Exhibition: ‘Lucinda Devlin – Frames of Reference’ at the Photographische Sammlung/SK Stiftung Kultur, Cologne

Exhibition dates: 10th March – 16th July 2023

Lucinda Devlin (American, b. 1947)
Bath, Pocono Palace, Marshall’s Creek, Pennsylvania
1980
From the series Pleasure Ground
© Lucinda Devlin, courtesy Galerie m, Bochum

I love these works in series!

Frames of reference: spaces that humans construct (mainly interiors that serve specific functions) – for example, spaces of pleasure, corporate arenas, sanctioned death chambers, subterranean spaces, human habitats for captured animals, fields of industrial agriculture.

Format: The square format perfectly supports the themes being investigated, balancing and tensioning the pictorial plane within each image.

Colour palette: The limited colour palette of each image heightens the atmosphere and focuses the senses of the viewer.

Lighting: As in a movie set or theatrical production, whether ambient light, spot light, interior light.

Staging: Nothing is out of place. These are utilitarian/utopian/dystopian spaces.

Everything is perfectly ordered within Devlin’s human(less) worlds… and yet the photographs are instilled with a hyperreality where everything is not as it seems, where spaces exist as a “reality” we do not normally perceive.

The luscious heart shaped red bath surrounded by a halo of lights and flowered red carpet; the unexpected, alien flippers in the round portal of an undersea lodge; “a surgical lamp that looks like an oversized star in the night sky which illuminates the pictorial space”; a bright yellow electric (in colour and intent) chair that looks like an oversized piece of Lego; the ether-reality of the purple haze glacier paradise at the Matterhorn. The spaces are full of human presence even as we acknowledge their physical absence. Their fossilised fingerprints are all over these fantastical creations – these disturbing, sometimes grim, fairy tales.

While acknowledging a debt to the history of photography through the New Color Photography movement, New Topographics, “the direct and objective methodology pursued by August Sander”, and “the strict comparative typology practiced by the photographers Bernd and Hilla Becher” … the photographs are most definitely Devlin’s own. They hold a particular signature, more theatrical than ever New Topographics, Sander or the Bechers.

“The way each space is staged can tell us something about its intended impact and use.” And the recognition and interpretation of that staging can ultimately tell us as much about the artist as about the space itself: perfectionist, environmentalist, passionate creative artist who perceives difference in the everyday, who is aware, aware of the different realities that life (re)presents.

It’s best to view Devlin’s work in the complete series to get the full immersive effect. More photographs from each series can be found on the Lucinda Devlin website.

Dr Marcus Bunyan

Many thankx to the Photographische Sammlung/SK Stiftung Kultur for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Lucinda Devlin – Frames of Reference

American artist Lucinda Devlin rose to fame in the 1990s with a series of soberly observed photographs of execution rooms in US correctional facilities titled “The Omega Suites.” The images caused a sensation at the Venice Biennale in 2001. One of the motifs had already attracted attention in 1992 when it was featured in a controversial advertising campaign for an Italian fashion label. “The Omega Suites” is one of nine photographic series, along with a video, on view in Frames of Reference, the first large-scale survey to be devoted to Lucinda Devlin in Europe.

Devlin, once part of the New Color Photography movement, seeks out her motifs mainly in interiors that serve specific functions. Most of her subjects are in the USA, but she has also done projects in Germany and other countries. In the mid-2000s, the artist added landscape scenes to her repertoire.

One searches in vain for people in Devlin’s pictures, and yet her images tell of human sensitivities and values, evoking existential life questions. In the series “Pleasure Ground” (1977-1990), for example, Devlin provides glimpses of hotel rooms with fantasy themes, discotheques, and beauty salons – places that promise relaxation and enjoyment. By contrast, the interiors in the “Corporal Arenas” series (1982-1998) have an unsettling effect.

Operating rooms for human or animal patients, treatment spaces, and morgues are reproduced here in all objectivity. Viewers are compelled to reflect on their own feelings and experiences in such settings.

It was themes such as these that led the photographer to pursue the project she titled “The Omega Suites” (1991-1998). Devlin did not intend her photographs taken in maximum security prisons to be understood as a statement for or against the death penalty.

Contemplation of these very specific spaces is instead meant as an encouragement to engage personally with a difficult subject.

With the support of a DAAD grant, Devlin shot her series “Water Rites” (1999-2002) in German spas, adding a new twist to “Corporal Arenas.” “Water Rites” takes a look at what are in some cases time-honoured institutions devoted to promoting well-being as well as to healing and convalescence. In Devlin’s “Subterranea” series (ongoing since 1980), she focuses her lens on caves and tunnels that have been made accessible for various uses, reproducing in her pictures the luminous colours generated by artificial lighting schemes installed underground. The way each space is staged can tell us something about its intended impact and use. That Devlin’s interests extend beyond spaces occupied by humans is evident from her “Habitats” series (ongoing since 1985), which spotlights zoo enclosures and aquariums that are modelled on natural animal habitats.

With “Field Culture” (primarily since 2007), the artist has turned to the question of how humans shape the outdoor environment. Here she investigates industrial agriculture in the USA, where genetic engineering and the need to generate sufficient energy are major factors in food production.

Devlin has found an enduring source of inspiration in the vast expanses of Lake Huron, to which she dedicated a series between 2010 and 2019 called “Lake Pictures,” with images illustrating the beauty and grandeur of nature. She presents similarly imposing views of salt lakes and salt flats in Utah in the series “Salt” (ongoing since 2014).

The documentary and serial nature of Devlin’s projects suggests close parallels with the style of depiction represented in the collection of Die Photographische Sammlung / SK Stiftung Kultur. In the 1980s, while working as a university professor and curator, the artist already developed a fascination with the direct and objective methodology pursued by August Sander in his portraiture. And her photos also echo in some ways the strict comparative typology practiced by the photographers Bernd and Hilla Becher. Here as well, compelling correlations can be found among the Cologne collection’s central holdings.

The exhibition has been made possible by generous loans from the artist; Galerie m, Bochum; DZ Bank, Frankfurt/Main; and private lenders.

A publication will accompany the exhibition, featuring essays by Gabriele Conrath-Scholl, Lucinda Devlin, and Claudia Schubert, as well as an interview conducted with the artist by Lisa Le Feuvre (Steidl Verlag, approx. 300 pages, DE/EN).

Press release from Photographische Sammlung/SK Stiftung Kultur

Lucinda Devlin (American, b. 1947)
Jules UnderSea Lodge, Key Largo, Florida
1989
From the series Pleasure Ground
© Lucinda Devlin, courtesy Galerie m, Bochum

Pleasure Ground

This series marks the beginning of Lucinda Devlin’s artistic work. Recorded between 1977 and 1996, for example in imaginative theme hotels, in spa and cosmetic areas, in discotheques or striptease bars. Where people seek pleasure and distraction from the toils of everyday life, where desires and dreams provide the incentive to set up these spaces. In their functions and legitimised offers, they are still rarely factual and people are presented in a virtually unrecorded way. They are “stages” for which social agreements exist, but also “space capsules” that are temporary and can become private, taboo-free zones. Socially harmonious, ritualised manners are to be expected as well as one’s hedonistic and borderline actions.

Red emerges as a prominent colour in Pleasure Ground, it signals warmth, love and eroticism. All the more so when in the vicinity of these “islands of happiness” as in the case of the humble Creative Pines Motel little more than highways, gas stations and fast food places. They appear flooded red light retreats with frivolously rigged equipment, even more of the rough world relieved. Lucinda Devlin’s numerous emblematic images in this group of works succeed. That of the heart-shaped whirlpool at Pocono Palace is one of them. The camera stands in the luxurious tub and exposes with the self-timer in the ceiling mirror installed above. This technical trick enabled Devlin to capture the big red heart framed with mirrors and lights undistorted and centred in the picture. The narrow square frame emphasises the rounded shape as well as the oscillating between near and deep space.

Text translated from the German by Google Translate from the Photographische Sammlung/SK Stiftung Kultur

Lucinda Devlin (American, b. 1947)
Massage Room, Greenbrier Hotel, White Sulphur Springs, WV
1989
From the series Corporal Arenas
© Lucinda Devlin, courtesy Galerie m, Bochum

Corporal Arenas

For Lucinda Devlin, the question of physical well-being is of great importance: how much control over your own body and personality is given and in which moments one is in other hands or spheres of influence is handed over. Aspects that make them different in the field of medical treatment and examination rooms for humans and animals. So explores the photographer in her series Corporal Arenas, created between 1986 and 1998, insights into sometimes highly specialised rooms that are mostly shielded from the outside world connect with exceptional situations up to death, while the rooms present themselves as workplaces for certain professional groups.

The picture Operating Room # 8, Forrest General Hospital Hattiesburg is a salient example that meets both the requirements of an operating room clarified as well as the skilful implementation of the subject. He is almost in the middle of the picture operating table provided with a cover protected by cloths. Essential for the constellation is a surgical lamp that looks like an oversized star in the night sky which illuminates the pictorial space above the table to the floor while the surroundings disappear in the dark. This light and line management creates a balanced image geometry. The furnishings thus gain a type spiritual power. Even an altar can be associated.

The other practice rooms considered by Devlin are also connected by a pragmatic decor with smooth, easy-to-clean surfaces and prevailing artificial light. Mostly, however, these are lighter and can be walked through visually. Lucinda Devlin’s pictures also connect in this way to soberly presented documentation views from health technology or from textbooks. But what sets her recordings apart is that they are far removed from any idealised model and in them material ageing and signs of wear as well as irregularities in the arrangement of objects have their place.

Text translated from the German by Google Translate from the Photographische Sammlung/SK Stiftung Kultur

Lucinda Devlin (American, b. 1947)
Operating Room #8, Forrest General Hospital, Hattiesburg
1998
From the series Corporal Arenas
© Lucinda Devlin, courtesy Galerie m, Bochum

Lucinda Devlin (American, b. 1947)
Scotch Douche, The Homestead, Hot Springs, Virginia
1989
From the series Corporal Arenas
© Lucinda Devlin, courtesy Galerie m, Bochum

Lucinda Devlin (American, b. 1947)
Electric Chair, Holman Unit, Atmore, Alabama
1991
From the series The Omega Suites
© Lucinda Devlin, courtesy Galerie m, Bochum

The Omega Suites

With her views of execution rooms in American prisons, in which are electric chairs, operating tables for administering lethal injections are located or the massive lockable entrances of gas chambers are show, Lucinda Devlin raises awareness of an oppressive topic: the enforcement of the death penalty, which applies in the US and in other countries. However, the photographer is concerned with her project – which took place between 1991 and 1998 in over 20 correctional facilities in various US states – which is neither a sensation nor an accusation. Again, she relies on her thoughtful restrained imagery, which is characterised by realistic colouring and precise perspective and line management of the pictorial space. Not only finding execution rooms with windows and executioners’ technical rooms but also neighbouring cells in which the convicts spend their last hours. There are also rooms for witnesses to witness the execution through a window. To carry out the photographic work Lucinda Devlin completed extensive research. Only the locations of the institutions were laboriously located by her – at that time without the internet – each visit prepared by prior correspondence. A selection of extensive correspondence can be seen in the exhibition showcases.

Text translated from the German by Google Translate from the Photographische Sammlung/SK Stiftung Kultur

Lucinda Devlin (American, b. 1947)
Ruheraum, Friedrichsbad, Baden-Baden, Germany
1999
From the series Water Rites
© Lucinda Devlin, courtesy Galerie m, Bochum

Water Rites

At the end of the 1990s, Lucinda Devlin developed her Water Rites series. The series is themed with and performs in conjunction with Corporal Arenas, facilities that deal with the physical and mental well-being of the people. Specific objects are the typical spa and bathing landscapes with its extensive range of medical treatments and wellness offers. Lucinda Devlin has visited traditional spa towns where the element of water is used and therapeutic measures for healing are practiced. The American art historian Michael Mackenzie states that that the construction periods of the baths visited by Lucinda Devlin can be divided into three phases: “The earliest is the architecture of the 19th century with its high tiled rooms, with the equipment made of cast iron and stainless steel. They are followed by the cool clinical rooms of the healthcare industry during the post-war period and finally as a recent development spaces that are modelled like ice caves or Arabian oases and the surprising fantasy rooms of American hotels from the Pleasure Ground series” (in: Lucinda Devlin: Water Rites, Göttingen 2003, p. 6)

An overview of the motifs from Water Rites confirms that the photographer is especially looking at manageable parts of the room as well as utensils and furnishings in which the room is dressed, which she encounters at eye level with her camera and gives an optical order by maintaining the central perspective; thus creating an emblem that, like a trademark, has a direct visual access allowed. Again in this series, Lucinda Devlin asks to what extent the body and thus the affected individual has the possibility and ability to control and regulate these influences, or whether this is done by the person or is desired at all.

Text translated from the German by Google Translate from the Photographische Sammlung/SK Stiftung Kultur

Lucinda Devlin (American, b. 1947)
Massageraum #1, Hufeland Therme, Bad Pyrmont
2002
From the series Water Rites
© Lucinda Devlin, courtesy Galerie m, Bochum

Lucinda Devlin (American, b. 1947)
Römische Bäder, Carolus Thermen, Bad Aachen
2002
From the series Water Rites
© Lucinda Devlin, courtesy Galerie m, Bochum

Lucinda Devlin (American, b. 1947)
Glacier Paradise at the Matterhorn #4, Zermatt, Switzerland
2008
From the series Subterranea
© Lucinda Devlin, courtesy Galerie m, Bochum

Subterranea

As with the Habitats series, Subterranea dates back to the 1980s. The subject of the series are different natural cave formations in America and Europe, Lucinda Devlin also has tunnels from the former mining industry included.

The cave is always in its uses, as well as in representational contexts, been connected with basic human needs and issues. Due to its circumstances, it can be considered the archetype of dwelling, it can be used as a shelter as well as serve a place of worship. Early evidence of human expression can be found in caves, one thinks, for example, of the paintings of Lascaux in France or of those in Spanish Altamira. For Lucinda Devlin, who designs functional spaces as an expression of cultural self-understanding and cultural acceptance, caves may appear to be downright predestined, and this is exactly what she visually reflects. A look at art history reveals a long iconographic tradition of cave representations. In the visualisation of Christian themes for example the birth of Jesus not only in a stable, but often in one cave shown. His grave is also sometimes located in a rock cave. Saints such as Aegidius are depicted in cave settings. In the psychoanalytic Dream Interpretation can symbolise the unconscious or a reference to caves be female sexuality.

Caves are shrouded in mystery, dark and cool, you can get inside them get lost and never find out. They are fear rooms or can offer protection and be a hiding place in threatening situations. This complexity and ambivalence is captivating in Lucinda Devlin’s recordings in which transparent, iridescent colours are definitely perceptible. The images contrast light and dark, allow a glimpse into corridors whose end cannot be made out and offer bizarre sculptural rock formations.

Text translated from the German by Google Translate from the Photographische Sammlung/SK Stiftung Kultur

Lucinda Devlin (American, b. 1947)
Lake Huron, 9/1/2012 6-31am
2012
From the series Lake Pictures
© Lucinda Devlin, courtesy Galerie m, Bochum

Lake Pictures

In 2010, the first recording was made on the shore of Lake Huron, which is one of the five great lakes of the USA. Until 2019 Lucinda Devlin worked on this series, which differs conceptually and compositionally from its other series. First it is noticeable that they always have a view looking out over the shore viewpoint photographing the lake towards the east. The central picture element is the horizon which Devlin takes at the same height and in the centre of each picture. Accurate to the second, Lucinda Devlin has the time, day, month and year noted for each photograph. Through this precision, combined with the rigorous image structure, the series has the character of a painterly quality for all empirical series that brings together comparative meteorological observations. Seasons, light situations, sky formations and the texture of the water can be understood so clearly that in their interaction they become the real actors. They seem endless variations and leave impressions of a high degree of artistic abstraction which emerge to invite contemplation and reflection.

In addition, it is important to Lucinda Devlin to point out the existential importance in reference to the element of water, from which life arose and without it no life is possible on planet earth. Lake Huron offers the photographer an essential, at the same time exemplary, field of exploration which brings significant habitat to the region, its biodiversity threatened from environmental pollution and climate change.

