaning conceals the in-itself and obscures our awareness of it, but the anguish of being is always there just below the surface of daily consciousness, and from time to time it breaks through to the surface, presenting being-in-itself without disguise.”2

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This is what Michals attunes himself to, an examination of the in-itself, one that impacts on our internal poetic understandings of space and time. In his malleable daydreams Michals proffers a ‘releasement toward things’, the glimpsing of a coexistence between a conscious and unconscious way of perceiving which enables the seeing of the ‘Thing Itself’. As Heidegger observes, 

“We stand at once within the realm of that which hides itself from us, and hides itself just in approaching us. That which shows itself and at the same time withdraws is the essential trait of what we call the mystery… Releasement towards things and openness to the mystery belong together. They grant us the possibility of dwelling in the world in a totally different way…”3

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It is Michals great skill as an artist and a human being that enables us the possibility of accessing some aspect of the mystery of our existence.

Dr Marcus Bunyan

 

Footnotes

  1. As discussed in Magee, Bryan. Confessions of a Philosopher. London: Weidenfeld and Nicolson, 1997, p. 405-406
  2. Olsen, Robert. An Introduction to Existentialism. Dover Publications, New York, 1962, p. 39
  3. Heidegger, Martin. Discourse on Thinking. New York: Harper & Row, 1966, pp. 55-56 quoted in Baracco, Mauro. “Completed Yet Unconcluded: The Poetic Resistance of Some Melbourne Architecture,” in van Schaik, Leon (ed.,). Architectural Design Vol. 72, No. 2 (‘Poetics in Architecture’). London: John Wiley and Sons, 2002, p. 74. Footnote 6.

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Many thankx to the Carnegie 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.

 

 

“Who gives a fuck about what he had for breakfast? These are stylistic ticks. The digital has changed the paradigms of photography. I had an opening in Boston and this woman had a little camera with her and kept exclaiming, ‘Everything is a photograph!’ That’s the problem. The bar has been lowered so much in photography now…”

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“Photographers tend not to photograph what they can’t see, which is the very reason one should try to attempt it. Otherwise we’re going to go on forever just photographing more faces and more rooms and more places. Photography has to transcend description. It has to go beyond description to bring insight into the subject, or reveal the subject, not as it looks, but how does it feel?”

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“I don’t trust reality. So all of the writing on and painting on the photographs is born out of the frustration to express what you do not see.”

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Duane Michals

 

 

Duane Michals. 'Cavafy Cheats Playing Strip Poker' 2004

 

Duane Michals (American, b. 1932)
Cavafy Cheats Playing Strip Poker
2004
12 Gelatin silver prints with hand applied text
5″ x 7″ each

 

 

This series of photographs was inspired by the poem The Windows by Constantine Cavafy:

In these dark rooms where I live out empty days,

I wander round and round trying to find the windows.

But the windows are not to be found – 
or at least I can’t find them.
And perhaps
it is better that way.

Perhaps the light will prove another tyranny.

Who knows what new things it will expose?

 

Duane Michals. 'Chance Meeting' 1970

Duane Michals. 'Chance Meeting' 1970

Duane Michals. 'Chance Meeting' 1970

Duane Michals. 'Chance Meeting' 1970

Duane Michals. 'Chance Meeting' 1970

Duane Michals. 'Chance Meeting' 1970

 

Duane Michals (American, b. 1932)
Chance Meeting
1970
Six gelatin silver prints
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

 

Duane Michals (American, b. 1932)
Things are Queer
1973
Nine gelatin silver prints
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Grandpa Goes to Heaven' 1989

Duane Michals. 'Grandpa Goes to Heaven' 1989

Duane Michals. 'Grandpa Goes to Heaven' 1989

Duane Michals. 'Grandpa Goes to Heaven' 1989

Duane Michals. 'Grandpa Goes to Heaven' 1989

 

Duane Michals (American, b. 1932)
Grandpa Goes to Heaven
1989
Five gelatin silver prints with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC

 

 

“The best part of us is not what we see, it’s what we feel. We are what we feel. We are not what we look at… We’re not our eyeballs, we’re our mind. People believe their eyeballs and they’re totally wrong… That’s why I consider most photographs extremely boring – just like Muzak, inoffensive, charming, another waterfall, another sunset. This time, colours have been added to protect the innocent. It’s just boring. But that whole arena of one’s experience – grief, loneliness – how do you photograph lust? I mean, how do you deal with these things? This is what you are, not what you see. It’s all sitting up here. I could do all my work sitting in my room. I don’t have to go anywhere.”

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Duane Michals

 

 

Opening November 1, 2014, at Carnegie Museum of Art (CMOA), Storyteller: The Photographs of Duane Michals is the definitive retrospective and the largest-ever presentation of this innovative artist’s work. Drawing from select loans and the museum’s holdings, which constitute the largest single collection of Michals’s output, and spanning six decades, the works in Storyteller include classic sequences from the early 1970s as well as rarely seen images from later in his career.

Born in 1932 and raised in a steelworker family in McKeesport, Pennsylvania, Michals broke away from established traditions of documentary and fine art photography in the 1960s when he added handwritten messages and poems to prints, produced multi-image narrative sequences, and experimented with double- and triple-exposures. His work was poignant and unabashedly sentimental, flying in the face of the dominant photographic aesthetics of the time.

Storyteller unfolds in thematic groupings that range from portraiture to meditations on the mind’s interior world; from childhood and imagination to desire and death. Michals’s love of two very different cities, Pittsburgh and Paris, is evident in sections exploring the beauty, quirks, and particularities of these places. He has riffed on, critiqued, and crossed paths with countless artists, including René Magritte, Cindy Sherman, Joseph Cornell, Robert Frank, Andreas Gursky, Andy Warhol, and others, and a section of the exhibition brings to light the admiration and acerbic wit in Michals’s engagements with other creative minds.

“The exhibition is designed to acquaint the visitor with the many themes that Michals explored over more than half a century,” says curator of photography Linda Benedict-Jones. “Well known sequences such as Paradise Regained and Chance Meeting greet the viewer first, followed by engaging and sometimes surprising Children’s Stories. A section called The Mind’s Eye shows Michals’s absorption with photographing things that cannot actually be seen, such as A Man Going to Heaven or The Human Condition. We could not present Storyteller chronologically, because Michals revisits themes often. One theme, Painted Expression, shows how, in two distinct periods of his life – in the early 1980s and again in 2012 – Michals has picked up a brush to apply oil paint to both black-and-white photographic prints as well as most recently to 19th century tintypes, resulting in unique, one-of-a-kind photographic works. His creative energy is boundless and readily apparent when seen in a large retrospective display.”

“I’m a storyteller,” he often states as he begins a talk in public – equally interested in the moments before and after the “decisive moment” (a term coined by famed photographer Henri Cartier-Bresson). “When I began to do sequences, it wasn’t because I thought it was cool and the latest thing. I did it out of frustration with the still photograph.” He has observed that his practice aims to transcend mere appearances: “I’m not interested in what something looks like, I want to know what it feels like… My reality has entered a realm beyond observation.” This approach can be seen throughout his career, from early, carefully staged sequences, to hand-painted gelatin silver prints and tintypes, revealing the artist’s hand at work long after the image is captured.

According to curator of photography Linda Benedict-Jones, who organised Storyteller, “Duane Michals is a sensitive and provocative artist who has followed his own unique path. His way of staging narrative scenes, then recording them with a 35mm camera, represented a fresh approach to the medium. This, combined with an uncommon intimacy when dealing with topics such as death, desire, and the passage of time, set him apart as an image-maker.”

Storyteller also touches upon Michals’s extensive portfolio of commercial photography and portraiture, which spans several decades, and includes assignments for Neiman Marcus, Esquire, Vogue, and Gap, as well as commissioned portraits of such figures as Nancy Reagan, Sting, and Willem de Kooning.