Text translated from the German by Google Translate from the Photographische Sammlung/SK Stiftung Kultur

Lucinda Devlin (American, b. 1947)
Lake Huron, 9/1/2012 6:44am
2012
From the series Lake Pictures
© Lucinda Devlin, courtesy Galerie m, Bochum

Lucinda Devlin (American, b. 1947)
Lake Huron, 3-4-13, 6-31pm
2013
From the series Lake Pictures
© Lucinda Devlin, courtesy Galerie m, Bochum

Lucinda Devlin (American, b. 1947)
Pygmy Hippopotamus, Berlin Zoo, Germany
1999
From the series Habitats
© Lucinda Devlin, courtesy Galerie m, Bochum

Habitats

The Habitats series has been photographed in numerous zoos and aquariums since the 1980s originating mainly in America. In this decade lies the beginning of Lucinda Devlin’s interest in the animal world and in particular how humans interact with the creatures they handle. In order to trace this request, zoological gardens were a very suitable terrain. The photographer especially likes aquariums, her fascination with the element of water can also be felt here, mirrored repeatedly. But basically, aquariums are like the enclosures of zoos around constructed purpose-built spaces, around replicas of natural habitats, ideally the needs of the respective animal adjusted. Lucinda Devlin argues that this must inevitably be an illusion, as in a touching picture of a pygmy hippopotamus in the Berlin zoo from 1999. The animal stands on the bottom of its pool and nudges its snout against a glass border. As can be in front of a shop window with goods on offer the zoo visitor – currently the viewer of the photograph – from a safe distance look at every movement of the living being in front of him. About zoology and animal science, it is a central function of zoological gardens to meet this human need to see. This is also intended as a mastery of man over nature.

And yet, in Lucinda Devlin’s Habitats series, there are photographic compositions that seem to elude real space. So drift in a picture three jellyfish through seemingly infinite deep blue waters in one, in others a shark swims directly towards the viewer. Habitats is the only series showing those for whom the spaces have been created.

Text translated from the German by Google Translate from the Photographische Sammlung/SK Stiftung Kultur

Lucinda Devlin (American, b. 1947)
Georgia Aquarium #1 (Shark), Atlanta
2021
From the series Habitats
© Lucinda Devlin, courtesy Galerie m, Bochum

Lucinda Devlin (American, b. 1947)
Turbine Base, Earl Park, IN
2009
From the series Field Culture
© Lucinda Devlin, courtesy Galerie m, Bochum

Field Culture

Lucinda Devlin also sees the outside space as a designed space, shaped according to human needs and ideas. Her series Field Culture redeems this to a particular degree by showing the diverse phenomena of industrial agriculture in the USA. In the Corn Belt states and beyond, which are characterised by large-scale cultivation of grain, cotton or soya, for example, is in what the photographer finds her own expressive motifs. Monocultures prevail in these areas, geared towards maximum yield and profit. Such conditions can only be with appropriate plant breeding, often implemented using genetic engineering, chemical fertilisers and intensive energy management. Lucinda Devlin has the necessary structures, constructions and buildings in her series to provide numerous insights. In numerous photographs technology dominates nature, traditional forms of tillage are a thing of the past, direct contact with the earth is only a marginal phenomenon. A shot of the view into a magenta-coloured illuminated greenhouse, the futuristic-surreal. Another shot shows the entrance to one wind turbine reminiscent of a rocket.

Lucinda Devlin sees her Field Culture series in the tradition of the legendary New Topographics. It was under this name in 1975 at the George Eastman House in Rochester, NY, an exhibition of photographs by Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Stephen Shore and Henry Wessel were shown. They all have a critical view of the environment they encounter: no untouched nature, no romantic moods, no reverential bowing to nature characterise her pictorial creations. Rather, it is a far-reaching urban sprawl with highways and related motels, parking lots and gas stations, industry and peripherals that determine the American landscape.

Text translated from the German by Google Translate from the Photographische Sammlung/SK Stiftung Kultur

Lucinda Devlin (American, b. 1947)
Greenhouse 48, Copperstate Farms, Snowflake, Arizona
2022
From the series Field Culture
© Lucinda Devlin, courtesy Galerie m, Bochum

Die Photographische Sammlung/SK Stiftung Kultur
Im Mediapark 7
50670 Cologne
Phone: 0049-(0)221-88895 300

Opening hours:
Open daily 14 – 19hrs
Closed Wednesdays

Die Photographische Sammlung/SK Stiftung Kultur website

LIKE ART BLART ON FACEBOOK

Back to top

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). 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

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
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
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. (1975-1979).

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
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
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). 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
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
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). 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
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
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
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). 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
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
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
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
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). From left to right, from Class Pictures: Kevin, 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
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
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
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 (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
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
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). 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). 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
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
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
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
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
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
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
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

Whitney Museum of American Art
99 Gansevoort Street
New York, NY 10014
Phone: (212) 570-3600

Opening hours:
Mondays: 10.30am – 6pm
Tuesdays: Closed
Wednesdays, Thursdays, Saturdays and Sundays: 10.30am – 6pm
Friday: 10.30am – 10pm

Whitney Museum of American Art website

LIKE ART BLART ON FACEBOOK

Back to top

Exhibition: ‘In Focus: Protest’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 29th June – 10th October, 2021

Curator: Mazie Harris

David Wojnarowicz in 1988
Please note, this photograph is not in the exhibition

Speaking up when others are silent

This one-room exhibition seems like a missed opportunity.

I note the observation of Anne Wallentine: “In Focus: Protest, a one-room exhibition at the Getty Center, focuses on palatable images of protest. There are no disturbing images of the police’s violent attacks on protesters during the June 2020 Black Lives Matter protests, for example, or of self-immolations protesting the Vietnam War. On the one hand, we don’t need to see violence to understand injustice. But this subject deserves a much deeper and broader show to explore the important power dynamics of protest – and of documenting it – than the Getty’s somewhat muddled march through the lowlights of American history.”1

Although I haven’t seen the exhibition I have been able to gather together numerous photographs from installation shots of the show. The exhibition focuses heavily on the civil rights photographs of the 1960s with sporadic abortion, women’s lib, Vietnam War, contemporary Black Lives Matter and metaphorical images standing in for actual protest photographs (such as the photographs of Robert Frank). As Wallentine observes, the subject deserves a much deeper and broader show to explore the important power dynamics of protest, and of documenting it.

America has a long history of protest stretching back to its very beginning, such as the Boston Tea Party in 1773. But thinking about the photography of protest in America – where are the cartes de visit of slavery abolitionists such as Sojourner Truth or Frederick Douglass, the photographs of protests for women’s suffrage, after the Stonewall Riots, against the lack of funding for HIV/AIDS, for gun legislation, photographs of protests for Native American enfranchisement, marches for equal rights, anti-nuclear protests, Iraq War protests, climate change protests, and the worldwide Occupy movement?

What are issues and the politics involved with documenting protest, both for an against, as an expression of the photographers own beliefs? How does the presence of photographers affect how people “play up” to the camera? Does the photographer participate in the protest or stand aside and just document? How is documenting a form of protest in itself? How are these images then made propaganda and to what ends? What is the difference between the vernacular photography of protest and that of a professional photojournalist? How are both disseminated and what is the difference of this impact?

How is the framing of protest photography undertaken in a system – and here I am thinking, for example, of the selective cropping, editing and addition of text in photo essays by professional photographers such as Gordon Parks for Life magazine – and how do we, as viewers, recognise that the systems in which the works are viewed often obscure the networks in which they are created and operate… that is, structures that sit around those pictures re/presentation in galleries or newspapers, journals.

Essentially, in the power of the image, what lies in and beyond the frame of reference – in terms of the technologies of production, technologies of sign systems, technologies of power and technologies of the self2 – has an “affect” upon the reception and interpretation of images, their inculcation in memory through repetition, their performativity, their intertextuality and their promulgation in the world as acts of resistance and freedom, both from the point of view of the photographer and the viewer.

The one image that is my favourite protest photograph “of all time” can be seen above. To my knowledge, this photograph is not included in the exhibition. Taken by an anonymous photographer in 1988 it shows an anonymous man at a protest rally (evidenced by the placard in the background top right) wearing a jacket emblazoned with words in white capital letters “IF I DIE OF AIDS – FORGET BURIAL – JUST DROP MY BODY ON THE STEPS OF THE F.D.A” over the pink triangle, symbol of homosexuals in the Nazi concentration camps later reclaimed as a positive symbol of self-identity for various LGBTQ identities. The F.D.A. referred to is the United States Food and Drug Administration which is responsible for protecting the public health by ensuring the safety, efficacy, and security of human and veterinary drugs and biological products… at the time dragging their feet over AIDS research.

The anonymous man is, in fact, American artist and activist David Wojnarowicz who died at the age of 37 in 1992, four years after the photograph was taken, of AIDS-related complications.

“… during the plague years, he watched his best friends die horribly, while religious leaders pontificated against safe-sex education and politicians mooted quarantine on islands.

It filled him with rage, the brutality and the waste. He writes: “I want to throw up because we’re supposed to quietly and politely make house in this killing machine called America and pay taxes to support our own slow murder, and I’m amazed that we’re not running amok in the streets and that we can still be capable of gestures of loving after lifetimes of all this.” …

“It is exhausting, living in a population where people don’t speak up if what they witness doesn’t directly threaten them,” he writes. Long before the word intersectionality was in common currency, Wojnarowicz was alert to people whose experience was erased by what he called “the pre‑invented world” or “the one-tribe nation”. Politicised by his own sexuality, by the violence and deprivation he had been subjected to, he developed a deep empathy with others, a passionate investment in diversity. During the course of Close to the Knives he touches repeatedly on other struggles, from fighting police brutality towards people of colour to standing up to the erosion of abortion rights. …

As the rallying cry of Aids activists made clear, “Silence = Death”. From the very beginning of his life Wojnarowicz had been subjected to an enforced silencing, first by his father and then by the society he inhabited: the media that erased him; the courts that legislated against him; and the politicians who considered his life and the lives of those he loved expendable.

In Knives he repeatedly explains his motivation for making art as an acute desire to produce objects that could speak, testifying to his presence when he no longer could. “To place an object or piece of writing that contains what is invisible because of legislation or social taboo into an environment outside myself makes me feel not so alone,” he writes. “It is kind of like a ventriloquist’s dummy – the only difference is that the work can speak by itself or act like that magnet to attract others who carried this enforced silence.””3

The jacket that he made and the photograph of it form an intertextual art work, one both (physically) sculptural and photographic, objects that could visibly speak in the world by transgressing the taboo of invisibility, of silence. The photograph was taken by an anonymous photographer of an initially (to the viewer) anonymous man. It then proceeds to transcend its subject … through the projection of the voice of the artist through time, through the knowledge of the story of his own vitality and resistance, now his absence/presence. His protest stands “in eternity” where there is no time. Standing with others, speaking up when others are silent. That is the essence of protest. I just wonder where that jacket is now?

Dr Marcus Bunyan

Footnotes

1/ Anne Wallentine. “A History of Protest Photography That Plays It Too Safe,” on the Hyperallergic website August 18, 2021 [Online] Cited 12/09/2021

2/ Michel Foucault, “Technologies of the Self,” quoted in Luther Martin, Huck Gutman, Patrick Hutton (eds.). Technologies of the Self: A Seminar with Michel Foucault. Tavistock Publications, London, 1988, p. 18.

3/ Olivia Laing. “David Wojnarowicz: still fighting prejudice 24 years after his death,” on the Guardian website, Friday 13 May 2016 [Online] Cited 12/09/2021

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

We are reminded frequently of the power of photographs to propel action and inspire change. During demonstrations photographers take to the streets to record fast-moving events. At other times they bear witness to daily injustices, helping to make them more widely known. This exhibition of images made during periods of social struggle in the United States highlights the myriad roles protest photographs play in shaping our understanding of American life.

In Focus: Protest, a one-room exhibition at the Getty Center, focuses on palatable images of protest. There are no disturbing images of the police’s violent attacks on protesters during the June 2020 Black Lives Matter protests, for example, or of self-immolations protesting the Vietnam War. On the one hand, we don’t need to see violence to understand injustice. But this subject deserves a much deeper and broader show to explore the important power dynamics of protest – and of documenting it – than the Getty’s somewhat muddled march through the lowlights of American history. …

… depicting individuals carries new risks now. Contemporary protest photographers have to navigate the dangers of photo recognition technology for their subjects – notably, Kris Graves’s 2020 photo depicts a luminous memorial to George Floyd projected and graffitied onto a Confederate statue, rather than an image of identifiable marchers [see below]. At the very least, the issue deserves mention in the wall text to contextualize current photography amid this threat to human rights and the tricky role photographers have to navigate while recording and participating in protests. Documenting can be a form of protest, but it can be used against its subjects, too. The exhibition text, however, tends to swerve away from engaging with the complexities of history, mentioning the passage of the 19th Amendment and Voting Rights Act 1965 without referencing the continued struggles to ensure voting access in marginalized communities. It does provide images of counter-protest during the Vietnam War and women’s liberation movement of the 1970s, but these only sharpen the desire for a better understanding of the ebb and flow of human rights efforts into the present.

Anne Wallentine. “A History of Protest Photography That Plays It Too Safe,” on the Hyperallergic website August 18, 2021 [Online] Cited 12/09/2021

Underwood & Underwood (American, founded 1881, dissolved 1940s)
[Women’s Campaign Train for Hughes]
1916
Gelatin silver print
18.7 × 24.9cm (7 3/8 × 9 13/16 in.)
The J. Paul Getty Museum, Los Angeles

Adger Cowans (American, b. 1936)
Malcolm X Speaks at a Rally in Harlem at 115th St. & Lennox Ave., New York
September 7, 1963
Gelatin silver print
16.2 × 23.5cm (6 3/8 × 9 1/4 in.)
The J. Paul Getty Museum, Los Angeles
© Adger Cowans

Bruce Davidson (American, born 1933)
Birmingham, Alabama
Negative 1963; print 1970-1979
Gelatin silver print
19.9 × 31.1 cm (7 13/16 × 12 1/4 in.)
The J. Paul Getty Museum, Los Angeles
© Bruce Davidson/Magnum Photos

An African-American woman is arrested by two Caucasian police officers, each holding her by her arms. In the background is a theatre marquee, bearing the signs for the movies, “Back Street” and “Damn the Defiant.”

Leonard Freed (American, 1929-2006)
March on Washington, Washington, D.C.
August 28, 1963
Gelatin silver print
26.5 × 38.7cm (10 7/16 × 15 1/4 in.)
The J. Paul Getty Museum, Los Angeles
© Leonard Freed / Magnum Photos

Robert (Bob) Adelman (American, 1930-2016)
Washington, D.C., Cheering crowd during speeches at historic March on Washington
1963
Gelatin silver print
27.9 × 35.6cm (11 × 14 in.)
The J. Paul Getty Museum, Los Angeles
© Bob Adelman/Magnum Photos

Bruce Davidson (American, b. 1933)
March from Selma, Alabama
Negative 1965; printed later
Gelatin silver print
21.7 × 32.8cm (8 9/16 × 12 15/16 in.)
The J. Paul Getty Museum, Los Angeles
© Bruce Davidson/Magnum Photos

Photographs not only capture a nation’s values and beliefs but also help shape them. Camera in hand, photographers often take to the streets, recording protests and demonstrations or bearing witness to daily injustices to make them more widely known. Such images have inspired change for generations.

The late United States Congressman John Lewis emphasised the crucial role photography played in the civil rights struggles of the 1960s. “The unbelievable photographs published in newspapers and magazines… brought people from around the globe to small Southern towns to join the movement,” he said. “These photographs told us that those who expressed themselves by standing in unmovable lines… must be looked upon as the found mothers and fathers of a new America.”

This exhibition highlights how photographers have recorded periods of social struggle and transformation in the United States. Amid the country’s current and ongoing efforts to address and rectify injustice and systemic racism, and as the United States continues to grapple with how best to forge a new and better future, these images help us consider the myriad roles photography plays in shaping our understanding of American life.

Wall text from the exhibition

Voting Rights Act 1965

Voting Rights Act, U.S. legislation (August 6, 1965) that aimed to overcome legal barriers at the state and local levels that prevented African Americans from exercising their right to vote under the Fifteenth Amendment (1870) to the Constitution of the United States. The act significantly widened the franchise and is considered among the most far-reaching pieces of civil rights legislation in U.S. history.

In the 1950s and early 1960s the U.S. Congress enacted laws to protect the right of African Americans to vote, but such legislation was only partially successful. In 1964 the Civil Rights Act was passed and the Twenty-fourth Amendment, abolishing poll taxes for voting for federal offices, was ratified, and the following year Pres. Lyndon B. Johnson called for the implementation of comprehensive federal legislation to protect voting rights. The resulting act, the Voting Rights Act, suspended literacy tests, provided for federal approval of proposed changes to voting laws or procedures (“preclearance”) in jurisdictions that had previously used tests to determine voter eligibility (these areas were covered under Sections 4 and 5 of the legislation), and directed the attorney general of the United States to challenge the use of poll taxes for state and local elections. An expansion of the law in the 1970s also protected voting rights for non-English-speaking U.S. citizens. Sections 4 and 5 were extended for 5 years in 1970, 7 years in 1975, and 25 years in both 1982 and 2006.

The Voting Rights Act resulted in a marked decrease in the voter registration disparity between white and Black people. In the mid-1960s, for example, the overall proportion of white to Black registration in the South ranged from about 2 to 1 to 3 to 1 (and about 10 to 1 in Mississippi); by the late 1980s racial variations in voter registration had largely disappeared. As the number of African American voters increased, so did the number of African American elected officials. In the mid-1960s there were about 70 African American elected officials in the South, but by the turn of the 21st century there were some 5,000, and the number of African American members of the U.S. Congress had increased from 6 to about 40. In what was widely perceived as a test case, Northwest Austin Municipal Utility District Number One v. Holder, et al. (2009), the Supreme Court declined to rule on the constitutionality of the Voting Rights Act. In Shelby County v. Holder (2013), however, the Court struck down Section 4 – which had established a formula for identifying jurisdictions that were required to obtain preclearance – declaring it to be unjustified in light of changed historical circumstances. Eight years later, in Brnovich v. Democratic National Committee (2021), the Court further weakened the Voting Rights Act by finding that the law’s Section 2(a) – which prohibited any voting standard or procedure that “results in a denial or abridgement of the right of any citizen of the United States to vote on account of race or color” – was not necessarily violated by voting restrictions that disproportionately burden members of racial minority groups.

The Editors of Encyclopaedia Britannica. “Voting Rights Act,” on the Britannica website last updated July 30, 2021 [Online] Cited 12/09/2021.

John Simmons (American, b. 1950)
Unite or Perish, Chicago, Illinois
1968
The J. Paul Getty Museum, Los Angeles
© John Simmons

Simmons began his career at 15 as a photographer for the oldest African American-owned newspaper, The Chicago Daily Defender in 1965. Over his decades long career, he’s photographed icons of the Civil Rights Movement, turbulent protests and demonstrations, famed musicians and poignant intimate moments of everyday life. “I’m glad to see photographs I took back in my teens are still relevant today,” he says. …

Two of Simmons’ photographs are featured in “In Focus: Protest,” “an exhibition featuring images made during periods of social struggle in the U.S. and highlighting the myriad roles protest photographs play in shaping our understanding of American life,” says Mazie Harris, assistant curator in the department of photographs at the J. Paul Getty Museum. “With this exhibition we aim to give visitors a place to think about some of the ways photographers have brought attention to efforts to address and rectify injustice.” …

“My position on protest is interesting,” says Simmons. “My father was much older than my mother and when Harriet Tubman died my father was around 12 or 13 so that puts me in close relationship to slavery and to people who were arounds slaves. My great grandmother saw Abraham Lincoln and my great aunt was babysat by former slaves. I picked up a camera in 1965, the first year African Americans were allowed to vote. That was behind those eyes the first day I pressed a shutter. So in reality, every photograph I take is a protest photo.”

John Simmons quoted in Steve Simmons. “Photographer John Simmons, ‘Chronicler Of The Civil Rights Movement,’ Featured In Three Exhibits,” on the Linkedin website August 4, 2021 [Online] Cited 11/09/2021.

Robert Flora (American, 1929-1986)
A Women’s Liberation Marcher Is Temporarily Overwhelmed by a Group of Women Marching against the Women’s Liberation Movement in Downtown Los Angeles
August 26, 1970
Gelatin silver print with typed caption
The J. Paul Getty Museum, Los Angeles
Gift of the Flora Family
Reproduced with permission via Bettmann Archive/Getty Images

Bill Owens (American, born 1938)
Untitled
early 1970s
Gelatin silver print
19.2 × 21.5cm (7 9/16 × 8 7/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Robert Shimshak and Marion Brenner
© Bill Owens

Robert Mapplethorpe (American, 1946-1989)
American Flag
1977
Gelatin silver print
35.3 × 35.3cm (13 7/8 × 13 7/8 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

“Mapplethorpe evoked the frayed character of American ideals during a period when equal rights for gay men and women in the United States seemed nearly unimaginable.”

The J. Paul Getty Museum presents In Focus: Protest, an exhibition featuring images made during periods of social struggle in the United States, and highlighting the myriad roles protest photographs play in shaping our understanding of American life. The exhibition is on view at the Getty Center Museum June 29 – October 10, 2021.

“In Focus: Protest reminds us of the ability of photographs to both document and propel action,” says Mazie Harris, assistant curator of photographs at the Museum. “With this exhibition we aim to give visitors a place to think about some of the ways that photographers have brought attention to efforts to address and rectify injustice.” Among the works on view are images by well-known artists including Dorothea Lange (American, 1895-1965), Robert Mapplethorpe (American, 1946-1989), and L.A.-based cinematographer and artist John Simmons (American, born 1950). The exhibition also includes resonant images by photographers Robert Flora (American, 1929-1986), William James Warren (American, born 1942), An-My Lê (American, born 1960), and a 2020 photograph by Kris Graves (American, born 1982).

Press release from the J. Paul Getty Museum

Dorothea Lange (American, 1895-1965)
Pledge of Allegiance, Raphael Weill Elementary School, San Francisco
Negative April 20, 1942; print about 1960s
Gelatin silver print
34 × 25.6cm (13 3/8 × 10 1/16 in.)
The J. Paul Getty Museum, Los Angeles

Children’s symbol of hope and innocence can also be tied to their shielding from the “outside world”. Here we have a young Japanese girl reciting the American pledge of allegiance with much determination and passion, all while the United States government would take Japanese Americans into internment camps weeks later, following the bombing of Pearl Harbor.

Robert Frank (Swiss-American, 1924-2019)
Trolley – New Orleans
1955
Gelatin silver print
The J. Paul Getty Museum, Los Angeles

“America is an interesting country… but there is a lot here that I do not like and that I would never accept. I am also trying to show this in my photos.” ~ Robert Frank

Robert Frank (Swiss-American, 1924-2019)
Railway Station, Memphis, Tennessee
1955
Gelatin silver print
The J. Paul Getty Museum, Los Angeles

Fred W. McDarrah (American, 1926-2007)
Jose Rodriguez-Soltero Burned a Flag in a New York Happening
April 8, 1966
Gelatin silver print
34.8 × 25.8cm (13 11/16 × 10 3/16 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Fred W. McDarrah

William James Warren (American, b. 1942)
Robert F. Kennedy and César Chávez Celebrate Mass as Chávez Breaks a Twenty-Five Day Fast, Delano, California
1968
Gelatin silver print
31.2 × 21.6cm (12 5/16 × 8 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of William James Warren
© William James Warren

Mary Ellen Mark (American, 1940-2015)
Vietnam Pro Demonstration
1968
Gelatin silver print
24.3 × 16.7cm (9 9/16 × 6 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© Mary Ellen Mark Foundation

Louis Draper (American, 1935-2002)
Fannie Lou Hamer, Mississippi
1971
Gelatin silver print
22.86 × 15.56cm (9 × 6 1/8 in.)
The J. Paul Getty Museum, Los Angeles

In 1971 Essence magazine sent Draper on assignment to Mississippi to photograph civil rights activist Fannie Lou Hamer. This portrait appeared with the article “Fannie Lou Hamer Speaks Out,” in the October issue. Known for her fearlessness and strength in the midst of violence and intimidation, Hamer had been arrested and severely beaten by police in 1963 for her work on voter registration drives. She gained national attention when she returned to her activism in the mid-1960s, and this photograph visually distills her voice: “Today I don’t have any money, but I’m freer than the average white American ’cause I know who I am. I know what I’m about, and I know that I don’t have anything to be ashamed of.”

Anonymous text from the Virginia Museum of Fine Arts website

Anthony Friedkin (American, b. 1949)
These Are the Thoughts that Set Fire to Your City
1993
Gelatin silver print
32.6 × 22cm (12 13/16 × 8 11/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Sue and Albert Dorskind
© Anthony Friedkin

This photograph was taken following the 1992 Rodney King Riots that happened across Los Angeles.

Rodney King (American, 1965-2012)

Rodney Glen King (April 2, 1965 – June 17, 2012) was an African-American man who was a victim of police brutality. On March 3, 1991, King was beaten by LAPD officers during his arrest, after a high-speed chase, for driving while intoxicated on I-210. An uninvolved individual, George Holliday, filmed the incident from his nearby balcony and sent the footage to local news station KTLA. The footage showed an unarmed King on the ground being beaten after initially evading arrest. The incident was covered by news media around the world and caused a public furor.

At a press conference, announcing the four officers involved would be disciplined, and three would face criminal charges, Los Angeles police chief Daryl Gates said: “We believe the officers used excessive force taking him into custody. In our review, we find that officers struck him with batons between fifty-three and fifty-six times.” The LAPD initially charged King with “felony evading”, but later dropped the charge. On his release, he spoke to reporters from his wheelchair, with his injuries evident: a broken right leg in a cast, his face badly cut and swollen, bruises on his body, and a burn area to his chest where he had been jolted with a stun gun. He described how he had knelt, spread his hands out, and slowly tried to move so as not to make any “stupid moves”, being hit across the face by a billy club and shocked. He said he was scared for his life as they drew down on him.

Four officers were eventually tried on charges of use of excessive force. Of these, three were acquitted, and the jury failed to reach a verdict on one charge for the fourth. Within hours of the acquittals, the 1992 Los Angeles riots started, sparked by outrage among racial minorities over the trial’s verdict and related, longstanding social issues. The rioting lasted six days and killed 63 people, with 2,383 more injured; it ended only after the California Army National Guard, the Army, and the Marine Corps provided reinforcements to re-establish control.

The federal government prosecuted a separate civil rights case, obtaining grand jury indictments of the four officers for violations of King’s civil rights. Their trial in a federal district court ended on April 16, 1993, with two of the officers being found guilty and sentenced to serve prison terms. The other two were acquitted of the charges. In a separate civil lawsuit in 1994, a jury found the city of Los Angeles liable and awarded King $3.8 million in damages.

Text from the Wikipedia website

Glenn Ligon (American, b. 1960)
Screen
1996
Silkscreen on canvas
213.36 x 365.76cm (84 x 144 in.)

Taking up an entire wall of a four-walled exhibit is Ligon’s “Screen”, where he took and enlarged a newspaper photograph from the Million Man March in Washington, DC. “Ligon has noted that while the march was meant to inspire African American unity, women and gay men were excluded,” says the photograph’s blurb. Ligon states, “I’m interested in what citizenship is in a democratic country… and the responsibilities that come with it.” On the video screen is Louis Farrakhan, a controversial organiser of the Million Man March.

Text from Julianna Lozada. “”In Focus Protest”: A Close Look at the New Getty Center Exhibit,” on the Karma Compass website July 14, 2021 [Online] Cited 11/09/2021

Million Man March

The Million Man March was a large gathering of African-American men in Washington, D.C., on October 16, 1995. Called by Louis Farrakhan, it was held on and around the National Mall. The National African American Leadership Summit, a leading group of civil rights activists and the Nation of Islam working with scores of civil rights organisations, including many local chapters of the National Association for the Advancement of Colored People (but not the national NAACP) formed the Million Man March Organizing Committee. The founder of the National African American Leadership Summit, Dr. Benjamin Chavis Jr. served as National Director of the Million Man March.

The committee invited many prominent speakers to address the audience, and African American men from across the United States converged in Washington to “convey to the world a vastly different picture of the Black male” and to unite in self-help and self-defence against economic and social ills plaguing the African American community.

The march took place in the context of a larger grassroots movement that set out to win politicians’ attention for urban and minority issues through widespread voter registration campaigns. On the same day, there was a parallel event called the Day of Absence, organised by women in conjunction with the March leadership, which was intended to engage the large population of black Americans who would not be able to attend the demonstration in Washington. On this date, all blacks were encouraged to stay home from their usual school, work, and social engagements, in favour of attending teach-ins, and worship services, focusing on the struggle for a healthy and self-sufficient black community. Further, organisers of the Day of Absence hoped to use the occasion to make great headway on their voter registration drive.

Text from the Wikipedia website

An-My Lê (American born Vietnam, b. 1960)
Fragment VI: General Robert E. Lee and P.G.T. Beauregard Monuments, Homeland Security Storage, New Orleans, Louisiana
2017
Inkjet print
142.2 × 100.3cm (56 × 39 1/2 in.)
Pier 24 Photography, San Francisco
© An-My Lê courtesy of the Artist and Marian Goodman Gallery

John Simmons (American, b. 1950)
Fight Like a Girl, Los Angeles
Negative 2019; print 2020
Pigment print
24.1 × 38.1cm (9 1/2 × 15 in.)
The J. Paul Getty Museum, Los Angeles
© John Simmons

Kris Graves (American, b. 1982)
George Floyd Projection, Richmond, Virginia
2020
Inkjet print
40 × 50.1cm (15 3/4 × 19 3/4 in.)

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

Opening hours:
Daily 10am – 5pm

The J. Paul Getty Museum website

LIKE ART BLACK ON FACEBOOK

Back to top

Exhibition: ‘Dawoud Bey: An American Project’ at the High Museum of Art, Atlanta

Exhibition dates: 7th November 2020 – 14th March 2021

Dawoud Bey (American, b. 1953)
A Man in a Bowler Hat, Harlem, NY, 1976
1976
Gelatin silver print
© Dawoud Bey

Early in his career, Bey realised the importance of collaborating with his subjects to make a picture that would also serve as a dialogue between artist and subject: “I wanted to photograph this man in the bowler hat who was talking to a group of three friends and I had no idea how to interrupt their conversation in order to do so. This is when I first realised that it wasn’t just about the photograph; it was also about establishing a relationship out of which comes the photograph.”

I have always admired artists who have a social conscience, who investigate their subject matter with intelligence, empathy and insight.

I have always admired artist who examine their subject matter from different perspectives, turning the diamond of the world in light, to probe the moral and existential questions of existence.

I have always admired artists who develop their practice, never repeating for the sake of it the same constructs over and over – from a lack of imagination, to be successful, or to follow the money trail.

One such artist is Dawoud Bey.

From formal to informal portraiture, through conceptual “bodies”, Bey’s work visualises Black American history in the present moment, not by using the trope of reusing colonial photographs or memorabilia, but by presenting afresh the history of injustice enacted on a people and a culture, picturing their ongoing pain and disenfranchisement – in the here and now – through powerful and deeply political photographs. As the press release observes, Bey “has used his camera to create poignant meditations on visibility, race, place, and American history.”

“His art is grounded in the concept of citizenship, community and belonging, and especially in centring the experiences and histories of Black Americans at the forefront of our culture. His photographs actively work to provide space, voice and visibility for communities who have long been excluded from dominant narratives, especially in institutions like museums.”

From his early street photographs through the later large format Polaroid work and on to the conceptual series, Bey’s photographs have an engaging directness and candour to them. There are no photographic or subjective histrionics here, just immensely rich social documentary photographs that speak truth to subject. The subjects stare directly at the camera and reveal themselves with a poignant honesty.