CMOA, a fixture in Michals’s artistic upbringing, has acquired 139 of his works, ranging from his earliest images made in Russia in 1958 to hand-painted tintypes that he began creating in 2012. Michals, in turn, has always felt an attachment to Pittsburgh, a subject of many of his photographs, and of two books, the sequence The House I Once Called Home (2003) and poetry collection A Pittsburgh Poem (2013). Lending institutions to Storyteller include Musée d’Art Moderne de la Ville de Paris, Museum of Fine Arts (Houston), Musée des Beaux Arts (Montreal), High Museum of Art (Atlanta), and Museum of Modern Art (New York). Even longtime admirers of the artist may be unfamiliar with several of his bodies of work, and an examination of this full range is long overdue: while Michals has been championed in several solo exhibitions throughout Europe in the past decade, this is his first major museum exhibition in North America since 1998.

Storyteller also touches upon Michals’s extensive portfolio of commercial photography and portraiture, which spans several decades, and includes assignments for Neiman Marcus, Esquire, Vogue, and Gap, as well as commissioned portraits of such figures as Nancy Reagan, Sting, and Willem de Kooning.

Presented alongside Storyteller will be the exhibition Duane Michals: Collector, which highlights works from Michals’s private art collection that are promised gifts to the museum. The eclectic array of objects, ranging from 1799 to 1999, and from Francisco de Goya to André Kertész to Mark Tansey, will be united by Michals’s unique take on the artists, the artworks, and their influence on his own practice. Organised by associate curator of fine arts Amanda Zehnder, Duane Michals: Collector will further contextualise his work from an unusually personal perspective.

Storyteller: The Photographs of Duane Michals represents a refreshing, much-needed reexamination of a historically significant photographer. Michals’s pioneering photography infused the medium with a personal, critical approach that translates universally. In an art world that feels at times jaded and detached, his images retain the same moving, affecting impact that they commanded decades ago.

Press release from the Carnegie Museum of Art

 

 

Internationally-renowned photographer Duane Michals discusses his eight-decade life and career as a self-described “expressionist.” His work is known for its innovative narrative sequencing and iconic use of text and image. During a period when photography looked out to the world around us, Michals redefined the medium by peering inward to his own thoughts and dreams to blur the lines between photography and philosophy.

 

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

 

Duane Michals (American, b. 1932)
The Spirit Leaves The Body
1968
Seven gelatin silver prints with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'The Young Girl’s Dream' 1969

Duane Michals. 'The Young Girl’s Dream' 1969

Duane Michals. 'The Young Girl’s Dream' 1969

Duane Michals. 'The Young Girl’s Dream' 1969

Duane Michals. 'The Young Girl’s Dream' 1969

 

Duane Michals (American, b. 1932)
The Young Girl’s Dream
1969
Five gelatin silver prints with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Magritte with Hat' 1965

 

Duane Michals (American, b. 1932)
Magritte with Hat
1965
Gelatin silver print with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Magritte with Hat' 1965 (detail)

 

Duane Michals (American, b. 1932)
Magritte with Hat (detail)
1965
Gelatin silver print with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'This Photograph Is My Proof' 1967

 

Duane Michals (American, b. 1932)
This Photograph Is My Proof
1967
Gelatin silver print with hand-applied text
The Henry L. Hillman Fund, Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Young Soldiers Dream in the Garden of the Dead with Flowers Growing from Their Heads' 1995

 

Duane Michals (American, b. 1932)
Young Soldiers Dream in the Garden of the Dead with Flowers Growing from Their Heads
1995
From the series Salute, Walt Whitman
Gelatin silver print
The Henry L. Hillman Fund
Courtesy of Carnegie Museum of Art, Pittsburgh

 

Duane Michals. 'The Human Condition' 1969

 

Duane Michals (American, b. 1932)
The Human Condition
1969
Six gelatin silver prints with hand applied text
Carnegie Museum of Art, Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

Duane Michals. 'Rigamarole' 2012

 

Duane Michals (American, b. 1932)
Rigamarole
2012
Tintype with oil paint
The William T. Hillman Fund for Photography
Carnegie Museum of Art,Pittsburgh
Courtesy of the Artist and DC Moore Gallery

 

 

Carnegie Museum of Art
4400 Forbes Avenue
Pittsburgh, PA 15213

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

Carnegie Museum of Art website

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21
Dec
14

Exhibition: ‘Eyes on the Street: street photography in the 21st century’ at the Cincinnati Art Museum

Exhibition dates: 11th October 2014 – 4th January 2015

Artists

Olivo Barbieri (Italian; lives and works in Modena, Italy)
Philip-Lorca diCorcia (American; lives and works in New York)
Jason Evans (British; lives and works in London)
Paul Graham (British; lives and works in New York)
Mark Lewis (Canadian; lives and works in London)
Jill Magid (American; lives and works in New York)
James Nares (American; lives and works in New York)
Barbara Probst (German; lives and works in New York)
Jennifer West (American; lives and works in Los Angeles)
Michael Wolf (German; lives and works in Paris and Hong Kong)

 

 

Installation view by Rob Deslongchamps

 

Installation view by Rob Deslongchamps

 

 

Watching the watcher watching…

Marcus

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

 

 

“Some of the artists in ‘Eyes on the Street’ made their work at street level; others sought higher vantage points. Some sharpen our appreciation for individuals, while others underscore universal urban traits. Some work with still images, while others create films and videos. What links them, and binds them to the historical tradition of street photography, is the quality of attention they give these bustling environments. They are watchful. What distinguishes them from the twentieth-century street-photography tradition, however, is that these artists are also acutely conscious of the active roles cameras play in making urban public places today. They know they are part of a greater system of watching.”

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Brian Sholis, Associate Curator of Photography, Cincinnati Art Museum

 

 

Installation view by Rob Deslongchamps

 

Installation view by Rob Deslongchamps

 

Barbara Probst. 'Exposure #106: N.Y.C., Broome & Crosby Streets, 04.17.13, 2:29 p.m.' 2013

 

Barbara Probst (German, b. 1964)
Exposure #106: N.Y.C., Broome & Crosby Streets, 04.17.13, 2:29 p.m.
2013
Ultrachrome ink on cotton paper in twelve parts
Each 29 x 44 inches
Courtesy of the artist and Murray Guy, New York

 

 

On January 7, 2000, Barbara Probst first deployed a photographic technique that has become her signature and which she is still fruitfully exploring. On that night she used a remote-control device to synchronise the shutters of twelve cameras, creating as many perspectives on the same scene. In that work, and the more than one hundred that have followed, Probst dissects the photographic moment. Take, for example, the twelve-panel Exposure #106, exhibited here, which combines colour and black-and-white film, multiple photographic genres, staged and unscripted elements, and a patchwork of vantage points. One can’t help but “read” these individual images sequentially, creating a false sense of narrative momentum from a collection of pictures taken in the same instant. One likewise builds, as Probst has called it, a “sculpture in the mind” by piecing together a three-dimensional scene from two-dimensional fragments. The process is never perfect, underscoring, as does all of Probst’s work, the incompleteness and partiality of any photograph.

“Probst forcefully deconstructs the notion of photographic truth, not by specifically questioning that photographic truth but merely by pointing out its necessary incompleteness.” Jens Erdman Rasmussen, Dutch curator.

 

Jason Evans. 'Untitled,' from the series "NYLPT," 2008

 

Jason Evans (Welsh, b. 1968)
Untitled from the series NYLPT
2008
Gelatin silver print
24 x 24 inches
Courtesy of the photographer

 

 

Jason Evans is a street photographer who, in his words, simply likes to “walk around and look at things, follow people, and get lost.” The series exhibited here, NYLPT, was made between 2005 and 2012 in New York, London, Paris, and Tokyo. Evans would expose a roll of 35-mm black-and-white film in one of these cities, then rewind and set aside the roll until his travels brought him to another. There, he would reload the film and re-expose the frames, doing so up to five times without knowing what the results would look like. Sometimes a fragment of language or familiar landmark reveals where part of the picture was made. More often, however, the textures, shapes, and surreal combinations of built environments come together to connote urbanness as a category of experience. Aware that people consume images in myriad ways, Evans not only developed the photographs in a darkroom, but also worked closely with a book publisher and digital programmers to create versions of the series specific to different mediums.