The series that affected me most deeply was The Birmingham Project.

“On September 15, 1963, the Ku Klux Klan dynamited the 16th Street Baptist Church in Birmingham, Alabama, murdering four African American girls inside. Two Black boys were also killed later that same day in the violence that ensued. Bey’s series The Birmingham Project commemorated the fiftieth anniversary of this horrific event, rendering it painfully immediate. Bey made formal portraits of Birmingham children the same ages as the victims and adults fifty years older – the ages the victims would have been had they lived. He then paired the photographs in diptychs that both honour the community’s unthinkable loss and make tangible the continued impact of racism, violence, and trauma in the present.”

All the suffering, all the ongoing pain and misery of an unfair world was, to me, wrapped up in these unforgettable images. The violence against other human beings, against people of difference 50 years ago brought into the present. Thinking about what these people could have achieved in the world, what life they would have led, what they would have looked like. Photography transcending time and space, Bey intelligently bringing past into present future. As Bey says, “I wanted to give those young people a more tangible, less-mythic, palpable presence… I wanted to figure out how to show the passage of time and the tragic loss of possibility.”

In my imagination I try to construct this tragic loss of possibility through the agency of Bey’s photographs. They produce sadness, anger, and empathy in me. They bring the possibility of change to the forefront of my mind, and an acknowledgment that we can all do better, that the world must do better. And that experience is a powerful thing.

Dr Marcus Bunyan.

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.

“I’ve come to believe that the best works tend to result not from the imposition of an idea on a situation, but to be responsive to what’s going on once you get there.”

“How can one visualise African American history and make that history resonate in the contemporary moment?”

Dawoud Bey

“Dreams are spaces that do not yet exist, except by escape through an unknown night.”

Anna Mirzayan

“I Never Had White Folks That Was Good To Me, EVER… We all worked jest like dogs and had about half enough to eat and got whupped for everything. Our days was a constant misery to us… My old Master was Dave Giles, the meanest man that ever lived. He didn’t have many slaves, my mammy, and me, and my sister, Uncle Bill, and Truman. He had owned my grandma but he give her a bad whupping and she never did git over it and died. We all done as much work as a dozen niggers – we knowed we had to. I seen old Master git mad at Truman and he buckled him down across a barrel and whupped him till he cut the blood out of him and then he rubbed salt and pepper in the raw places. It looked like Truman would die it hurt so bad. I know that don’t sound reasonable that a white man in a Christian community would do such a thing but you can’t realise how heartless he was. People didn’t know about it and we dassent tell for we knowed he’d kill us if we did. You must remember he owned us body and soul and they wasn’t anything we could do about it. Old Mistress and her three girls was mean to us too. One time me and my sister was spinning and old Mistress went to the well-house and she found a chicken snake and killed it. She brought it back and she throwed it around my sister’s neck. She jest laughed and laughed about it. She thought it was a big joke. Old Master stayed drunk all the time. I reckon that is the reason he was so fetched mean. My, how we hated him! He finally killed hisself drinking and I remember Old Mistress called us in to look at him in his coffin. We all marched by him slow like and I jest happened to look up and caught my sister’s eye and we both jest natchelly laughed – Why shouldn’t we? We was glad he was dead. It’s a good thing we had our laugh fer old Mistress took us out and whupped us with a broomstick. She didn’t make us sorry though.”

Annie Hawkins, formerly enslaved Afrikan who was sold from Georgia to Texas. This interview was done in Colbert, Oklahoma where her and her family moved after emancipation. Interview, conducted Spring, 1937 with a date stamp of August 16, 1937. Ms. Hawkins was 90 years old at the time of the interview and what she relates occurred in Texas. Source: Library of Congress

Since the beginning of his career in the 1970s, Dawoud Bey (American, b. 1953) has used his camera to create poignant meditations on visibility, race, place, and American history. From early street portraits made in Harlem to a recent series imagining an escape from slavery on the Underground Railroad, Bey explores photography’s potential to reveal communities and stories that have been underrepresented or even unseen. Both a form of personal expression and an act of political responsibility, Bey’s art insists on the power of photography to transform stereotypes, convene communities, and create dialogue.

Dawoud Bey: An American Project traces these through lines across the forty-five years of Bey’s career and his profound engagement with the young Black subject and African American history. The title intentionally inserts his photographs into a long-running conversation about what it means to represent America with a camera. The questions of who is considered an American photographer, or simply an American, and whose story is an American story are particularly urgent today. Bey’s work offers a potent corrective to the gaps in our picture of American society and history – and an emphatic reminder of the ongoing impact of those omissions.

Dawoud Bey on visualising history

Photographer Dawoud Bey’s work grapples with history. The artist asks, “How can one visualise African American history and make that history resonate in the contemporary moment?” Here he discusses several series, sited from Harlem to Birmingham to the Underground Railroad routes of northeastern Ohio, each of which works to make histories visible.

Dawoud Bey: An American Project – Part 1

Dawoud Bey (American, b. 1953)
A Boy in Front of the Loew’s 125th Street Movie Theater, Harlem, NY, 1976
1976
Gelatin silver print
© Dawoud Bey

The Street

Bey’s landmark black-and-white 1975-78 series “Harlem, USA” documents portraits and street scenes with locals of the historic neighbourhood in New York. As a young man growing up in Queens, Bey was intrigued by his family’s history in Harlem, where his parents met and where he visited family and friends throughout childhood. The series premiered at the Studio Museum in Harlem in 1979, when Bey was just 26.

Dawoud Bey (American, b. 1953)
A Woman at Convent Avenue Baptist Church, Harlem, NY, 1977
1977
Gelatin silver print
11 x 14 inches
Image courtesy of the artist and Stephen Daiter Gallery, Chicago
© Dawoud Bey

In his hands, portraiture conveys contradiction – diffident joy, resistant sorrow – and tells the truth.

Dawoud Bey (American, b. 1953)
Three Women at a Parade, Harlem, NY, 1978
1978
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
Two Boys at a Handball Court, Syracuse, NY, 1985
1985
Gelatin silver print
© Dawoud Bey

Throughout the 1980s, Bey continued to use a handheld 35 mm camera. This lightweight apparatus allowed him to respond intuitively and quickly to whatever captivated his eye, and his photographs during this time reflect his knowledge of contemporary street photography and his growing interest in capturing flux, movement, and the play of light and shadow. Although he continued to photograph people, he moved away from formal portraiture, instead endeavouring to capture individuals in more spontaneous ways.

Dawoud Bey (American, b. 1953)
Clothes Drying on the Line, Syracuse, NY, 1985
1985
Gelatin silver print
20 x 24 inches
Image courtesy of the artist and Stephen Daiter Gallery, Chicago
© Dawoud Bey

Dawoud Bey (American, b. 1953)
Combing Hair, Syracuse, NY, 1986
1986
Gelatin silver print
© Dawoud Bey

In 1985, during a residency at Light Work, a photography nonprofit affiliated with Syracuse University, New York, Bey photographed the city’s African American community. For him, it was both a political and aesthetic choice: “By then I felt that was part of my agenda: to make the African American subject a visible and resonant presence through my photographs […] it was as much about making a certain kind of photograph, and operating within a certain tradition, as it was a deliberate choice to foreground the black subject […] giving them a place … on the wall of galleries and museums.”

Dawoud Bey (American, b. 1953)
A Woman at Fulton Street and Washington Avenue, Brooklyn, NY, 1988
1988
Gelatin silver print
© Dawoud Bey

By the end of the 1980s, Bey had thoroughly digested the lessons of working spontaneously with a small camera and desired to work in a way that would allow him to engage more directly with his subjects. He began to make formal “street portraits” with a large-format (4 × 5-inch) camera and Polaroid Type 55 film, which produced both instant pictures that he gave to the sitters and negatives that he used to make large-scale, highly detailed prints that could be enlarged to create monumental portraits. Bey was increasingly ambivalent about the ethics of traditional documentary photography and sought more equitable, reciprocal relationships with his sitters. He began to approach the strangers he wished to portray openly and deliberately, giving, as he writes, “the black subjects [a space] to assert themselves and their presence in the world, with their gaze meeting the viewer’s on equal footing.”

Dawoud Bey (American, b. 1953)
A Young Man Resting on an Exercise Bike, Amityville, NY, 1988
1988
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
A Young Girl Striking A Pose, Brooklyn, NY, 1988
1988
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
A Young Man with Buttons Brooklyn NY 1988
1988
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
A Young Woman Coming from the Store, Rochester, NY 1989
1989
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
A Young Man with His Hair Brush, Rochester, NY 1989
1989
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
Alfonso, Washington, DC, 1989
1989
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
A Woman Wearing Denim, Rochester, NY 1989
1989
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
A Man with a Towel, Brooklyn, NY 1989
1989
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
Poppy, Brooklyn, NY, 1989
1989
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
A Girl Holding a Hotdog and Gum, Brooklyn, NY, 1989
1989
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
A Couple in Prospect Park, Brooklyn, NY, 1990
1990
Gelatin silver print
© Dawoud Bey

Few images of tenderness have such resounding power as this lush portrait of a young, stylish couple embracing in Brooklyn’s Prospect Park. Note how perfectly their bodies fit together as he relaxes his shoulders, allowing her to easily wrap her arms around him protectively, declaring with the upward tilt of her chin and her direct gaze at us that they are together, united in love. Pictures as openly intimate as this one emerged from Bey’s deep and abiding interest in “wanting to describe the Black subject in a way that’s as complex as the experiences of anyone else.”

Dawoud Bey (American, b. 1953)
Two Girls from a Marching Band, Harlem, NY, 1990
1990
Gelatin silver print
Courtesy of the artist, Sean Kelly Gallery, Stephen Daiter Gallery, and Rena Bransten Gallery
© Dawoud Bey

For more than four decades, renowned photographer Dawoud Bey has created powerful and tender photographs that portray underrepresented communities and explore African American history. From portraits in Harlem and classic street photography to nocturnal landscapes and large-scale studio portraits, his works combine an ethical imperative with an unparalleled mastery of his medium. The High Museum of Art celebrates his important contributions to photography as the exclusive Southeast venue for Dawoud Bey: An American Project, the artist’s first full career retrospective in 25 years.

Co-organised by the San Francisco Museum of Modern Art (SFMOMA) and the Whitney Museum of American Art, New York, the exhibition features approximately 80 works that span the breadth of Bey’s career, from his earliest street portraits made in Harlem in the 1970s to his most recent series reimagining sites of the Underground Railroad (2017).

The High has enjoyed a long and fruitful relationship with Bey, who was commissioned in 1996 for the Museum’s inaugural “Picturing the South” series, which asks noted photographers to turn their lens toward the American South. For his project, Bey collaborated with Atlanta high school students to create empathetic, larger-than-life portraits. Made with the monumental 20-by-24-inch Polaroid camera, these photographs explore the complexity of adolescence as a time of critical identity formation and expand the concept of portraiture. The High now holds more than 50 photographs by Bey, one of the most significant museum collections of his work.

“Bey’s portraits are remarkable for their keen sensitivity and for how they elicit and honour their subjects’ sense of self, which is partly an outcome of the artist’s collaborative practice,” remarked Sarah Kennel, the High’s Donald and Marilyn Keough Family curator of photography. “Given the museum’s long relationship with Bey and the strength of our holdings, we are thrilled to present this important retrospective. We look forward to sharing the artist’s photographs and his powerful and moving reflections on African American history and identity in their country with our visitors.”

Bey, born in 1953 in Queens, New York, began to develop an interest in photography as a teenager. He received his first camera as a gift from his godmother in 1968, and the next year, he saw the exhibition “Harlem on My Mind” at The Metropolitan Museum of Art. Widely criticised for its failure to include significant numbers of artworks by African Americans, the exhibition’s representation of Black subjects nonetheless made an impression on Bey and inspired him to develop his own documentary project about Harlem in 1975. Since that time, he has worked primarily in portraiture, making tender, psychologically rich and direct portrayals, often in collaboration with his subjects. More recently, he has explored seminal moments in African American history through both portraiture and landscape.

Dawoud Bey: An American Project includes work from the artist’s eight major series and is organised to reflect the development of Bey’s vision throughout his career and to highlight his enduring engagement with portraiture, place and history.

Press release from The High Museum of Art

Installation views of the exhibition Dawoud Bey: An American Project at the High Museum of Art, Atlanta.
Images courtesy of the artist and High Museum. Photos by Mike Jensen.

Dawoud Bey
Photo: Sean Kelly Gallery

About Dawoud Bey

Dawoud Bey was born in Queens, New York, and began his career as a photographer in 1975 with a series of photographs, Harlem, USA, that were later exhibited in his first solo exhibition at the Studio Museum in Harlem in 1979.

Since then his work has been featured in exhibitions at numerous institutions worldwide, including the Addison Gallery of American Art, Andover, Massachusetts; the Art Institute of Chicago; the Brooklyn Museum; the Detroit Institute of Arts; the Fogg Museum, Harvard University; the High Museum of Art, Atlanta; the Museum of Contemporary Art, Chicago; the Museum of Contemporary Photography (MoCP), Chicago; the National Gallery of Art, Washington, D.C.; and the Walker Art Center, Minneapolis, among many others.

His photographs are represented in collections worldwide, and his critical writings on photography have appeared in numerous publications and exhibition catalogues. Bey received the prestigious MacArthur “Genius” fellowship in 2017 and is also the recipient of fellowships from the Guggenheim Foundation and the National Endowment for the Arts. He holds a Master of Fine Arts degree from Yale University and is currently Professor of Art and a Distinguished College Artist at Columbia College Chicago, where he has taught since 1998.

Dawoud Bey (American, b. 1953)
Gerard, Edgewater High School, Orlando, FL, 2003
2003
Inkjet print
© Dawoud Bey

Behind his Class Pictures series:

“It was a sort of snapshot of America through its young people at that particular moment. I started working in Chicago, then to New York, California and Florida. I wanted it to be geographically representative of the country. I’ve always been acutely aware that photographs tell you a lot less than what they do tell you. There’s certain things you would never know just from looking at them. You wouldn’t know from a portrait if someone is an only child, whether they have siblings, who their parents are. There’s a lot of information outside of a photograph. For Class Pictures, I thought that was important to bring that information into the construct of work and to create a space of self-representation. The young people who I photographed could give a sense of who they were.”

Summer Evans. “Photographer Dawoud Bey Shines A Light On America’s Underrepresented Communities,” on the WABE website Nov 18, 2020 [Online] Cited 01/03/2021

Dawoud Bey (American, b. 1953)
Usha, Gateway High School, San Francisco, CA, 2006
2006
Inkjet print
© Dawoud Bey

Bey has long understood that the act of representation – as well as the corollary act of being seen – is both powerful and deeply political. In this series, 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.” Class Pictures (2001-2006) originated during a residency at the Smart Museum of Art in Chicago, where Bey began working with local high school students. He later expanded it to capture a geographically and socioeconomically diverse slice of American adolescence.

Working in empty classrooms between class periods, Bey made formal colour portraits of teens that attend, carefully and tenderly, to their gestures and expressions. He also invited them to write brief autobiographical statements, giving his subjects visibility as well as voice. Class Pictures can also be understood as a play on words, for in several cases, Bey chose to photograph students at elite private schools as well as teens from nearby, poorer neighbourhoods, bringing together these subjects in a single space.

Dawoud Bey (American, b. 1953)
Don Sledge and Moses Austin
2012
From The Birmingham Project
Inkjet prints
Rennie Collection, Vancouver
© Dawoud Bey

On September 15, 1963, the Ku Klux Klan dynamited the 16th Street Baptist Church in Birmingham, Alabama, murdering four African American girls inside. Two Black boys were also killed later that same day in the violence that ensued. Bey’s series The Birmingham Project commemorated the fiftieth anniversary of this horrific event, rendering it painfully immediate. Bey made formal portraits of Birmingham children the same ages as the victims and adults fifty years older – the ages the victims would have been had they lived. He then paired the photographs in diptychs that both honour the community’s unthinkable loss and make tangible the continued impact of racism, violence, and trauma in the present.

Dawoud Bey (American, b. 1953)
Mary Parker and Caela Cowan
2012
From The Birmingham Project
Inkjet prints
Rennie Collection, Vancouver
© Dawoud Bey

“Together the sitters for The Birmingham Project are simultaneously surrogates, mourners, witnesses, community, and agents of their own narratives. These subjects, then are not symbols but flesh and bone.”

In 2012, the project was created as a commission from the Birmingham Museum of Art. It memorialises the victims of the 1963 bombing of the 16th Street Baptist Church in Birmingham. Four African-American girls were killed in the bombing, and two boys were later killed in riots that followed.

“I decided to make portraits of young African-Americans in Birmingham who were the exact same ages as those six young people who had been killed that day. I wanted to give those young people a more tangible, less-mythic, palpable presence.” Bey continues, “It still felt somewhat complete. I wanted to figure out how to show the passage of time and the tragic loss of possibility. Then, I started thinking about making portraits of African-Americans in Birmingham who were the ages of the six young people would have been their age today. I begun pairing those portraits with those young people, which embodied 50 years.”

Summer Evans. “Photographer Dawoud Bey Shines A Light On America’s Underrepresented Communities,” on the WABE website Nov 18, 2020 [Online] Cited 01/03/2021

Night Coming Tenderly, Black

Dawoud Bey’s large-scale photographs dive into art and literary history while trying to re-create the experience of slaves fleeing on the Underground Railroad.

“I consider myself to be making photographs both in conversation with the history of photography and also the history of Black representation within photography. I wanted to use what I learned early on from looking at photographs by Irving Penn, Richard Avedon, Walker Evans and Mike Disfarmer – along with what I learned from Roy DeCarava, who was African American – and apply all of that to my own African American subjects as I began to build my vocabulary of picture-making. Because I’m African American myself, and because so few representations of African Americans are made from inside that experience, I set out to make that my space, to make work that operated at the level of those other photographs but with Black subjects, since those were the people I knew best. I also wanted to add something to the history of Black expressive culture. …

Night Coming Tenderly, Black continues my interest in visualising African American history by visualising the past in the contemporary moment. It takes as its conceptual touchstones the photographs of DeCarava, which are about the Black subject and often printed very darkly, some almost black. The blackness of his prints is a very beautiful and materially lush blackness. And the Black subjects inhabit this wonderful material darkness in a way that is not foreboding but is beautiful.” ~ Dawoud Bey

Dawoud Bey (American, b. 1953)
Untitled #1 (Picket Fence and Farmhouse)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

The photographs in this series are some of the most sensual and layered. These are sights that are at first confining then liberating when you understand them through the lens of history.

In their grandeur and mystery, they transform houses masked in darkness, bodies of water, and fields into an emblematic hope. A pristine fencepost and a homestead visible through the haze of the darkness; a wetland glistening in nightfall; a jungle thick with small trees; an image of Lake Erie, with the expansive sky and horizon forewarning the freedom that lies beyond.

The Underground Railroad

Night Coming Tenderly, Black contains 25 large-scale images of homesteads with wooded or grassy grounds that are believed to have formed the part of the said Underground Railroad. The Underground Railroad is an actual invisible web of routes and safe houses believed to have made the final way station for more than 100,000 fugitive slaves escaping to Canada. But according to the artist himself, some of the images may be of actual Underground Railroad.

The meaning of the title

This series is also a tribute to poet Langston Hughes (1901-1967) and photographer Roy DeCarava (1919-2009), who each played significant roles in addressing the experience of African Americans by representing what DeCarava described as a world shaped by blackness. Bey was inspired by DeCarava’s incredible ability to print a spectrum of dark hues, making him picture landscapes of twilight uncertainty.

On the other hand, Hughes Langston wrote a poem titled Dream Variations in 1926, in which he yearned for a time when the black American worker, extremely tired by the daily hustle of hard labor and prejudice, might be truly free. However, this freedom, he imagined, would not be obtained in the glare of daylight, but instead under the ominous, protective cover of the night.

Upending a dominant literary conceit, blackness, rather than whiteness, functioned as an allegory for hope and transcendence. A night coming tenderly, black like me, (Hughes poem), helped the fight for racial equality and justice. The metaphor in the poem is central to Dawoud Bey’s series Night Coming Tenderly, Black.

Influenced by Roy DeCarava

Bey has never stopped waxing lyrical on the influence of the two figures that inspired his artistic career, especially Roy DeCarava, who was one of the most prominent photographers of his generation. The images he took were visually rich and redolent, and they pushed the aesthetic limits of photography…

Dawoud Bey noted that DeCarava’s images were characteristically printed in dark and rich colour range. In this context, the dark prints served as a symbol for black subjects and experience. Bey says:

“DeCarava used blackness as an affirmative value, as a kind of beautiful blackness through which his subjects both moved and emerged. His work was formative to my own thinking early on, and these dark landscapes are a kind of material conversation with his work, using the darkness of the landscape and the photographic print as an evocative space of blackness through which the unseen and imaginary black fugitive subject is moving.” …

The artist printed these images in a large size to encase the viewer and deliberately dark to reveal his subject matter: He took the photos of the sites in and near Cleveland associated with the Underground Railroad that guided the slaves to liberation.

Anonymous. “Dawoud Bey’s somber ‘Night Coming Tenderly, Black’ project,” on the Public Delivery website January 30, 2021 website [Online] Cited 02/03/2021

Dawoud Bey (American, b. 1953)
Untitled #11 (Bent Branches)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
Untitled #12 (The Marsh)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

“I ranged far and wideout there since there were expansive rural landscapes that looked as they might have in the 18th and 19th centuries. The landscape and the history there have not been built over…

Some of the photographs, to the extent that we know, are actual Underground Railroad sites, and the majority of them are placed in the landscape that I identified in proximity to some of those locations, where I could make work that suggested the movement of fugitive slaves through the landscape…

I wanted the photographs to almost involuntarily pull you back to the experience of the landscape through which those fugitive black bodies were moving in the 19th century to escape slavery. So I had to learn, for the first time, how to make photographs in the kind of space…

It is a tender one, through which one moves. That is the space I imagined the fugitive black subjects moving through as they sought their self-liberation, moving through the dark landscape of America and Ohio toward freedom under cover of a munificent and blessed blackness.” ~ Dawoud Bey

Dawoud Bey (American, b. 1953)
Untitled #14 (Site of John Brown’s Tannery)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
Untitled #17 (Forest)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

Dawoud Bey (American, b. 1953)
Untitled #19 (Creek and Trees)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

Behind his Night Coming Tenderly, Black series:

“The photographs are meant to imagine or reimagine the path of self-liberation in Northeastern Ohio along what is called the ‘Underground Railroad’. Formerly slaved Africans, and then African-Americans moved towards freedom by way of Lake Eerie in Ohio. I began to think about the fugitive moving through this tender space of blackness.”

Anonymous. “Dawoud Bey’s somber ‘Night Coming Tenderly, Black’ project,” on the Public Delivery website January 30, 2021 website [Online] Cited 02/03/2021

Dawoud Bey (American, b. 1953)
Untitled #20 (Picket Fence and Farmhouse I)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

The gelatin silver prints in Night Coming Tenderly, Black are moody and dim, overlaid with a sheen that is almost gritty in texture thanks to the coated paper they are printed on. The trees, fences, lakes, and buildings in the photos are initially obscured, purposefully made more difficult to see through Bey’s printing methods (which take advantage of the light sensitivity of silver particles as well as their ability to be chemically “toned” through the introduction of other substances). These images resist both reproduction and easy interpretation. That one also has to wait for one’s eyes to adjust to the darkness, before slowly traveling over the terrain of each picture, reminds the viewer that the formerly enslaved people who traversed these sites often did so under cover of darkness. Darkness here is multivalent: its obscuring power, which prevents viewers from immediately processing the whole of Bey’s photographs, aided formerly enslaved people in their escape. The Underground Railroad, as the artist has noted, occupies a semi-mythological place in American history, and some of the places Bey photographs are only cannot be confirmed to have been stops on the Railroad. Like the experience of slavery, these places are unrepresentable. They are half-shrouded locales that evade being captured on a map or in a photo.

Though these photographs are dark, they are shot in the daylight and processed in such a way as to make them initially appear to be taken at night. They bring to mind Hiroshi Sugimoto’s eerily beautiful “Seascapes” series (1980 – ongoing), which are shot at night, the film exposed for different lengths of time in order to reveal how light plays even after dark. Yet there is no analogous method for bringing night to the day. Bey may make his photos dark, but this is achieved through processing and glazing the finish image, which occurs after the initial act of taking the photograph. How can we account for Bey’s artificial night?

The philosopher François Laruelle’s 2011 book The Concept of Non-Photography suggests one answer to this question. In essence, Laruelle starts with the premise that works of art cannot and do not represent anything, be it objects, thoughts, concepts, or movements. He posits art as an entirely self-sufficient engagement with the world (which he calls the Real), independent even of viewer and creator. Art is a machine; the medium, processes, and even the artist are its materials. What art “shows,” Laurelle argues, is only the world according to itself – which he terms the world-in-painting, the world-in-photo, and so on. He turns to photography in part because of its connection to modern scientific advancement and its attempts literally to illuminate the world “objectively.” Non-photography aims to re-conceptualise the photographic flash, which Laruelle associates with the flash of logos or reason, as a form of potential insurrection against its traditional association with illumination, and against photography’s constant reproduction of the asymmetrical dichotomy between light and dark.

Anna Mirzayan. “”Artificial night”: on Dawoud Bey’s America,” on the Art Agenda website December 15 2020 [Online] Cited 01/03/2021

Dawoud Bey (American, b. 1953)
Untitled #23 (Near Lake Erie)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

“I was thinking about this narrative of the Black subject — the unseen Black subject, in this case — a fugitive slave moving through the darkness of night,” Bey explains. “And that darkness of night being the kind of Black space that would lead to liberation.”

Dawoud Bey (American, b. 1953)
Untitled #25 (Lake Erie and Sky)
2017
From the series Night Coming Tenderly, Black
Gelatin silver print
© Dawoud Bey

As a covert network of safe houses and churches, the sites of the Underground Railroad were by necessity secret, and Bey’s landscapes suggest, rather than document, the experience. Photographed by day but printed in shades of grey and black so deep they resemble nocturnes, the sensuous prints conjure a darkness at once ominous and lush. The series title, which is drawn from the last couplet of Langston Hughes’s poem “Dream Variations” (1926), suggests a black night that envelops the fugitives in a darkness that serves as a protective embrace: “Night coming tenderly / Black like me.”

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

Opening hours:
Tuesday – Saturday 10am – 5pm
Sunday 12 – 5pm
Monday closed

The High Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

Exhibition: ‘(un)expected families’ at the Museum of Fine Arts, Boston

Exhibition dates: 9th December 2017 – 17th June 2018

Christopher Churchill (American, b. 1977)
Hutterite Classroom, Gildford, MT
2005
Gelatin silver print
Gift of Elisa Fredrickson / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

It’s hard to get a sense of this exhibition from the media images, therefore difficult to make any constructive comment on the strength of the exhibition.

Apparently, “The exhibition’s gallery feels very domestic. Groups of photos hang on the walls – different sizes, colours, formats and frames – like you’d see in a living room or hallway. MFA curator Karen Haas confirms that evocation is absolutely intentional.

“Photographers from the very beginning have been fascinated by the way that the camera could capture images of loved ones, freeze them in time,” she says. “They form sort of reliquaries of memory, and these sorts of relationships to the objects – that idea of the photograph as a talisman-like object I think has been somewhat forgotten in our contemporary world.” …

Haas’ goal in creating this show is to illustrate how broad and diverse family configurations can be – without defining them. “The families that we’re born into, generational families,” she describes, “but also romantic unions, couples and chosen families – families we have chosen for ourselves.” And that includes the military and the church, Haas says. “I think the family is such a basic social construct – so basic to so many of our lives – that I hope that these kinds of images will really resonate with people.” (Text from Andrea Shea. “Portraits At The MFA Question What Family Looks Like,” on the Wbur website December 20, 2017 [Online] Cited 16/02/2022)

Outsider family, insider family, single parent family, nuclear family, extended family, reconstituted family, childless family, gay family, step family, “family has always taken diverse forms: affluent and destitute, cohesive and fractured, expected and unexpected. Taken together, the photographs challenge visitors to consider what family means to them.”

But what is most important is this: “There is no right or wrong answer when it comes to what is the best type of family structure. As long as a family is filled with love and support for one another, it tends to be successful and thrive. Families need to do what is best for each other and themselves, and that can be achieved in almost any unit.” (Michelle Blessing. “Types of Family Structures,” on the Love to Know website Nd [Online] Cited 16/02/2022)

Families all have secrets, no matter how perfect they may seem to the outside world. Whether it be domestic violence behind closed doors or skeletons in the closet there is always more than meets the eye. And that’s where these photographs of families fail in their representation of the family. That, and the title of the exhibition – (un)expected families – because in the 21st century, nothing should be unexpected. By adding emphasis to the (un), the title merely propagates a form of discrimination, of outsider as different and therefore worthy of abuse because of that very difference. Expected families: we are all human beings and therefore anything is to be expected.

Dr Marcus Bunyan

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

Bringing together more than 80 pictures taken by American photographers from the 19th century to today, (un)expected families explores the definition of the American family – from the families we are born into to the ones we have chosen for ourselves. The works on view depict a wide range of relationships, including multiple generations, romantic unions, and alternative family structures. Using archival, vernacular, and fine art photographs, (un)expected families offers a variety of perspectives on the American family, from Dorothea Lange’s depiction of a migrant family at the time of the Dust Bowl to Louie Palu’s portraits of US Marines fighting in Afghanistan. The exhibition illustrates that the family has always taken diverse forms: affluent and destitute, cohesive and fractured, expected and unexpected. Taken together, the photographs challenge visitors to consider what family means to them. (un)expected families features celebrated practitioners like Nan Goldin, Carrie Mae Weems, LaToya Ruby Frazier, and Harry Callahan, as well as a number of renowned Boston-area artists, such as David Hilliard, Nicholas Nixon, Abe Morell, and Sage Sohier.

Lewis W. Hine (American, 1874-1940)
Home Workers, New York
1915
Lewis W. Hine/Museum of Fine Arts, Boston

Dorothea Lange (American, 1895-1965)
Migrant family, Texas
1936
Gelatin silver print
Sophie M. Friedman Fun
Dorothea Lange/Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

Louis Faurer (American, 1916-2001)
Ritz Bar, New York
1947-1948
Estate of Louis Faurer/Museum of Fine Arts, Boston

Duane Michals (American, b. 1932)
When he was young, he could not imagine being old. And now that he is old, he cannot imagine ever having been young
1979
Gelatin silver print
Duane Michals, courtesy of the DC Moore Gallery, New York, and Osmos, New York

Nicholas Nixon (American, b. 1947)
Yazoo City, Mississippi
1979
Gelatin silver contact print
Museum purchase with funds donated by the National Endowment for the Arts and Richard L. Menschel, Bela T. Kalman, Judge and Mrs. Matthew Brown, Mildred S. Lee, and Barbara M. Marshall
© Nicholas Nixon, Courtesy Fraenkel Gallery, San Francisco
Photograph: © Museum of Fine Arts, Boston

Nan Goldin (American, b. 1953)
Jimmy Paulette and Tabboo! in the bathroom, New York
1991
Cibachrome print
Horace W. Goldsmith Foundation Fund for Photography
© Nan Goldin
Photograph: © Museum of Fine Arts, Boston

“I used to think that I could never lose anyone if I photographed them enough. But in fact my pictures show me just how much I’ve lost.” ~ Nan Goldin

Tina Barney (American, b. 1945)
Thanksgiving
1992
Chromogenic print
Contemporary Curator’s Fund, including funds donated by Barbara and Thomas Lee
Tina Barney/Museum of Fine Arts, Boston
© Tina Barney
Photograph: © Museum of Fine Arts, Boston

Sage Sohier (American, b. 1954)
Mum in her bathtub, Washington, D.C.
2002
Inkjet print
Living New England Artists Purchase Fund, created by the Stephen and Sybil Stone Foundation
Courtesy Museum of Fine Arts, Boston

Nicholas Nixon (American, b. 1947)
Tammy Hindle
2006
Digital inkjet print
Gift of James N. Krebs
© Nicholas Nixon, Courtesy Fraenkel Gallery, San Francisco
Photograph: © Museum of Fine Arts, Boston

Julie Mack (American, b. 1982)
Self-portrait (Julie) with family in SUV, Michigan
2007
Chromogenic print
James N. Krebs Purchase Fund for 21st Century Photography
© Julie Mack. Courtesy Laurence Miller Gallery, New York
Photograph: © Museum of Fine Arts, Boston

David Hilliard (America, b. 1964)
Rock Bottom
2008
Panorama Construction

Rock Bottom features, in the left panel, a close up sharp focus portrait of Hilliard’s father standing in a lake, with a severe and harsh facial expression, yet vulnerably placing his hands on his chest between his two sailor swallow’s tattoos. In the right panel, Hilliard himself appears somewhat further from the camera. With a gentler facial expression, the photographer contrasts with his tense patriarchal figure, but features a similar hairy chest and matching tattoos – giving the viewer a hint on the subject’s father-son relationship. The middle panel is exclusive for environmental portraiture and the creation of meaning in the composition: a sunny day at the lake, where the blue skies and soft clouds perfectly reflect on the water and separate the subject matters. The real meaning of the juxtaposition relies on the knowledge of Hilliard’s personal life and the presence of the middle panel: although the father accept his son’s homosexuality, the issue has clearly been a source of tension between them, creating both emotional and physical distance between the subject matters. Represented by the central panel, a stunning view divides the two generations both visually and metaphorically, symbolising the idea of emotional distance in an atypical form.