 

Olivo Barbieri. 'site specific_ISTANBUL #4' 2011

 

Olivo Barbieri (Italian, b. 1954)
site specific_Istanbul #4
2011
Archival pigment print
45 x 61 inches
Courtesy of the artist and Yancey Richardson Gallery, New York

 

 

Between 2003 and 2013, the Italian artist Olivo Barbieri photographed more than forty of the world’s cities from low-flying helicopters. Fascinated by the expanding megalopolises, Barbieri sought a new visual language to present their shifting forms. He hit upon the idea of using a tilt-shift lens – normally used to correct the apparent convergence of parallel lines in pictures of buildings – to render sections of his images out of focus. By also slightly overexposing the photographs, Barbieri created a diorama-like effect; the people and places he captured seemed to inhabit miniature worlds. His pictures contained enormous amounts of information yet placed some of it tantalisingly out of focus.

This visual effect became so popular that Barbieri sought other ways to push photography’s language in response to the cities that inspired him. In recent years he has adopted a wide array of digital post-production techniques to modify his images, all in service of representing the dizzying state of cities today.

“Captivated by a vision of the twenty-first-century city as a kind of site-specific installation – temporary, malleable, and constantly in flux – [Barbieri] sought a photographic corollary for the radical mutations of urban form that he saw taking place.” Christopher S. Phillips, curator

 

Installation view by Rob Deslongchamps

 

Installation view by Rob Deslongchamps

 

 

Cameras are an integral part of our lives, and the Cincinnati Art Museum’s new exhibition, Eyes on the Street, on view Oct. 11, 2014 – Jan. 4, 2015, examines how they can be used in public spaces. Through a collection of photographs, films and videos by 10 internationally renowned artists – most of whom have never previously exhibited in Cincinnati – the exhibition reimagines street photography and reveals how cameras shape perceptions of cities. Eyes on the Street is the Art Museum’s contribution to the region-wide FotoFocus festival and is a celebration of street photography in the twenty-first century.

“Street photography is a perennial subject of museum exhibitions, but by emphasising the role cameras’ technical capabilities play in making these artworks, I hope to broaden our understanding of the genre,” said Brian Sholis, associate curator of photography. “At the same time, it’s important to recognise that we are not merely subject to faceless surveillance, but can use cameras to amplify the invigorating aspects of city life.”

Eyes on the Street reimagines the genre of street photography and demonstrates how cameras shape our perceptions of cities. It features ten internationally renowned artists who work in photography, film, and video, each of whom deliberatively uses the camera’s technical capabilities to reveal new aspects of the urban environment. Through high-speed and high-definition lenses, multiple or simultaneous exposures, “impossible” film shots, and appropriated surveillance-camera footage, these artists breathe new life into the genre and remind us that urban public places are sites of creative and imaginative encounters.

The exhibition title comes from influential urban theorist Jane Jacobs, who wrote, in her classic treatise The Death and Life of Great American Cities, of “eyes on the street” being crucial to urban neighbourhoods’ vitality – and their ability to accommodate different people and activities. Today, discussion of cameras in public spaces often revolves around surveillance tactics or battles over first-amendment rights. Eyes on the Street reflects the diversity of urban experience and shows us how cameras can help us comprehend the complex urban environment.

The show includes artworks made in New York, San Francisco, Paris, Beirut, Tokyo, Istanbul, and elsewhere by artists who have exhibited widely and have received numerous grants, fellowships, and prizes. Most have never before exhibited in the Cincinnati area.

Press release from the Cincinnati Art Museum

 

Philip-Lorca diCorcia. 'Head #23' 2001

 

Philip-Lorca diCorcia (American, b. 1951)
Head #23
2001
Fujicolor Crystal Archive print
48 x 60 inches
Courtesy of the artist and David Zwirner, New York/London

 

 

To make the photographs exhibited in Eyes on the Street, Philip-Lorca diCorcia affixed a powerful strobe flash to construction scaffolding above a sidewalk in Times Square. He placed his camera some distance away, so as to remain unnoticed, and photographed unwitting strangers bathed in a halo of light. This outdoor “studio” married control and chance, isolating people from their busy surroundings. Their pensive faces reveal complex interior lives it would be easy to miss if we passed them on a busy street.

The resulting series, Heads, comprises a few dozen photographs chosen from the thousands that diCorcia made between 1999 and 2001. Erno Nussenzweig, the subject of Head #13, discovered the photograph of him in 2005. He sued the photographer for using his image without permission. The case went to the New York Court of Appeals, where judges ruled that diCorcia’s images qualify as art, not as advertising, thereby exempting him from privacy protections afforded by law. The case has become an important precedent for artists who wish to take pictures in public places.

 

 Jill Magid. 'Control Room' 2004

 

Jill Magid (American, b. 1973)
Control Room
2004
Still from a two-channel digital video, ten minutes
Courtesy of the artist and Galerie Yvon Lambert, Paris

 

 

For more than a decade artist Jill Magid has deliberately worked with institutions of authority to create videos, books, installations, and other artworks. For a series made in Liverpool in 2004, Magid spent thirty-one days in the English port city – the length of time footage from its Citywatch surveillance system is stored. Wearing a red trench coat, she aimed “to use the CCTV system as a film crew, to act as the protagonist, and to be saved in [its] evidence locker.”

During the project she developed relationships with the camera operators. In the video Trust, Magid closes her eyes and allows a CCTV operator to verbally guide her safely through the city’s busy streets. She has described the interaction as one of the most intimate she has experienced, and wrote the Subject Access Request Forms, used to obtain the footage, in the form of love letters. As she later said, “Only by being watched, and influencing how I was watched, could I touch the system and become vulnerable to it.”

 

Installation view of James Nares's film 'Street'. Photo by Rob Deslongchamps.

 

Installation view of James Nares’s film Street. Photo by Rob Deslongchamps.

 

 

 

James Nares moved to New York during the 1970s and joined the experimental music and art scenes as a filmmaker, painter, sculptor, musician, and performer. Today he is perhaps best known for his beautiful abstract paintings, but he has made still- and moving-image work throughout his career. His 2012 film STREET has drawn renewed attention to his work with cameras. STREET uses the remarkable clarity offered by a high-speed, high-definition camera to mesmerising effect. Shot from the window of a car, “the camera is moving in one line at a constant speed,” he has said. “I take small fragments of time and extend them. […] I just wanted to see the drama in small things that happen all the time, everywhere, the little dramas that become big along the way.”

STREET is an unscripted 61-minute high definition video filmed by artist James Nares over one week in September 2011. The final video is a mesmerising experiment in the nuance and beauty of everyday people and people-watching; providing a global view that extends beyond the streets of New York where it was filmed: from Battery Park to the furthest reaches of Upper Broadway, and West Side to East Side in Nares’ personal homage to actualité films. In Nares’ words, “I wanted the film to be about people. All it needed were magical moments, and there are enough of those happening every moment of any given day.”

The scenes are drawn from more than sixteen hours of material and accompanied by a guitar soundtrack performed by Thurston Moore of Sonic Youth.

 

 

Eyes on the Street

Brian Sholis

Associate Curator of Photography
Cincinnati Art Museum

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The title of this exhibition comes from the architecture writer and urban activist Jane Jacobs, who, in her classic 1961 treatise The Death and Life of Great American Cities, wrote of eyes on the street being crucial to the vitality of urban neighbourhoods, in particular their ability to accommodate different people and activities. She was celebrating her Greenwich Village neighbours, “allies whose eyes help us natives keep the peace of the street,” the “lucky possessors of a city order that makes it relatively simple to keep the peace.” She was quick to add, “there is nothing simple about that order itself, or the bewildering number of components that go into it.” Fifty years later the elements that make urban life vibrant and challenging are even greater in number, and the omnipresence of cameras is one of the greatest changes to the ways we manage a city’s order. Today, discussion of cameras in public places often concentrates on issues of surveillance, personal privacy, and first-amendment rights. As the writer Tom Vanderbilt asked in a 2002 essay that touches on Jacobs’s legacy, “Why is a police surveillance camera on a public street any more intrusive than a patrolman stationed on the corner? [ … ] The real question in all of this is motive, not means: who’s doing the watching, and for what purpose?” The artworks brought together in Eyes on the Street offer ways to think about the social, political, legal, and architectural implications of these questions.

The photographs, films, and videos exhibited here also offer ways to reimagine the genre of street photography, which art historians typically associate with Jacobs’s mid-twentieth-century era. At the time she was drafting the ideas quoted above, photographers like Robert Frank, Henri Cartier-Bresson, and Garry Winogrand prowled Western cities, 35-mm cameras in hand, taking pictures of the daily sidewalk ballet. They worked tirelessly, often photographing rapidly and without introducing themselves to their subjects, whom they corralled into rectangular compositions that expressed some of the dynamism of the passing parade. By contrast, the artists in Eyes on the Street, all working in the twenty-first century, respond to the changed conditions of the city in part by using more deliberative strategies to capture their subjects. They recognise the pervasive influence of cameras on the urban environment by employing their own cameras’ special capabilities to show things our eyes may not see or our minds might not notice. For photographers working half a century ago, the lens was a natural extension of their hands and a relatively simple conduit of their artistic sensibilities. The artists in Eyes on the Street work more self-consciously to disclose the forces conditioning the urban environment and to acknowledge cameras’ active role in that process. In so doing, they create stunning still- and moving-image artworks that show us such places as New York, Shanghai, Beirut, Paris, Chicago, and Istanbul as we’ve never seen them before.

 

Faces in the Crowd

Writing more than a century ago, German sociologist Georg Simmel diagnosed the mental life of people living in rapidly modernising cities, suggesting that our psychological survival depended upon separating ourselves from the many stimulations of the urban environment. The influence of Simmel’s thinking upon the social sciences has been profound, but scholars today increasingly identify an inversion of his theory as true: for the survival of the metropolis, we must overcome narrow individualism to empathise with others who share it with us. However, one’s capacity to relate to others is necessarily limited, and this cosmopolitan ethics can be difficult to maintain. James Nares’s 2012 film Street uses the remarkable clarity offered by a high-speed, high-definition camera to offset the potentially numbing effect of so many encounters. By slowing down his footage of New York sidewalks, taken from the window of a car moving thirty miles per hour, Nares isolates small vignettes unspooling on the sidewalk. Peoples’ movements are picked out in fine detail, their individual gestures and expressions heightened into a slow-motion monumentality. A similar effect characterises the photographs in Philip-Lorca diCorcia’s series Heads (1999-2001). To make these works, diCorcia, affixed a flash strobe to construction scaffolding on a sidewalk in Times Square. Placing his camera far enough away to be unnoticed, he pre-focused his lens on the spot illuminated by the flash and captured unwitting strangers bathed in a halo of light. His improvised outdoor studio married control and chance, isolating people from their busy surroundings and catching them in moments of inwardness. Their pensive faces reveal complex interior lives it would be all too easy to ignore should we be strolling past them. The quality of attention afforded by Nares and diCorcia’s cameras results in the humanism of their work and grants the dignity we can read in these faces. As the critic Ken Johnson observed of Street, what results is an update of “Walt Whitman’s poetic embrace of humanity. The camera gazes at all with the same equanimity and finds each person, in his or her own way, dignified, loveable, and even beautiful.”

In his series NYLPT, photographer Jason Evans reverses this penchant for individuation. The acronym stands for “New York London Paris Tokyo.” Working over a period of eight years, Evans would expose a roll of 35-mm black-and-white film in one of these cities, then rewind and set aside the roll until his travels brought him to another. There, he would reload the film and re-expose the frames, sometimes doing so up to five times without knowing what the results would look like. As he has said, “The ‘decisive moment’ was no longer out there waiting to be hunted down,” as with traditional street photography. Instead, “it had moved behind the lens, onto the film plane.” Sometimes a fragment of language or familiar landmark reveals where part of the picture was made. More often, however, the textures, shapes, and surreal combinations of built environments come together to connote urbanness as a category of experience.

 

Jennifer West. Still from 'One Mile Film' 2012

 

Jennifer West
One Mile Film (5,280 feet of 35mm film negative and print taped to the mile-long High Line walk way in New York City for 17 hours on Thursday, September 13th, 2012 with 11,500 visitors – the visitors walked, wrote, jogged, signed, drew, touched, danced, parkoured, sanded, keyed, melted popsicles, spit, scratched, stomped, left shoe prints of all kinds and put gum on the filmstrip – it was driven on by baby stroller and trash can wheels and was traced by art students – people wrote messages on the film and drew animations, etched signs, symbols and words into the film emulsion lines drawn down much of the filmstrip by visitors and Jwest with highlighters and markers – the walk way surfaces of concrete, train track steel, wood, metal gratings and fountain water impressed into the film; filmed images shot by Peter West – filmed Parkour performances by Thomas Dolan and Vertical Jimenez – running on rooftops by Deb Berman and Jwest – film taped, rolled and explained on the High Line by art students and volunteers)
2012
Still from 35-mm film transferred to high-definition video
Commissioned and produced by Friends of the High Line and the New York City Department of Parks and Recreation
Courtesy of the artist and Marc Foxx, Los Angeles

 

 

Jennifer West is resolutely experimental in her approach to film, and is known in particular for the ways she treats her film stock: submerging it in seawater, bathing it in chemicals, or exposing it to different types of radiation, usually to psychedelic effect. Her One Mile Film … (2012), commissioned by and for the High Line, an elevated park in New York, documents free-running practitioners – athletes who explore environments without limitations of movement – climbing, jumping, and exploring the park and its environs. Here, though, her “treatment” is an alternative method of recording people in this public space. Once she had completed filming, West affixed her film stock to the High Line’s footpaths, inviting park visitors – some 11,500 of them – to walk on, roll over, draw on, and otherwise imprint their presence upon her work. The finished film appears semi-abstract but is in fact a trace of the people who passed through that particular place on that September 2012 day, like the rubbings people make of manholes and headstones.

 

Michael Wolf. 'Night #20' 2007

 

Michael Wolf (German, 1954-2019)
Night #20
2007
Digital c-print
48 x 60 inches
Courtesy of the artist and Bruce Silverstein Gallery, New York

 

 

The number of both people and buildings tucked into Hong Kong’s small landmass inspired Michael Wolf to express the verticality and compactness of that unique place. His series Architecture of Density emphasises the repetition inherent to most large-scale construction by zeroing in on building facades and eliminating the ground, the sky, and all other elements that might reveal the picture’s scale. The residential towers seem to stretch on forever; the only variation comes from small human elements, such as laundry hung out to dry. The buildings depicted in the series Transparent City, made in 2007 and 2008 in Chicago, are not quite as close together, and Wolf subsequently created looser compositions. He likewise took advantage of a 300-mm lens and the buildings’ glass curtain-wall construction to peer through the windows at the life inside. “I became acutely aware of being a voyeur,” Wolf has said.

 

Mark Lewis, Still from 'Beirut' 2011

 

Mark Lewis
Beirut
2011
Still from a high-definition video, 8 minutes 11 seconds
Courtesy of the artist and Daniel Faria Gallery, Toronto

 

 

In his short films, Mark Lewis repeatedly isolates the fundamental gestures of cinema, exaggerating a zoom or a tracking shot to reveal the constructedness of a seemingly natural scene. Without sacrificing beauty or mystery, Lewis’s meticulously planned works uncover the kinds of artifice that big-budget popular movies aim to conceal. In his eight-minute film Beirut (2011), Lewis crafts a Steadicam shot to explore the multiple cultures and tangled histories represented on a Lebanese street. In a remarkable single take, the camera rounds a corner, proceeds down the street, then lifts magically into the air, floating above roofline to situate these histories in the larger urban fabric. And the end of this short film reminds us of the life that continues around us even as we focus only at street level.

 

 

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15
Nov
14

Exhibition: ‘Transformational Imagemaking: Handmade Photography Since 1960’ at CEPA Gallery, Buffalo, NY

Exhibition dates: 19th September – 13rd December 2014

Artists: Thomas Barrow, Wayne Belger, Stephen Berkman, Matthew Brandt, Dan Burkholder, Darryl Curran, Binh Danh, Rick Dingus, Dan Estabrook, Robert Fichter, Robert Flynt, Judith Golden, Betty Hahn, Robert Heinecken, Robert Hirsch, Catherine Jansen, Harold Jones, Tantana Kellner, Les Krims, William Larson, Dinh Q. Lê, David Lebe, Martha Madigan, Curtis Mann, Stephen Marc, Scott McCarney, Chris McCaw, John Metoyer, Duane Michals, Vik Muniz, Joyce Neimanas, Bea Nettles, Ted Orland, Douglas Prince, Holly Roberts, Clarissa Sligh, Keith Smith, Jerry Spagnoli, Mike & Doug Starn, Brian Taylor, Maggie Taylor, Jerry Uelsmann, Todd Walker, Joel-Peter Witkin, John Wood.