Like most of Hilliard’s photographs, Rock Bottom exposes how physical distance is often manipulated to represent emotional distance. The presence of the middle panel, exclusively dedicated to environmental portraiture and the emphasis on the importance of our surroundings, also suggests the emotional distance between the subjects. The lack of elements and presence of great depth of field of the center panel insinuates that, regardless of the level of intimacy between the subject matters – distance is always palpable.

Marina Pedrosa. “David Hilliard: Building Meaning Through Composition,” on the medium website [Online] Cited 22/08/2018. No longer available online

Julie Blackmon (American, b. 1966)
Baby Toss
2009
Elizabeth and Michael Marcus
Courtesy, Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

LaToya Ruby Frazier (American, b. 1982)
Mom
2008
Gelatin silver print
From “The Notion of Family” (Aperture, 2014)
Photograph: © Museum of Fine Arts, Boston

Caleb Cole (American, b. 1981)
The Big Sister
2012
From the series Odd One Out (2010-Present)
Archival pigment print
49 × 68cm (19 5/16 × 26 3/4 in.)
Museum purchase with funds donated by James N. Krebs

Bringing together more than 80 pictures taken by photographers from the 19th century to today, (un)expected families at the Museum of Fine Arts, Boston (MFA), explores the definition of the American family – from the families we’re born into to the ones we’ve chosen. The photographs in the exhibition, on view from December 9, 2017 through June 17, 2018, depict a wide range of relationships – multiple generations, romantic unions and alternative family structures – whether connected by DNA, shared life experiences, common interests or even a social media network. Encompassing both carefully staged portraits and serendipitous snapshots, the selection of vernacular, documentary and fine art photographs in (un)expected families illustrates that the concept of family has long taken many forms – a subject that has fascinated photographers since the invention of the camera – and challenges visitors to consider what family means to them. Drawn primarily from the MFA’s holdings, the exhibition includes photographs by celebrated artists such as Nan Goldin, Gordon Parks, Nicholas Nixon, Sally Mann, Diane Arbus, Tina Barney, Emmet Gowin and Bruce Davidson. Loans from private collections include Victorian-era “hidden mother” photographs of children and turn-of-the-century portraits of women in intimate relationships sometimes referred to as “Boston marriages.” Additionally, (un)expected families highlights many New England photographers whose work centers on familial relationships, debuting eight photographs – acquired specifically for the exhibition – by Zoe Perry-Wood, Arno Rafael Minkkinen, Amber Tourlentes, Caleb Cole, Tanja Hollander, David Hilliard and Jeannie Simms. An interactive component of (un)expected families invites visitors to share thoughts about their own families on response cards. A selection will be displayed in the gallery on a rotating basis, and all will be archived as part of the permanent exhibition record. Additionally, a free family guide engages children with close looking and drawing activities. The exhibition is generously supported by an anonymous donor.

“Almost as soon as exposure times became short enough to make portraiture feasible, photographers have been drawn to capture likenesses of loved ones. Perhaps that power to freeze a moment in time is what explains why family photographs are so often described as the first thing one would save from a burning building,” said Karen Haas, Lane Curator of Photographs. “I find it particularly fascinating that there seems to be a growing interest among contemporary photographers to focus on families in their work – even as with the rise of smartphones and social media, our own personal pictures are increasingly relegated to the ether, rarely experienced as tangible objects.”

The images presented in (un)expected families span 150 years. Among the oldest pictures are photographs of “hidden mothers” (1860s-1870s), depicting infants in the laps of concealed adults – a trick to keep the children still during long sittings or exposures. The mothers or nursemaids were draped with scarves or blankets, or hidden behind furniture or painted backdrops. Similarly, the contemporary photograph Nayla, Ted, Alexandra, Nick, March 30, 1995 (1995) by Cambridge-based Elsa Dorfman (born 1937) focuses solely on the children. While names of the parents are among those handwritten on the bottom of the large-scale Polaroid, only their legs are visible in the composition. Another contemporary photograph juxtaposed with the Victorian-era “hidden mothers,” which were made during a period of high infant mortality rates, is Tammy Hindle (2006) by Nicholas Nixon (born 1947). Part of Nixon’s series documenting a family’s heartbreaking loss of a child, the image shows the mother, Tammy, carrying a portrait of the baby, Claire, to the funeral service, their bodies appearing to magically merge in the reflection within the picture frame.

Father-and-son relationships are explored in images by Dawoud Bey (born 1953), Duane Michals (born 1932) and Jim Goldberg (born 1953), all of which incorporate texts that amplify the moving and often painful stories behind the images, as well as recently acquired photographs by David Hilliard (born 1964) and Arno Rafael Minkkinen (born 1945). Hilliard’s triptych Rock Bottom (2008) is one of an extended series of panoramic photographs that trace the shifting narrative of the gay artist’s complicated relationship with his father. The beautifully choreographed self-portrait visually links the two men, unmistakably related to each other and sporting identical swallow tattoos, across a serene expanse of lake. Minkkinen’s 31-12-86, Self-Portrait with Daniel, Andover (1986), recently gifted to the MFA by the artist, is one of a little-known series of portraits that he took of his son Daniel as the boy grew and matured from infancy to adolescence. The photograph shows Daniel sitting on a bed, bathed in raking light and looking directly at his father’s large-format camera. With his head hidden from view, Minkkinen’s outstretched arms perfectly echo the curve of the headboard and create a haunting embrace that speaks to a parent’s deep-seated desire to encircle and protect a child.

Seventeen photographs representing multiple generations of a family are arranged in a salon-style hang, ranging from intimate depictions of parents with children, such as Baby Toss (2009) by Julie Blackmon (born 1966); to pairs of siblings, such as Twins at WDIA, Memphis (about 1948) by Ernest C. Withers (1922–2007); to a 1925 panorama capturing an extended family reunion encompassing about 200 people. The display also features recently acquired photographs by Sage Sohier (born 1954) and Jeannie Simms (born 1967). Sohier’s Mum in her bathtub, D.C. (2002) is from an extended series devoted to her mother, a former fashion model who had posed for Richard Avedon and Irving Penn in the 1940s. Simms’ Arnie, Susan & Elijah, Jamaica Plain, MA (2015) is from a series documenting the lives of couples married in Cambridge after Massachusetts became the first U.S. state to issue same-sex marriage licenses on May 17, 2004.

Recently acquired works by Amber Tourlentes (born 1970), Zoe Perry-Wood (born 1959) and Jess Dugan (born 1986) also document the experience of LGBTQ couples, families and individuals. Tourlentes has regularly made LGBTQ family portraits on the Town Hall stage in Provincetown, Massachusetts, during its annual Family Week, sometimes revisiting the same subjects over the course of several years. Perry-Wood has spent the last decade photographing another annual event, the Boston Alliance of Gay and Lesbian Youth (BAGLY) Prom, which offers a safe and celebratory occasion for young couples – an alternative to more traditional high-school proms. Allowing her subjects to pose in front of the camera in a studio-like setting, as seen in José and Luis (2015), Perry-Wood helps to give them a sense of personal agency and collective pride at a pivotal moment in their lives. Unlike Tourlentes and Perry-Wood, Dugan photographs her subjects – friends within the LGBTQ community – in natural light and the privacy of their own living spaces, exploring issues of gender, identity and social connection through large-format portraits such as Devotion, from the series Every Breath We Drew (2012).

With the invention of the small and affordable Kodak camera in the late 19th century, followed by the instant camera in the 1940s, many Americans no longer felt the need to visit formal portrait studios in order to record their personal lives. Among the casual snapshots featured in (un)expected families are Polaroids of Caroline Kennedy and her cousin Tina Radziwill, taken by Andy Warhol (1928-1987) in the summer of 1972 and exhibited at the MFA for the first time. The artist – along with filmmaker Jonas Mekas and photographer Peter Beard – was hired by Jacqueline Kennedy Onassis to teach the children filmmaking and photography. Also on view are an album of photographs commemorating a fraternity at Baker University in Kansas (1910s) and six snapshots depicting “Boston marriages” (1920s-1930s) – a turn-of-the-century term used to describe two women living together without the support of a man – romantic relationships in some cases and simply platonic partnerships in others.

Several groupings in the exhibition are centered on places of family life. Working roughly 50 years apart, one on New York’s Lower East Side and the other in Harlem, Lewis Hine (1874-1940) and Bruce Davidson (born 1933) both found the kitchen table an ideal site for their documentary photographs of tenement families in New York City. The groundbreaking Kitchen Table series (1990) by Carrie Mae Weems (born 1953) – featuring the photographer herself as the central figure, alongside lovers, children and friends – speaks to all those who have loved, quarrelled and come together around a communal table. Similarly, Tina Barney (born 1945) often acts as both guide and participant in her photographs – including Thanksgiving (1992) – which portray complex family moments in the wealthy East Coast social scene that she grew up in. In another selection of photographs by Julie Mack (born 1982), Mary Ellen Mark (1940-2015) and Dorothea Lange (1895-1965), the car is shown as a setting for a contemporary family self-portrait, a shelter for a homeless family in Los Angeles, and a vehicle for escape for migrant farm workers and their families during the Dust Bowl.

Alongside biologically related families and romantic unions, the exhibition highlights bonds among close-knit communities – “chosen families” – often documented by photographers embedded within the groups. Louie Palu (born 1968) spent several years covering the conflict in Afghanistan, producing portraits of U.S. Marines that capture the terrible toll of war etched on their faces and reflected in their eyes. Danny Lyon (born 1942) was a student at the University of Chicago when he first befriended members of the Chicago Outlaws, a notorious motorcycle club. For a number of years, he documented the individual gang members, their families and friends, as well as races, meetings, social gatherings, rides throughout the Midwest and even their funerals. Nan Goldin (born 1953) uses her camera as a form of diary to record the lives of friends, whom she considers a surrogate family. In Jimmy Paulette and Tabboo! in the bathroom, NYC (1991), Goldin represents two drag queens in New York City’s East Village, working in her characteristically direct, snapshot-like style. For the artist, who has lost many in her circle to HIV-AIDS, such images form tangible records of powerful human connections in fragile times.

Ethel Shariff in Chicago (1963) by Gordon Parks (1912-2006) and Hutterite Classroom, Gilford, MT (2005) by Christopher Churchill (born 1977) are among the photographs depicting religious communities. Ethel Shariff, the eldest daughter of longtime Nation of Islam head Elijah Mohammed, stands at the apex of Parks’ group portrait, surrounded by fellow members of the organisation’s women’s corps. Churchill’s photograph is from a series of pictures on the theme of American faith – a project he undertook in the years just after 9/11. Traveling across the country, he visited various sacred landscapes, places of worship and religious communities including the Hutterites, a branch of the Anabaptists who trace their beginnings back to the Protestant Reformation. For Churchill, the series became an exploration into the very basic human need to be connected to something greater than ourselves. Similarly, Tanja Hollander (born 1972) traveled all over the world – across the U.S. and Europe, but also as far away as Kuala Lumpur and New Zealand – for five years, tracking down all of her hundreds of Facebook friends and making portraits of them set in their own homes. Shot with an iPhone or a simple point-and-shoot camera, these intimate pictures – two of which were acquired for the exhibition – present a fascinating commentary on the role of social media and interpersonal relationships in the 21st century.

Additional highlights of (un)expected families include photographs in a variety of formats. Caleb Cole (born 1981) is a local photographer particularly fascinated by the dynamics of family photographs found at estate sales and flea markets in which one of the subjects – in contrast to the rest of the smiling faces – appears especially sad or downcast. Cole digitally alters these vernacular images to isolate the single, lonely figure, all the while maintaining the shapes of the remaining sitters so that the “odd one out” is set off against the blank, white expanse of the group. In The Big Sister (2012), a recent acquisition, a young girl whose parents have just introduced her to a new baby looks dejectedly off into space as if desperately wishing she could return to her former status as an only child. Digital projections from the series To Majority Minority (2014-2015) by Annu Palakunnathu Matthew (born 1964) are also based on found snapshots, sourced from photo albums of immigrant families that have come to the U.S. from all over the world. Working with the owners of these albums, Matthew digitises the images and then recreates the figures and their poses using contemporary family members in place of the original sitters. By presenting them as projections that seamlessly flow from one generation into another, the artist measures the passage of time through the faces of subsequent generations, and the accompanying texts tell stories inspired by the treasured photographs of their ancestors.

Press release from Museum of Fine Arts, Boston

Photographer unknown (American)
Untitled (Hidden Mother)
c. 1860s-1870s
Hand-coloured tintype
Collection of Lee Marks and John C. DePrez, Jr., Shelbyville, Indiana
Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

Elaine Mayes (American, b. 1936)
Group Portrait, Haight-Ashbury, San Francisco
c. 1970
Elaine Mayes/Museum of Fine Arts, Boston

Ernest C. Withers (American, 1922-2007)
Twins at WDIA, Memphis
about 1948
Gelatin silver print
Sophie M. Friedman Fund / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

Consuelo Kanaga (American, 1894-1978)
She is a Tree of Life to Them
1950
Gelatin silver print
Lucy Dalbiac Luard Fund
Consuelo Kanaga/Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

Gordon Parks (American, 1912-2006)
Ethel Shariff in Chicago
1963
Gelatin silver print
Gift of Gus and Arlette Kayafas in honor of Karen E. Haas / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

Roswell Angier (American, b. 1940)
Mr. and Mrs. Steve Mills, Pilgrim Theatre, Boston
1973
Gelatin silver print
Polaroid Foundation Purchase Fund, reproduced with permission / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

Jock Sturges (American, b. 1947)
Misty Dawn and Alisa, Northern California
1989
Gelatin silver print
Gift of Elizabeth Lea
© Jock Sturges
Photograph: © Museum of Fine Arts, Boston

Milton Rogovin (American, 1909-2011)
Felix and his Wife, Buffalo
1992
From the series Lower West Side Revisited
Gelatin silver print
Gift of Denise Jarvinen and Pierre Cremieux
© Milton Rogovin, Copyright 1952-2002 / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

Louie Palu (Canadian, b. 1968)
U.S. Marine Gysgt. Carlos “OJ” Orjuela, age 31. Garmsir, Helmand, Afghanistan
2008
Inkjet print
Museum purchase with funds donated in honour of Linda and Alex Beavers
Louie Palu/Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

And then there’s Louie Palu’s black and white portraits of Marines. These are some of the few single-person portraits among images of families or groups. Paired with a group photo, there is an initial sense of loneliness. But isolate the image and it’s a different story.