Curator: Robert Hirsch

 

 

Vik Muniz. 'Picture of Dust' 2000

 

Vik Muniz (Brazilian, b. 1961)
Picture of Dust (Barry Le Va, Continuous and Related Activities; Discontinued by the Act of Dropping, 1967, Installed at the Whitney Museum in New Sculpture 1965-75: Between Geometry and Gesture, February 20-June 3, 1990)
2000
From the series The Things Themselves: Picture of Dust
Framed, overall: 51 x 130 1/2 inches
Two silver dye bleach prints (Ilfochrome)
Whitney Museum of American Art, New York;/Licensed by VAGA, New York, NY

 

 

The resurgence of handmade photography in the 1960s had several sources and influences. It looked back to the “anti-tradition” of nineteenth-century romanticism, which accentuated the importance of making a highly personal response to experience and a critical response to society. It drew on contemporary popular culture. Many of the artists engaged in this movement were baby-boomers brought up on television and film, media that often portrayed photography as hip and sexy – eg. the film Blow-Up (1966) – and which drove home the significance of constructed photographic images. In addition, the widespread atmosphere of rebellion against social norms propelled the move toward handwork. The rejection of artistic standards in photography was consistent with the much broader exploration of sexual mores and gender roles that took place in the sixties. It was also consistent with the exploration of consciousness. The latter was encouraged by such counter-culture figures as Ken Kesey who, with his band of Merry Pranksters, boarded a Day-Glo bus called “Further” and took an LSD-fuelled trip across the country that echoed Dr. Timothy Leary’s decree “to tune in, turn on, and drop out.” On a broader level, the society-at-large was exposed to psychedelic exploration through Stanley Kubrick’s film 2001: A Space Odyssey (1968), which youthful audiences saw as a mysterious consciousness-expanding trip into humanity’s future. Finally, handmade photography was supported by the general growth of photographic education in the university. The ubiquity and importance of the medium in the culture at large, as well as pressure from those who championed photography from within art institutions gave credence in the post-war decades to the idea that people could study photography seriously. As new photography programs mushroomed in the universities, they produced graduates who took teaching positions in even newer programs. Many of these young teachers, who had grown up to the adage of “do your own thing,” were responsive to unconventional ways of seeing and working, and they encouraged these attitudes in their students, many of whom turned to handmade photography.

Despite the attractions of handmade photography there were in the sixties, and still are to some degree, emphatic objections to the open engagement of the hand in photographic art. One common objection is that such art constitutes a dishonest method to cover up aesthetic and technical inadequacies. Another comes from those who believe strongly in the Western tradition of positivism. These people tend to reject handmade photography on the grounds that it is unnecessarily ambiguous or irrational in its meanings. Nevertheless, more artists than ever are currently using the flexible, experiential methods of handwork. In addition to opening up an avenue to inner experience, artists find handwork attractive because it promotes inventiveness, allows for the free play of intuition beyond the control of the intellect, extends the time of interaction with an image (on the part of both the maker and the viewer), and allows for the inclusion of a wide range of materials and processes within the boundaries of photography…

[Curator] Peter C. Bunnell’s innovative exhibitions [MoMA: Photography as Printmaking (1968) and Photography Into Sculpture (1970)] demonstrated that in essence photography is nothing more than light sensitive material on a surface. The exhibitions also recognized that the way a photograph is perceived and interpreted is established by artistic and societal preconceptions about how a photographic subject is supposed to look and what is accepted as truthful. The work in the Bunnell exhibitions was indicative of a larger zeitgeist of the late 1960s that involved leaving the safety net of custom, exploring how to be more aware of and physically connected to the world, and critically examining expectations with regard to lifestyles…

In spite of post-modernism’s assault on the myth of authorship and its sardonic outlook regarding the human spirit, artists who produce handmade photography continue to believe that individuals can make a difference, that originality matters, and that we learn and understand by doing. They think that a flexible image is a human image, an imperfect and physically crafted one that possesses its own idiosyncratic sense of essence, time, and wonder. Their work can be aesthetically difficult, as it may not provide the audience-friendly narratives and well-mannered compositions some people expect. But sometimes this is necessary to get us to set aside the ordained answers to the question: “What is a photograph?” and allow us to recognise photography’s remarkable diversity in form, structure, representational content, and meaning. This acknowledgment grants artists the freedom and respect to explore the full photographic terrain, to engage the medium’s broad power of inquiry, and to present the wide-ranging complexity of our experiences, beliefs, and feelings for others to see and contemplate.

Extract from Flexible Images: Handmade American Photography, 1969-2002 by Robert Hirsch (2003) on the Light Research website [Online] Cited 14/11/2014. First published in The Society for Photographic Education’s exposure, Volume 36: 1, 2003, cover and pages 23-42. © Robert Hirsch 2003

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

 

 

Thomas Barrow. 'Dart, Albuquerque' 1974

 

Thomas Barrow (American, b. 1938)
Dart, Albuquerque
1974
Fuji Crystal Archive Print

 

Thomas Barrow. 'f/t/s Cancellations (Brown) - Field Star' 1975

 

Thomas Barrow (American, b. 1938)
f/t/s Cancellations (Brown) – Field Star
1975
Gift from the Collection of Joel Deal and Betsy Ruppa
© Thomas Barrow. Museum of Art Rhode Island School of Design, Providence

 

 

Barrow scratched through his landscape negatives, calling attention to the materiality of the medium itself and the fact that regardless of how much information is given, reality remains an accumulation of belief, knowledge, and one’s own experience.

 

Les Krims. 'The Static Electric Effect of Minnie Mouse on Mickey Mouse Balloons' 1968

 

Les Krims (American, b. 1942)
The Static Electric Effect of Minnie Mouse on Mickey Mouse Balloons
1968
Kodalith Print

 

 

“Kodak Kodalith paper was a thin, matt, orthochromatic graphic arts paper that was not intended for pictorial purposes. However, when it was used for pictorial expression its responsiveness to time and temperature controls during development enabled one to produce a wide range of grainy, high-contrast, and sepia tonal effects. Its unusual handling characteristics also meant that photographers had to pull the print at precisely the “right” moment from the developer and quickly get it into the stop bath, making each print unique.”

 

Din Q Le. 'Ezekial’s Whisper' 2014

 

Din Q Le (Vietnamese American, b. 1968)
Ezekial’s Whisper
2014
C-print, linen tape

 

Ted Orland. 'Meteor!' 1998

 

Ted Orland (American, b. 1941)
Meteor!
1998
Hand coloured gelatin silver print

 

Brian Taylor. 'Our Thoughts Wander' 2005

 

Brian Taylor (American)
Our Thoughts Wander
2005
From the series Open Books
Hand bound book

 

 

Open Books

I create photographically illustrated books springing from my fascination with the book format and a love of texture in art. My imagery is inspired by the surreal and poetic moments of living in our fast-paced, modern world. I’m fascinated by how daily life in the 21st Century presents us with incredible experiences in such regularity that we no longer differentiate between what is natural and what is coloured with implausibility, humour, and irony.

These hard cover books are hand bound with marbleised paper and displayed fully opened to a photographically illustrated two-page folio spread. Each book is framed in a wooden shadowbox and presented as a wall piece. I like the idea of making art that contains some imagery which can be sensed but not seen. The underlying pages contain my photographs, snapshots, and work prints that “gave their lives” for the imagery visible in the open spread. These images lie beneath the open pages like history.1

 

David Lebe. 'Angelo On The Roof' 1979

 

David Lebe (American, b. 1948)
Angelo On The Roof
1979

 

Jerry Uelsmann (American, born 1934) 'Small Woods where I met Myself (Final Version)' 1967

 

Jerry Uelsmann (American, b. 1934)
Small Woods where I met Myself (Final Version)
1967
Gelatin silver print
25.4 x 32.3cm (10 x 12 11/16 in.)
© 1967 Jerry Uelsmann

 

Robert Heinecken. 'Are You Rea #15' 1968

 

Robert Heinecken (American, 1931-2006)
Are You Rea #15
1968
Offset lithography

 

David Levinthal and Garry Trudeau. 'Untitled', from the series 'Hitler Moves East' 1977

 

David Levinthal (American, b. 1949) and Garry Trudeau (American, b. 1948)
Untitled, from the series Hitler Moves East
1977
8 x 10 inches
Gelatin silver (Kodalith) print
Courtesy Paul Morris Gallery, New York City

 

 

My favourite story comes from the early days of Levinthal’s career, when he was a college student working on Hitler Moves East with Garry Trudeau. They worked with childlike enthusiasm, purchasing smoke bombs from a local theatre supply shop and growing grass inside David’s apartment to achieve maximum realism. This culminated in a huge explosion of smoke, and the photograph above. Forever making jokes, Levinthal had this to say about the situation: “I’m not even sure we had 911 those days, so that was probably helpful.” He sometimes describes incidents in which things went wrong, but thankfully this wasn’t one of those situations. Instead he successfully produced this photo and began a transition from the early works, which show toys rearranged on his linoleum floor, to photographs that are sophisticated and deceptively real looking.

Ashleigh Ferran. “From Toys to Art: Learning from David Levinthal,” on the Corcoran website August 7, 2013 [Online] Cited 02/07/2021

 

Joel-Peter Witkin. 'Poussin in Hell' 1999

 

Joel-Peter Witkin (American, b. 1939)
Poussin in Hell
1999
Toned gelatin silver print

 

Douglas Prince. 'Untitled' 1969

 

Douglas Prince (American, b. 1943)
Untitled
1969
Film and Plexiglas
5 x 5 x 2.5 inches

 

Mike and Doug Starn. 'Double Rembrandt with Steps' 1987-88

 

Mike and Doug Starn (American, b. 1961)
Double Rembrandt with Steps
1987-88
Toned gelatin silver print, toned ortho film, wood, Plexiglas, and glue.
108 x 108 inches
Collection of the Museum of Modern Art, New York, NY

 

 

CEPA Gallery is pleased to announce Transformational Imagemaking: Handmade Photography Since 1960, a companion exhibition to Robert Hirsch’s recently published book of the same title (Focal Press). This extraordinary exhibition features work by some of the most innovative photographers and imagemakers of the mid- 20th century through today; artists who redefined the notion of photography as a medium and left an indelible mark on contemporary photographic practices.

This extensive survey will include more than 140 works by over 40 artists spanning nearly 50 years of artistic practice unified by a curatorial arc rooted in notions that deviate from the purview of traditional photographic practice. Citing Robert Heinecken’s practice as the genesis of conceptual handmade photography, this exhibition charts an intricate universe of artists whose practice dispenses with the self-prescribed limitations of conventional photography in order to mine the boundless potential of the photographic medium as a conceptual conveyance.

Transformational Imagemaking is the culmination of Hirsch’s lifelong exploration into handmade photography and the artists whose practices were formed on the principle of unearthing new possibilities. Hirsch sites the catalyst for the project as an article he published in exposure in 2003 entitled “Flexible Images: Handmade American Photography, 1969-2002”. It has since expanded into a comprehensive publication that includes personal conversations with each artist conducted over a six-month period during 2013. CEPA will now elaborate further by mounting an exhibition that features a selection of each artist’s work.

In addition to Transformational Imagemaking, CEPA will also show the complete folio of Robert Heinecken’s seminal series Are You Rea (1966). Considered to be the grandfather of post-modern photographic practices and a major figure of 20th century art, Heinecken was a key figure in promoting new sentiments about photography as an art form, influencing artists such Richard Prince, Barbara Kruger, Sherrie Levine, and others. Heinecken’s rebellious spirit challenged conventions about the ways photographs represent the tangible world: “We constantly tend to misuse or misunderstand the term reality in relation to photographs. The photograph itself is the only thing that is real.”

Are You Rea (1966), created by contact printing magazine tear-outs onto photographic paper, are ghostly compositions that layer sexually suggestive images of women with fractured text. This provocative body of work, sexually charged and evocatively ambiguous, reflects an awareness of desire as a commercial commodity that begs us to question the very root of our own desires.

Press release from CEPA Gallery

 

Keith Smith. 'Untitled' 1972

 

Keith Smith (American, b. 1938)
Untitled
1972

 

Binh Danh. 'The Botany of Tuol Sleng Genocide Museum #2' 2008

 

Binh Danh (American born Vietnam, b. 1977)
The Botany of Tuol Sleng Genocide Museum #2
2008
From the Immortality: The Remnants of the Vietnam and American War series
Chlorophyll print and resin

 

 

The chlorophyll process is an organic alternative photography process akin to the anthotype process. However, instead of printing on the crushed extract of fruit or plant matter, the prints are bleached by sunlight directly onto the surface of leaves using a positive. The resulting images are stunningly delicate and beautiful, ranging from haunting silhouettes to crisp definition. Despite the simplicity of the finished product, the process itself can be tedious with plenty of trial and error.

Drawing on the anthotype process, Danh refined a method for securing a positive directly to a live leaf and allowing sunlight to bleach the image onto its surface naturally. He has also addressed a fundamental challenge with natural photography processes; that of fixing the image to prevent further bleaching and deterioration over time. To save his work, Dah casts his finished pieces in a layer of resin allowing them to be enjoyed for years to come.

Tiffany Pereira. “The chlorophyll process,” on the Alternative Photography website [Online] Cited 02/07/2021

 

Dinh Q. Lê Vietnamese, born 1968 'Untitled' 1998

 

Dinh Q. Lê (Vietnamese, b. 1968)
Untitled, from the series Cambodia: Splendor and Darkness
1998
C-print and linen tape

 

Dan Estabrook. 'Fever' 2004

 

Dan Estabrook (American, b. 1969)
Fever
2004
Salt print with ink and watercolor

 

Robert Fichter. 'Roast Beast 3' 1968

 

Robert Fichter (American, b. 1939)
Roast Beast 3
1968
Verifax transfer with rundowns, stamping, and crayon

 

Robert Heineken. 'Are You Rea #1' 1966

 

Robert Heinecken (American, 1931-2006)
Are You Rea #1
1966
Offset lithography

 

Chris McCaw. 'Sunburned GSP #676 (San Francisco Bay)' 2013

 

Chris McCaw (American, b. 1971)
Sunburned GSP #676 (San Francisco Bay)
2013
Gelatin Silver paper negative

 

Curtis Mann. 'Photographer, Scratch' 2009

 

Curtis Mann (American, b. 1979)
Photographer, Scratch
2009
Bleached c-print with synthetic polymer varnish

 

Vik Muniz. 'Atlas (Carlao)' 2008

 

Vik Muniz (Brazilian, b. 1961)
Atlas (Carlao)
2008
Digital C-print

 

 

CEPA Gallery
617 Main Street
Buffalo, NY 14203
Phone: (716) 856-2717

Opening hours:
Wednesday: 12.00pm – 4.00pm
Thursday: 4.00pm -7.00pm
Friday: 12:00pm – 4.00pm
Saturday: 12.00pm – 4.00pm

CEPA Gallery website

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03
Oct
14

Exhibition: ‘A World of Its Own: Photographic Practices in the Studio’ at the Museum of Modern Art (MoMA), New York Part 2

Exhibition dates: 8th February – 2nd November 2014

The Edward Steichen Photography Galleries, third floor

Curators: Organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator, with Lucy Gallun, Assistant Curator, Department of Photography

 

 

Peter Hujar (American, 1934-1987) 'David Wojnarowicz' 1981

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz
1981
Gelatin silver print
14 x 14″ (35.6 x 35.6cm)
The Fellows of Photography Fund

 

 

Many thankx to MoMA for allowing me to publish four of the photographs in the posting. The rest of the images were sourced from the Internet in order to give the reader a more comprehensive understanding of what this exhibition is actually about – especially if you are thousands of miles away and have no hope of ever seeing it!

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image.