“In the military, you arrive alone and leave the military alone but live on a battlefield as part of a close group of people who will do everything to support you and are willing to risk their life to save yours,” he said. “When you are a soldier, your comrades can define a life-changing experience not a single member of your biological family will ever understand. When you come home, your mother, father, wife, brothers, sisters and children can never connect to that experience like your comrades can. When you are in a group, you are strong, and when you are alone, you are not.”

Text from Rena Silverman. “In Search of the American Family,” on the New York Times website Nov. 20, 2017 [Online] Cited 16/02/2022

Andy Warhol (American, 1928-1987)
Red Book: Tina Radziwill and Caroline Kennedy, Montauk
1972
Polaroid photograph
Sheet: 10.8 x 8.6cm (4 1/4 x 3 3/8 in.)
Gift of The Andy Warhol Foundation for the Visual Arts
© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York, NY

Elsa Dorfman (American, 1937-2020)
Nayla, Ted, Alexandra, Nick, March 30, 1995
1995
Polaroid polacolor
Gift of Elsa Dorfman in memory of Dorothy Glaser
© Elsa Dorfman, 2013, all rights reserved / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

Elsa Dorfman (American, 1837-2020)

Elsa Dorfman (April 26, 1937 – May 30, 2020) was an American portrait photographer. She worked in Cambridge, Massachusetts, and was known for her use of a large-format instant Polaroid camera. …

Dorfman’s principal published work, originally published in 1974, was Elsa’s Housebook – A Woman’s Photojournal, a photographic record of family and friends who visited her in Cambridge when she lived there during the late 1960s and early 1970s. Many well known people, especially literary figures associated with the Beat generation, are prominent in the book, including Lawrence Ferlinghetti, Allen Ginsberg, Peter Orlovsky, Gary Snyder, Gregory Corso, and Robert Creeley, in addition to people who would become notable in other fields, such as radical feminist Andrea Dworkin, and civil rights lawyer Harvey Silverglate (who would become Dorfman’s husband). She also photographed staples of the Boston rock scene such as Jonathan Richman, frontman of The Modern Lovers, and Steven Tyler of Aerosmith.

In 1995, she collaborated with graphic artist Marc A. Sawyer to illustrate the booklet 40 Ways to Fight the Fight Against AIDS. She photographed people, both with and without AIDS, each engaged in one of forty activities that might help AIDS victims in their daily life. The photographs were exhibited 1995 at the Lotus Development Corporation in Cambridge, in Provincetown and New York City. The artist donated the costs of producing the photographs for this project.

Dorfman co-starred in the documentary No Hair Day (1999).

She was known for her use of the Polaroid 20 by 24 inch camera (one of only six in existence), from which she created large prints. She photographed famous writers, poets, and musicians including Bob Dylan and Allen Ginsberg. Due to bankruptcy, the Polaroid Corporation entirely ceased production of its unique instant film products in 2008. Dorfman stocked up with a year’s supply of her camera’s last available 20 by 24 instant film.

Text from the Wikipedia website

Dawoud Bey (American, b. 1953)
Kevin
2005
From the series Class Pictures
Chromogenic print
Museum purchase with funds donated by the Friends of Photography and The Heritage Fund for a Diverse Collection
© Dawoud Bey
Photograph: © Museum of Fine Arts, Boston

Dawoud Bey (b. 1953) is a photographer known for his colour portraits of various subjects, perhaps most notably teenagers. This 2005 photograph is of a teen named Kevin and is from Bey’s series Class Pictures, which is a study of high school students across the country

Jess T. Dugan (American, b. 1986)
Devotion
2012
From the series Every Breath We Drew
Jess T. Dugan/Museum of Fine Arts, Boston
© Jess T. Dugan

Tanja Hollander (American, b. 1972)
Brittany Marcoux and Brian McGuire, Swansea, Massachusetts
2012
Inkjet print
Museum purchase with funds donated by James N. Krebs
Courtesy, Museum of Fine Arts, Boston
© Tanja Hollander

Annu Palakunnathu Matthew (British, b. 1964)
To Majority Minority – Thuan
2014-2015

The word immigrant conjures up families passing through Ellis Island or young men climbing across the southwest border fence. The United States of America of yesterday, filled with immigrants of European descent is giving way to a new multi-coloured and multicultural America. By 2050 “minority” populations in the U.S. will become the majority of the population. In this new multi-coloured America, we need to reframe our understanding of our newest immigrants in terms of their cultures, religions and stories.

In this project, I explore the generational transition from immigrant to native within families, starting with portrait photographs from these immigrant’s albums. These old photographs reflect where they have come from, revealing family histories and shared stories of immigration. The final portrait animation helps us empathise with these new Americans beyond the stereotype of the family at Ellis Island or the presumed terrorist.

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

Opening hours:
Saturday – Monday, Wednesday 10am – 5pm
Thursday – Friday 10am – 10pm
Closed Tuesdays

Museum of Fine Arts, Boston website

LIKE ART BLART ON FACEBOOK

Back to top

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 (American, b. 1947)
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

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…

Dr Marcus Bunyan

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 (American, b. 1947)
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 (American, b. 1947)
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: 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 May 11, 2017 [Online] Cited 29/12/2021

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 views of Louise Lawler: WHY PICTURES NOW
© 2017 The Museum of Modern Art
Photos: 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.

Brian Boucher. “MoMA Plans a Giant Louise Lawler Retrospective for 2017,” on the Artnet website June 23, 2016 [Online] Cited 29/12/2021

Louise Lawler (American, b. 1947)
Why Pictures Now
1981
Gelatin silver print
3 x 6” (7.6 x 15.2cm)
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 (American, b. 1947)
Why Pictures Now (traced)
1981/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
(Roy Lichtenstein and Other Artists) Black
1982
Silver dye bleach print
28 1/2 x 37 1/4″ (72.4 x 94.6cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
(Andy Warhol and Other Artists) Tulip
1982
Silver dye bleach print
38 1/2 x 60 1/2″ (97.8 x 153.7cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
Monogram
1984
Silver dye bleach print
39 1/2 × 28″ (100.3 × 71.1cm)
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 May 11, 2017 [Online] Cited 29/12/2021

Louise Lawler (American, b. 1947)
Untitled, 1950-51
1987
Silver dye bleach print
29 3/8 × 39 1/4″ (74.6 × 99.7cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

Louise Lawler (American, b. 1947)
Does Andy Warhol Make You Cry?
1988
Silver dye bleach print with text on Plexiglass wall label
Image (shown): 27 1/4 x 39″ (69.2 x 99.1cm)
Label: 4 3/8 x 6 3/8 in. (11.1 x 16.2cm)
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 Hubert. “Louise Lawler Screens a Movie with No Images,” on the Hyperallergic website May 5, 2017 [Online] Cited 29/12/2021

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 (1972-1981), 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 (American, b. 1947)
Untitled (Salon Hodler)
1992
Paperweight (silver dye bleach print, crystal, felt) with text on wall
Paperweight: 2″ (5.1cm) high, 3 1/2″ (8.9cm) diam.
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

Louise Lawler (American, b. 1947)
Salon Hodler (traced)
1992/1993/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
Sentimental
1999/2000
Silver dye bleach print
40 3/4 x 46 3/4 inches (103.5 x 118.7cm)
The Museum of Modern Art, New York
Promised gift of Glenn and Amanda Fuhrman
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
WAR IS TERROR
2001/2003
Silver dye bleach print
30 × 25 3/4″ (76.2 × 65.4cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

Louise Lawler (American, b. 1947)
Nude
2002/2003
Silver dye bleach print
59 1/2 × 47 1/2 inches (151.1 × 120.7cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

Louise Lawler (American, b. 1947)
White Gloves
2002/2004
Silver dye bleach print
29 × 27 1/2 inches (73.7 × 69.9cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

Louise Lawler (American, b. 1947)
Life After 1945 (Faces)
2006/2007
Silver dye bleach print
40 x 33 1/4 inches (101.6 x 84.5cm)
The Museum of Modern Art, New York
Promised gift of Glenn and Amanda Fuhrman
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
Triangle (adjusted to fit)
2008/2009/2011
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
No Drones
2010/2011
Chromogenic colour print
29 1/4 x 19 3/4 inches (74.3 x 50.2cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
Marie +270
2010/2012
Chromogenic colour print
59 x 45 1/2 inches (149.9 x 115.6cm)
The Museum of Modern Art, New York
Promised gift of Ricki Gail Conway
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
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. “The Values of Louise Lawler,” on the Hypoallergic website July 21, 2014 [Online] Cited 29/12/2021

Louise Lawler (American, b. 1947)
Hand on Her Back (traced)
1997/1998/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
Evening Sale
2010/2015
Silver dye bleach print
50 x 36 5/8 inches (127 x 93cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
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 (American, b. 1947)
Still Life (Candle) (adjusted to fit)
2003/2016
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler (American, b. 1947)
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

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

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

MoMA website

LIKE ART BLART ON FACEBOOK

Back to top

Exhibition: ‘The Camera Exposed’ at the Victoria and Albert Museum, London

Exhibition dates: 23rd July 2016 – 5th March 2017

There’s not much to say about this exhibition from afar, except to observe it seems pretty standard fare, with no outstanding revelations or insights into the conditions of the camera’s “becoming” in photographic images or an exploration of the limits of the lens’ seeing. As the Centre for Contemporary Photography notes in their current exhibition, An elegy to apertures, “The camera receives and frames the world through the lens. This aperture is a threshold that demarcates the distinction between the scene and its photographic echo. It is both an entrance and a point of departure.”

So what happens to this threshold when we fuse the photographer’s eye with the “oculus artificialis” of the camera? When we examine the way apertures, shadows and ghosts haunt photographic images long after the shutter has closed? If, as the text for this exhibition states, “Voyeurism is a recurring motif in photography, as the practice often involves observing and recording others,” what does this voyeurism say about the recording of the self as subject and the camera together – the self actualised, self-reflexive selfie?

An insightful text on the Based on truth (and lies) website (December 17, 2011) observes of a 1925 self-portrait by photographer Germaine Krull (1897-1985):

“In 1925, Germaine Krull photographed herself in a mirror with a hand-held camera which half-covered her face. The camera is focused on the foreground of the image, such that the lens and the two hands holding the camera are sharp, while the face behind the camera is blurred. This self-portrait has given rise to many a feminist or professionally critical interpretation, ranging from the female domestication “of the masculinity of technical apparatus” through to the analogy of the camera with a weapon used by the photographer to “reduce the person opposite her […] to an impotent object”. However, if we attempt to interpret the photograph not so much in a figurative sense as in a concrete, phenomenal sense, we arrive at a completely opposite conclusion. By selecting the depth of field in such a way that only the camera and the hands are sharp, Germaine Krull has isolated her act of photographing from her subjectivity and individuality as the photographer. It is the technical apparatus, the camera, which is the focal point of the image and behind which the photographer’s face is blurred beyond recognition. We may assume that this physiognomical retreat behind the camera is less a typical feminine gesture of shyness and reticence than the characteristically ideological approach of a modernist photographer. There is one critical point in Krull’s portrait of herself as a photographer which gives us good reason to make this assumption, namely the fusion of the photographer’s eye with the “oculus artificialis” of the camera. The notion that the camera lens could not only replace the human eye as a means of capturing the world visually but also improve upon its ability to penetrate reality to its invisible depths was paradigmatic of the new, basically positivist photographic aesthetic of the 1920s. It is an aesthetic defined by the Bauhaus theorist László Moholy-Nagy in his manifesto “Painting Photography Film” in 1925 and visualised by countless collages, posters and book covers of the 1920s and 1930s depicting the camera lens as a substitute for the human eye. Germaine Krull’s self-portrait wholly identifies with this new photographic aesthetic, too. Indeed, her influential work “Métal”, a photographic eulogy of modern technology published in 1928, is its embodiment.”1

The highlight for me is that always transcendent image by Judy Dater, Imogen and Twinka at Yosemite (1974, below). I would hope in the exhibition there would be images by Diane Arbus, Edward Weston, Vivian Maier, Man Ray, Rodchenko and others. But you never know.

Dr Marcus Bunyan

1/ sgtr. “Germaine Krull, Selbstporträt mit Ikarette, 1925,” on the Based on truth (and lies) website December 17, 2011 [Online] Cited 01/03/2023

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

In the age of the mobile phone, the camera as a stand-alone device is disappearing from sight. Yet generations of photographers have captured the tools of their trade, sometimes inadvertently as reflections or shadows, and sometimes as objects in their own right.

Throughout the history of photography the camera has often made an appearance in its own image, from the glint of Eugène Atget’s camera in a Parisian shop window from the 1900s, to the camera that serves as an eye in Calum Colvin’s 1980s photograph of a painted assemblage of objects.

Many images of cameras exploit the instrument’s anthropomorphic qualities. Held up to the face, as in Richard Sadler’s portrait of Weegee, it becomes a mask, the lens a mechanical eye. It conceals the photographer’s features yet reinforces his or her identity. Set on a tripod, it can take on human form, appearing like a body supported by legs, and can stand in for the photographer.

Photographs that include cameras often draw attention to the inherent voyeurism of the medium by turning the instrument towards the viewer. Such images confront the viewer’s gaze, returning it with the cool, mechanical look of the lens. The viewer cannot help but be aware not only of seeing, but of being seen.

Anonymous text. “The camera as star,” on the V&A website Nd [Online] Cited 24/11/2021

Lady Clementina Hawarden (Viscountess, British 1822-1865)
Clementina Maude, 5 Princes Gardens; Photographic Study
c. 1862-1863
Albumen print; Sepia photograph mounted on green card
21.6 x 23.2cm
© Victoria and Albert Museum, London

Lady Clementina Hawarden, a noted amateur photographer of the 1860s, frequently photographed her children. Here, her second-eldest daughter Clementina Maude poses next to a mirror, in which a bulky camera is reflected. The camera seems to stand in for the photographer, making this a mother-daughter portrait of sorts.

This photograph gives a good idea of Lady Hawarden’s studio and the way she used it. It was situated on the second floor of her house at 5 Princes Gardens in the South Kensington area of London. Here her daughter Clementina poses beside a mirror. A movable screen has been placed behind it, across the opening into the next room. A side table at the left balances a desk at the right. The figure of the young girl is partially balanced and echoed by the camera reflected in the mirror and the embroidery resting on the table beside it.

Hawarden appears to have worked with seven different cameras. The one seen in the mirror is the largest. Possibly there is a slight suggestion of a hand in the act of removing and/or replacing the lens cap to begin and end the exposure.

Anonymous. “Clementina Maude, 5 Princes Gardens,” on the V&A website Nd [Online] Cited 01/03/2023

Lady Clementina Hawarden (Viscountess, British 1822-1865)
Clementina Maude, 5 Princes Gardens; Photographic Study (detail)
c. 1862-1863
© Victoria and Albert Museum, London

Laelia Goehr (1908-2002), learned photography from Bill Brandt, who poses for this portrait with his newly-acquired Wide-Angle Kodak. This model was originally used by police to photograph crime scenes – the lens provides 110 degrees angle of view, equating approximately to a 14/15mm lens on a 35mm camera. Brandt experimented with it to produce his series Perspectives on Nudes, the same year as this portrait was taken. Brandt’s camera, which was made of mahogany and brass with removable bellows, was sold by Christie’s in 1997 for £3450.

Anonymous. “The camera as star: produced as part of The Camera Exposed,“ on the V&A website Nd [Online] Cited 01/03/2023

John French (English, 1907-1966)
John French and Daphne Abrams in a tailored suit
1957, printed October 2009; print made by Jerry Jack
Gelatin silver print
27.8 x 38cm
Published in the TV Times, 1957
© Victoria and Albert Museum, London

French often left the actual release of the shutter to his assistants. On this occasion however, he inserted himself into the picture, kneeling behind a tripod-mounted Rolleiflex with the shutter release cable in his hand. His crouched, slightly rumpled presence gives a sense of behind-the scenes studio work and contrasts playfully with the polished elegance of the model beside him.