 

The exhibition is divided into 6 themes each with its own gallery space:

1. Surveying the Studio

2. The Studio as Stage

3. The Studio as Set

4. A Neutral Space

5. Virtual Spaces

6. The Studio, from Laboratory to Playground

 

 

A Neutral Space

Harry Callahan (American, 1912–1999) 'Eleanor' 1948

 

Harry Callahan (American, 1912–1999)
Eleanor
1948
Gelatin silver print
4 1/2 x 3 1/4″ (11.4 x 8.3cm)
Gift of the artist

 

Imogen Cunningham (American, 1883-1976) 'Cala Leaves' 1932

 

Imogen Cunningham (American, 1883-1976)
Cala Leaves
1932
Gelatin silver print
9 9/16 x 7 9/16″ (24.3 x 19.2cm)
Gift of Paul F. Walter

 

Richard Avedon (American, 1923-2004) 'Carl Hoefert, unemployed blackjack dealer, Reno, Nevada', from the series 'In the American West' August 30, 1983

 

Richard Avedon (American, 1923-2004)
Carl Hoefert, unemployed blackjack dealer, Reno, Nevada, from the series In the American West
August 30, 1983
Gelatin silver print, printed 1985
47 1/2 x 37 1/2″ (120.6 x 95.2cm)
Gift of the artist

 

Peter Hujar (American, 1934-1987) 'Pascal (Paris)' 1980

 

Peter Hujar (American, 1934-1987)
Pascal (Paris)
1980
Gelatin silver print
14 5/8 x 14 11/16″ (37.1 x 37.3cm)
Gift of David Wojnarowicz

 

Valérie Belin (French, born 1964) 'Untitled' from the series 'Mannequins' 2003

 

Valérie Belin (French, born 1964)
Untitled from the series Mannequins
2003
Gelatin silver print
61 x 49″ (154.9 x 124.5cm)
Purchase

 

Laurie Simmons (American, born 1949) Allan McCollum (American, born 1944) 'Untitled' from the series 'Actual Photos' 1985

 

Laurie Simmons (American, born 1949)
Allan McCollum (American, born 1944)
Untitled from the series Actual Photos
1985
Silver dye bleach print
9 5/16 x 6 5/16″ (23.7 x 16.1cm)
Joel and Anne Ehrenkranz Fund

 

Josephine Meckseper (German, born 1964) 'Blow-Up (Michelli, Knee-Highs)' 2006

 

Josephine Meckseper (German, born 1964)
Blow-Up (Michelli, Knee-Highs)
2006
Chromogenic colour print
78 5/8 x 62 5/8″ (199.7 x 159.1cm)
Fund for the Twenty-First Century

 

Virtual Spaces

Christian Marclay (American and Swiss, born 1955) 'Allover (Genesis, Travis Tritt, and Others)' 2008

 

Christian Marclay (American and Swiss, born 1955)
Allover (Genesis, Travis Tritt, and Others)
2008
Cyanotype
Composition and sheet: 51 1/2 x 97 3/4″ (130.8 x 248.3cm)
Publisher and printer: Graphic studio, University of South Florida, Tampa
Acquired through the generosity of Steven A. and Alexandra M. Cohen

 

Thomas Ruff (German, born 1958) 'phg.06' 2012

 

Thomas Ruff (German, born 1958)
phg.06
2012
Chromogenic colour print
100 3/8 x 72 13/16″ (255 x 185cm)
Courtesy David Zwirner, New York/ London

 

Man Ray (American, 1890-1976) 'Rayograph' 1923

 

Man Ray (American, 1890-1976)
Rayograph
1923
Gelatin silver print
9 7/16 x 7″ (23.9 x 17.8cm)
Purchase

 

György Kepes (American, born Hungary. 1906-2001) 'Abstraction - Surface Tension #2' c. 1940

 

György Kepes (American, born Hungary. 1906-2001)
Abstraction – Surface Tension #2
c. 1940
Gelatin silver print
14 x 11 1/8″ (35.6 x 28.3cm)
Gift of the artist

 

The Studio, from Laboratory to Playground

Barbara Morgan (American, 1900-1992) 'Pure Energy and Neurotic Man' 1941

 

Barbara Morgan (American, 1900-1992)
Pure Energy and Neurotic Man
1941
Gelatin silver print, printed 1971
19 1/8 x 15 1/2″ (48.6 x 39.3cm)
Gift of the artist

 

Barbara Morgan (American, 1900-1992) 'Cadenza' 1940

 

Barbara Morgan (American, 1900-1992)
Cadenza
1940
Gelatin silver print, printed 1971
17 7/8 x 15″ (45.4 x 38.2cm)
Gift of the artist

 

Berenice Abbott (American, 1898-1991) 'Focusing Water Waves, Massachusetts Institute of Technology' 1958-61

 

Berenice Abbott (American, 1898-1991)
Focusing Water Waves, Massachusetts Institute of Technology
1958-61
Gelatin silver print
6 9/16 x 7 15/16″ (16.7 x 20.1cm)
Gift of Ronald A. Kurtz

 

Berenice Abbott (American, 1898-1991) 'Wave Pattern with Glass Plate, Massachusetts Institute of Technology' 1958-61

 

Berenice Abbott (American, 1898-1991)
Wave Pattern with Glass Plate, Massachusetts Institute of Technology
1958-61
Gelatin silver print
6 9/16 x 7 9/16″ (16.7 x 19.2cm)
Gift of Ronald A. Kurtz

 

Heinz Hajek-Halke (German, 1898-1983) 'Embrace (Umarmung)' 1947-51

 

Heinz Hajek-Halke (German, 1898-1983)
Embrace (Umarmung)
1947-51
Gelatin silver print
15 5/8 x 11 3/8″ (39.7 x 29.0cm)
Gift of the artist

 

Harold Edgerton (American, 1903-1990) 'Lead Falling in a Shot Tower' 1936

 

Harold Edgerton (American, 1903-1990)
Lead Falling in a Shot Tower
1936
Gelatin silver print
7 9/16 x 9 1/2″ (19.3 x 24.2cm)
Gift of Gus and Arlette Kayafas

 

Harold Edgerton (American, 1903-1990) 'Bouncing Ball Bearing' 1962

 

Harold Edgerton (American, 1903-1990)
Bouncing Ball Bearing
1962
Gelatin silver print
9 9/16 x 7 11/16″ (24.3 x 19.5cm)
Gift of Gus and Arlette Kayafas

 

Harold Edgerton (American, 1903-1990) 'This is Coffee' 1933

 

Harold Edgerton (American, 1903-1990)
This is Coffee
1933
Gelatin silver print
9 7/8 x 12 7/8″ (25.1 x 32.7cm)
Gift of the artist

 

Roman Signer (Swiss, born 1938) 'Sand Curtain (Sandvorhang)' 1983

 

Roman Signer (Swiss, born 1938)
Sand Curtain (Sandvorhang)
1983
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Stairs (Sandtreppe)' 1975

 

Roman Signer (Swiss, born 1938)
Sand Stairs (Sandtreppe)
1975
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Rubber Motor (Gummimotor)' 1983

 

Roman Signer (Swiss, born 1938)
Rubber Motor (Gummimotor)
1983
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Cone (Sandkegel)' 1984

 

Roman Signer (Swiss, born 1938)
Sand Cone (Sandkegel)
1984
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Pillar (Sandturm)' 1987

 

Roman Signer (Swiss, born 1938)
Sand Pillar (Sandturm)
1987
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand (Sand)' 1988

 

Roman Signer (Swiss, born 1938)
Sand (Sand)
1988
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Umbrella (Schirm)' 1989

 

Roman Signer (Swiss, born 1938)
Umbrella (Schirm)
1989
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Barrel (Fass)' 1985

 

Roman Signer (Swiss, born 1938)
Barrel (Fass)
1985
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Carriage (Wagen)' 1982

 

Roman Signer (Swiss, born 1938)
Carriage (Wagen)
1982
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Tube (Schlauch)' 1982

 

Roman Signer (Swiss, born 1938)
Tube (Schlauch)
1982
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

 

Roman Signer (b. 1938 in Appenzell, Switzerland) is principally a visual artist who works in sculpture, installations photography, and video. Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category.It is often being described as following the tradition of the Swiss engineer-artist, such as Jean Tinguely and Peter Fischli & David Weiss.

Signer’s “action sculptures” involve setting up, carrying out, and recording “experiments” or events that bear aesthetic results. Day-to-day objects such as umbrellas, tables, boots, containers, hats and bicycles are part of Signer’s working vocabulary. Following carefully planned and strictly executed and documented procedures, the artist enacts and records such acts as explosions, collisions, and the projection of objects through space. Signer advocates ‘controlled destruction, not destruction for its own sake’. Action Kurhaus Weissbad (1992) saw chairs catapulted out of a hotel’s windows; Table (1994) launched a table into the sea on four buckets; Kayak (2000) featured the artist being towed down a road in a canoe. In documenta 8 (1987), he catapulted thousands of sheets of paper into the air to create an ephemeral wall in the room for a brief, but all the more intense moment. As the Swiss representative at the Venice Biennale in 1999, he made 117 steel balls fall from the ceiling on to lumps of clay lying on the ground. Many of his happenings are not for public viewing, and are only documented in photos and film. Video works like Stiefel mit Rakete (Boot with Rocket) are integral to Signer’s performances, capturing the original setup of materials that self-destruct in the process of creating an emotionally and visually compelling event.

Text from Wikipedia website

 

Kiki Smith (American, born Germany 1954) 'My Secret Business' 1993

 

Kiki Smith (American, born Germany 1954)
My Secret Business
1993
Lithograph
23 9/16 x 18 1/8″ (59.8 x 46cm)
Gift of Howard B. Johnson

 

Adrian Piper (American, born 1948) 'Food for the Spirit #2' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #2
1971, printed 1997
Gelatin silver print
14 9/16 x 15″ (37 x 38.1cm)
The Family of Man Fund

 

Adrian Piper (American, born 1948) 'Food for the Spirit #8' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #8
1971, printed 1997
Gelatin silver print
14 9/16 x 14 15/16″ (37 x 38cm)
The Family of Man Fund

 

Adrian Piper (American, born 1948) 'Food for the Spirit #14' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #14
1971, printed 1997
Gelatin silver print
14 9/16 x 15″ (37 x 38.1cm)
The Family of Man Fund

 

Harold Edgerton (American, 1903-1990) 'Indian Club Demonstration' 1939

 

Harold Edgerton (American, 1903-1990)
Indian Club Demonstration
1939
Gelatin silver print
13 x 10″ (33.0 x 26.0cm)
Gift of the artist

 

Harold Edgerton (American, 1903-1990) 'Bobby Jones with an Iron' 1938

 

Harold Edgerton (American, 1903-1990)
Bobby Jones with an Iron
1938
Gelatin silver print
9 5/8 x 11 1/2″ (24.4 x 29.2cm)
Gift of the artist

 

John Divola (American, born 1949) 'Untitled' from the series 'Vandalism' 1974

 

John Divola (American, born 1949)
Untitled from the series Vandalism
1974
Gelatin silver print
7 1/16 x 7 1/16″ (18.0 x 18.0cm)
Purchase

 

John Divola (American, born 1949) 'Untitled' from the series 'Vandalism' 1974

 

John Divola (American, born 1949)
Untitled from the series Vandalism
1974
Gelatin silver print
7 x 7″ (17.9 x 17.9cm)
Purchase

 

Robert Frank (American, born Switzerland 1924) 'Boston' (detail) March 20, 1985

 

Robert Frank (American, born Switzerland 1924)
Boston (detail)
March 20, 1985
Colour instant prints (Polaroids) with hand-applied paint and collage
each 27 3/4 x 22 1/4″ (70.3 x 56.4cm)
Acquired through the generosity of Polaroid Corporation

 

Anna Blume (German, born 1937) Bernhard Blume (German, born 1937) 'Kitchen Frenzy (Küchenkoller)' (detail) 1986

 

Anna Blume (German, born 1937)
Bernhard Blume (German, born 1937)
Kitchen Frenzy (Küchenkoller) (detail)
1986
Gelatin silver prints
Each 66 15/16 x 42 1/2″ (170 x 108cm)
Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art

 

 

The Museum of Modern Art
11 West 53 Street
New York, NY 10019
Phone: (212) 708-9400

Opening hours:
10.30 am – 5.30 pm
Open seven days a week

MoMA website

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08
Sep
14

Exhibition: ‘Cindy Sherman – Untitled Horrors’ at Kunsthaus Zürich

Exhibition dates: 6th June – 4th September 2014

Curator: Mirjam Varadinis

 

 

Installation view of 'Cindy Sherman - Untitled Horrors' at Kunsthaus Zürich

 

Installation view of Cindy Sherman – Untitled Horrors at Kunsthaus Zürich
Photo: Lena Huber

 

 

I remember some time in the dim distant past when Cindy Sherman’s photographs actually had relevance and were important in and of themselves… but perhaps my memory is playing tricks with me. Memory is a strange thing for we remember only fragments of fragments, like an echo chamber, a distant echo of something (the construction of identity and gender) that was once cutting edge, now overtaken by reality itself – on the red carpet, in the cosmetic surgery offices, in the media mags. Once there may have been an original, an original Cindy Sherman, an original idea, but now there just seems to be pastiche after pastiche of a Sherman nobody is sure ever really existed.

There are certainly some horrors among this posting, images that I wish I had never seen, and never really wish to see again. As the amount of ‘Untitled’ works rises (untitled is such a cop out!) the numbers, and the body count, become irrelevant. The early work, through the 80s to the early 90s, had important things to say but now the artist formally known as Sherman is earth mother goddess to all, and ancestral trickster to many. Enough please!

Dr Marcus Bunyan

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

 

 

Cindy Sherman. 'Untitled #93' 1981

 

Cindy Sherman (American, b. 1954)
Untitled #93
1981
Chromogenic colour print
61 × 121.9cm
Astrup Fearnley Collection, Oslo
Courtesy of the artist and Metro Pictures, New York
© Cindy Sherman

 

Cindy Sherman. Untitled #122 1983

 

Cindy Sherman (American, b. 1954)
Untitled #122
1983
Chromogenic colour print
89.5 × 54cm
Vanmoerkerke Collection, Belgium
Courtesy of the artist and Metro Pictures, New York
© Cindy Sherman

 

Cindy Sherman. 'Untitled #129' 1983

 

Cindy Sherman (American, b. 1954)
Untitled #129
1983
Chromogenic colour print
89.7 × 59.3cm
Louisiana Museum of Modern Art, Humlebæk, Denmark, Donation: The New Carlsberg Foundation
Courtesy of the artist and Metro Pictures, New York
© Cindy Sherman

 

Cindy Sherman. 'Untitled #146' 1985

 

Cindy Sherman (American, b. 1954)
Untitled #146
1985
Chromogenic colour print
184.2 × 125.4cm
Skarstedt Gallery, New York
Courtesy of the artist and Metro Pictures, New York
© Cindy Sherman

 

Cindy Sherman. 'Untitled #153' 1985

 

Cindy Sherman (American, b. 1954)
Untitled #153
1985
Chromogenic colour print
170.8 × 125.7cm
Courtesy of the artist and Metro Pictures, New York
© Cindy Sherman

 

Cindy Sherman. 'Untitled #170' 1987

 

Cindy Sherman (American, b. 1954)
Untitled #170
1987
Chromogenic colour print
179.1 x 120.7cm
Collection Metro Pictures, New York
Courtesy of the artist and Metro Pictures, New York
© Cindy Sherman

 

Cindy Sherman. 'Untitled #216' 1989

 

Cindy Sherman (American, b. 1954)
Untitled #216
1989
Chromogenic colour print
221.3 × 142.5cm
Astrup Fearnley Collection, Oslo
Courtesy of the artist and Metro Pictures, New York
© Cindy Sherman

 

 

From 6 June to 14 September 2014, the Kunsthaus Zürich plays host to a major retrospective featuring American artist Cindy Sherman (b. 1954). Sherman is one of the leading exponents of staged photography. In her work she deals with issues of identity, (gender) roles and physicality, almost always using herself as the model. Cindy Sherman’s earliest works were created in 1975. Preceding the celebrated ‘Untitled Film Stills’ (1977-1980), these photographs were produced at home using an external shutter release, yet they were already concerned with the issues of identity and role play that are central to her oeuvre. The exhibitio