Richard Avedon (American, 1923-2004)
Suzy Parker, dress by Nina Ricci, Champs-Elysée, Paris
1962
© Richard Avedon Foundation

Coventry-based portrait photographer Richard Sadler (b. 1927) photographed the self-proclaimed ‘Weegee the Famous’ in 1963. Weegee was a New York press photographer who gained his nickname – a phonetic spelling of Ouija, the fortune-telling board game – for his reputation for arriving at crime scenes before the police. His fame was international by the time this portrait was taken. Weegee’s visit to Coventry coincided with ‘Russian Camera Week’ at the city’s Owen Owen department store. The camera Weegee holds up to his eye here is the Zenit 3M, a newly-introduced Russian model made by the Krasnogorsk Mechanic Factory between 1962 and 1970.

A few years later Weegee made a comparable self-portrait in which the camera (this time a recent Nikon model) obscures his right eye.

Anonymous. “The camera as star: produced as part of The Camera Exposed,“ on the V&A website Nd [Online] Cited 01/03/2023

The camera pictured here is a Super Ikonta C 521/2 camera, produced by the German company Zeiss Ikon from about 1936 to 1960. It has been carefully lit and arranged on a velvet cloth as if it were a still-life subject, by an unknown photographer.

Anonymous. “The camera as star: produced as part of The Camera Exposed,“ on the V&A website Nd [Online] Cited 01/03/2023

British fashion photographer Tim Walker (born 1970) has collaborated with the art director and set designer Simon Costin for over a decade, and Costin’s oversized props feature in many of Walker’s sparkling, magical scenes. Costin based the giant camera on Walker’s 35mm Pentax K1000. Walker found inspiration for this shoot in a 1924 fashion illustration by Vogue artist Benito. Benito depicted girls reading a magazine from which the models appear to be coming alive.

Anonymous. “The camera as star: produced as part of The Camera Exposed,“ on the V&A website Nd [Online] Cited 01/03/2023

Every photograph in this display features at least one camera. From formal portraits to casual snapshots, still-lifes to collages, they appear as reflections or shadows, and sometimes as objects in their own right. This summer the V&A displays of over 120 photographs that explore the camera as subject. People are taking more photographs today than ever before, but as they increasingly rely on smartphones, the traditional device is disappearing from sight.

The Camera Exposed showcases works by over 57 known artists as well as many unidentified amateur photographers. From formal portraits to casual snapshots, and from still-lifes to cityscapes, each work features at least one camera. Portraits of photographers such as Bill Brandt, Paul Strand and Weegee, posed with their cameras, are on display alongside self-portraits by Eve Arnold, Lee Friedlander and André Kertész, in which the camera appears as a reflection or a shadow. Other works depict cameras without their operators. In the earliest photograph included in the display, from 1853, Charles Thurston Thompson captures himself and his camera reflected in a Venetian mirror. The most recent works are a pair of 2014 photomontages by Simon Moretti, created by placing fragments of images on a scanner.

The display showcases several new acquisitions, including a recent gift of nine 20th-century photographs. Amongst these are a Christmas card by portrait photographer Philippe Halsman, an image of photojournalist W. Eugene Smith testing cameras and a self-portrait in the mirror by the French photojournalist Pierre Jahan. On display also is a recently donated collection of 50 20th-century snapshots of people holding cameras or in the act of taking photographs. These anonymous photographs attest to the broad social appeal of the camera.

Many of the photographs in the display highlight the anthropomorphic qualities of the camera. Held up to the face like a mask, as in Richard Sadler’s Weegee the Famous, the lens becomes an artificial eye. In Lady Hawarden’s portrait of her daughter, a mirror reflection of the camera on a tripod takes on a human form, a body supported by legs.

Cameras in photographs can also emphasise the inherent voyeurism of the medium. Judy Dater explores this theme in her well-known image of the fully clothed photographer Imogen Cunningham posed as if about to snap nude model Twinka Thiebaud. In other photographs on display, the camera confronts the viewer with its mechanical gaze, drawing attention to the experience not only of seeing, but of being seen.

Press release from the V&A

Charles Thurston Thompson (British, 1816-1868)
Venetian mirror circa 1700
1853
Albumen print from wet collodion-on-glass negative
22.8 x 16.3cm
© Victoria and Albert Museum, London

As early as 1853, Charles Thurston Thompson (1816-1868), the first official photographer to the South Kensington Museum (as the V&A was then called), recorded his reflection, along with that of his camera, in the glass of an ornate Venetian mirror. Loan objects such as the mirror were photographed so that photographic copies could be sold to designers, craftsmen and students, and also filed in the Museum’s library for study. By recording not only the frame’s intricate carvings but also his reflection and that of his box form camera and tripod, Thompson showed the very process by which he made the image. It gives us a vivid glimpse of a photographer at work outdoors in the early days of the Museum and the profession of Museum Photography.

Anonymous. “The camera as star: produced as part of The Camera Exposed,“ on the V&A website Nd [Online] Cited 01/03/2023

Eugène Atget (French, 1857-1927)
Shopfront, Quai Bourbon, Paris, France
c. 1900
Albumen print from gelatin dry plate negative
21 x 17.5cm
© Victoria and Albert Museum, London

The reflection of Eugène Atget’s (1857-1927) camera is an appealing detail in this photographic record of Parisian architecture from the turn of the century. Atget’s photographs had a primarily documentary role – this image was purchased by the V&A in 1903 as an illustration of Parisian ironwork. Yet it carries a strangeness which has fascinated 20th-century photographers. His photographs acquired artistic status in the mid-1920s when they were ‘discovered’ by artists associated with Surrealism.

Anonymous. “The camera as star: produced as part of The Camera Exposed,“ on the V&A website Nd [Online] Cited 01/03/2023

This photograph is an albumen print, contact printed by Atget from a 24 x 18 glass negative. The dark shapes of two clips which held the negative in place on the right edge of the image are visible. This image was one of many photographs bought by the V&A directly from Atget, in this case, in 1903. This photograph would have been bought as simply an illustration of ironwork in Paris.

The albumen process was almost never used by the early 1900s, so the image can be dated to the 19th century. The use of this developing process also supports the non-art status intended for the photograph. There is, however, an ambiguity in the reading of this image and most strongly in the reflection in the door of the street and Atget with his camera. This is one of a number of Atget images where it is possible to see why his photographs have fascinated 20th-century photographers; it carries, whether intended or not, a strangeness which invests the image with potential meaning beyond its primarily documentary role.

Anonymous. “Shopfront, Quai Bourbon, Paris, France,” on the V&A website Nd [Online] Cited 01/03/2023

Pierre Jahan (French, 1909-2003)
Autoportrait à Velo (‘Self-portrait on bike’)
June 1944
Gelatin silver print
© Victoria and Albert Museum, London

Here, Jahan seems to have paused while cycling through the streets of Paris to snap himself in a mirror. His dangling cigarette and precarious perch on the bicycle suggest spontaneity, but the design of his camera demanded a deliberate approach. A Reflex-Korelle, manufactured in Dresden, it usually required the operator to hold it at waist level and look down into the viewfinder.

Pierre Jahan (9 September 1909 – 21 February 2003) was a French photographer who often worked in a Surrealist style.

Born in Amboise and introduced to photography by his family at a very early age, Jahan received his first professional commission when he moved to Paris in 1933, through a meeting with ad-man Raymond Gid. In 1936 he joined the Rectangle group of photographers. This group, founded by Emmanuel Sougez, among others, encouraged him in his career as a photographer.

During the Occupation, he worked for the magazine Images de France, making portraits of celebrity figures such as Colette, and he produced large series of pictures such as “La mort et les statues,” published in 1946 with a text by Jean Cocteau. They also co-published a book in which Cocteau’s poem “Plain Chant” is illustrated by photographed nudes (1947).

A passionate experimenter with a strong interest in Surrealism, Jahan produced many collages and photomontages, which he used freely for the many advertising commissions that came his way after the end of World War II.

A committed activist for photographers’ rights, he helped to found the French federation of art photographers (FAPC), of which he became vice-chairman. In 1949 he joined the professional photographers’ association Le Groupe des XV alongside Robert Doisneau, Willy Ronis, and others, to lobby for the conservation of France’s photographic heritage. He took part in their exhibitions and in those held by the Salon National de la Photographie.

Text from the Wikipedia website

Unknown photographer
Vernacular photograph
c. 1940s
Gelatin silver print
71mm x 98mm
© Victoria and Albert Museum, London

Vernacular portrait photograph of a woman in front of a fence, using a camera held at chest height. Photographer unknown, c. 1940s. Gelatin silver print, from the collection of Peter Cohen, given as part of a group of 50 photographs featuring cameras.

Elsbeth Juda (1911-2014) was a British fashion photographer who worked for more than 20 years as photographer and editor on The Ambassador magazine. This image was shot at an archaeological site in Cyprus for a story on British fashion abroad. The model appears to pose for a local tintype photographer with a homemade looking camera. Tintype, also called ferrotype, was an early photographic process which produced an underexposed negative using a thin metal plate. Tintype photography was around 100 years old when Juda took this shot.

Anonymous. “The camera as star: produced as part of The Camera Exposed,“ on the V&A website Nd [Online] Cited 01/03/2023

Elsbeth Ruth Juda (née Goldstein) and known professionally as Jay (2 May 1911 – 5 July 2014), was a British photographer most notable for her pioneering fashion photographs and work as associate editor and photographer for The Ambassador magazine between 1940 and 1965.

The Ambassador

Hans and Elsbeth Juda originally opened a London satellite office for the Dutch trade magazine International Textiles. After 1940, however, when Amsterdam came under control of the Germany army, the magazine proved too difficult to continue. In March 1946 the Judas changed the name of the publication to The Ambassador and changed its focus to British industry, trade and exports. The magazine was influential from its inception and encouraged by the British Government, who helped by ensuring a continual supply of paper during the war. Indeed, The Ambassador, The British Export Magazine became the voice of British manufacturing for export when the nation’s trade was struggling to emerge after 1945. It was published monthly in four languages (English, German, French and Portuguese), had subscribers in over ninety countries, and a circulation of 23,000 copies.

Juda’s husband, Hans, coined the official motto “Export or Die” for The Ambassador. Later, as the magazine became an essential marketing and press journal for a Britain desperate to reestablish itself as a global exporter in the post-war era, the phrase would become a mantra for the national manufacturing industry. Throughout their work during the 1940s, 1950s and 1960s, Juda and her husband became two of the United Kingdom’s greatest champions for export, constantly promoting every facet of British manufacturing, culture and the arts and, in the process, coming into close contact with a host of distinguished artists, writers, designers and photographers. The critic Robert Melville described Ambassador as “the most daring and enterprising trade journal ever conceived… no other magazine… has so consistently and brilliantly demonstrated the relevance of works of art to the problems of industrial design.”

Juda’s shoots for The Ambassador combined elements of fashion, modernism and trade. Her series of photos of the famed British model Barbara Goalen modelling Scottish textiles among the heavy machinery of working textile factory are especially representative of her unique visual aesthetics. Together they built a considerable art collection from the many artists that they came in contact with at The Ambassador. It is a much wider circle of friends, however, which would allow Jay to capture every facet of a reemerging post-war Britain through the lens of her camera. The magazine was bought by Thomson Publications in 1961 and continued to be published until 1972.

Text from the Wikipedia website

Armet Francis was born in Jamaica in 1945 and moved to London at the age of ten. His photographic career began in his mid-teens when he worked as an assistant for a West End photographic studio. His early photographs show him experimenting with the camera as a technical device and a tool for self-representation. The camera in this self-portrait is a Yashica-Mat LM twin lens reflex, an all-mechanical model introduced in 1958, with an inbuilt light meter. It records his identity as a professional photographer, while the surrounding scene offers an intimate glimpse into his personal life.

Anonymous. “The camera as star: produced as part of The Camera Exposed,“ on the V&A website Nd [Online] Cited 01/03/2023

Armet Francis is a Jamaican-born photographer and publisher who has lived in London since the 1950s. He has been documenting and chronicling the lives of people of the African diaspora for more than 40 years and his assignments have included work for The Times Magazine, The Sunday Times Supplement, BBC and Channel 4.

He has exhibited worldwide and his work is in collections including those of the Victoria & Albert Museum and the Museum of London. One of his best known photographs is 1964’s “Self Portrait in Mirror”.

Read a fuller biography on the Wikipedia website

Dater met Imogen Cunningham, a prominent American photographer, in 1964. Cunningham acted as a mentor to Dater, and the two became close friends. This image is from Dater’s larger series addressing the theme of voyeurism, in particular the idea of someone clothed watching someone nude. Voyeurism is a recurring motif in photography, as the practice often involves observing and recording others.

Judith Rose Dater (née Lichtenfeld; June 21, 1941) is an American photographer and feminist. She is perhaps best known for her 1974 photograph, Imogen and Twinka at Yosemite, featuring an elderly Imogen Cunningham, one of America’s first woman photographers, encountering a nymph in the woods of Yosemite. The nymph is the model Twinka Thiebaud. The photo was published in Life magazine in its 1976 issue about the first 200 years of American women. Her photographs, such as her Self-Portraiture sequence, were also exhibited in the Getty Museum. …

Photography

Judy Dater uses photography as an instrument for challenging traditional conceptions of the female body. Her early work paralleled the emergence of the feminist movement and her work became strongly associated with it. At a time when female frontal nudity was considered risqué Dater pushed the boundaries by taking pictures of the naked female body. However, she did so in a way which did not objectify her subject which was in many cases, herself. Dater began taking photographs in the 1960s and she is still taking photographs today. Mark Johnstone, an Idaho resident whom Dater photographed in the early 80’s remarked that “During this time, she never got swayed by or indulged in trends, but moved with her own vision. She’s one of the few successful women in the art world, especially photography, who never depended on ongoing academic support to fuel and expand her artistic exploration.”

While her subject and message remained relatively constant throughout her career, Dater experimented with a variety of compositions as her career developed. Her photographs, and in particular, her portraits (which she specialises in) are taken in both black and white, and in colour. She has taken portraits in the Southwestern desert and also posed as female stereotypes in a more obvious display of activism. Her 1982 portrait “Ms. Clingfree” demonstrated the latter as Dater posed with an assortment of cleaning supplies.

She was influenced by the vital cultural intersection of photography and feminism, and the second wave of feminism which started in the 1960s and lasted up till the 1980s. In the 1980s, much has changed and the country as a whole became more conservative in areas of political life. The gains of the women’s movement began to slow, and many feminists became discouraged with the continuation of sexist attitudes and behaviour. Through her powerful photography and personal sense of style, Dater was able to surpass these conservative values and was able to effectively convey her views to her audience.

One of her famous photograph sequences taken in the 1980s, known as the Self-Portraiture sequence, exploited themes such as identity, feminism, and the human connection with nature. She effectively conveyed these themes and delivered, through her photography, the stories of women’s lives, relationships, and personal emotions. For example, in her photograph titled, My Hands, Death Valley, Dater presents the theme of feminism through the placement of the artist’s hands on the car’s glass window; her hands are crinkled, which is a sign of ageing. The theme of personal identity is explored in connection with the theme of feminism. The background is of the hazy Death Valley, the grounds are dry, her hands are weathered, and she’s trying to force open a car window. The theme of human’s connection with nature is exploited by taking the photograph in a natural landscape setting, and putting herself out there.

Read a fuller biography on the Wikipedia website

Victoria and Albert Museum
Cromwell Road
London
SW7 2RL
Phone: +44 (0)20 7942 2000

Opening hours:
Daily 10 – 17.45
Friday 10 – 22

V&A website

LIKE ART BLART ON FACEBOOK

Back to top

Exhibition: ‘Nan Goldin: The Ballad of Sexual Dependency’ at the Museum of Modern Art (MoMA), New York

Exhibition dates: 11th June 2016 – 12th February 2017

Nan Goldin (American, b. 1953)
Trixie on the Cot, New York City
1979
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7cm)
The Museum of Modern Art, New York
Acquired through the generosity of Marian and James H. Cohen in memory of their son Michael Harrison Cohen
© 2016 Nan Goldin

This “seminal” body of work by Nan Goldin allegedly changed the course of photography. In my opinion, not for the better.

There is little love and tenderness here, little magic or generosity of spirit. Goldin’s attitude to the world at the time seems to be one of hostility and resentment. It’s all very well portraying the underbelly of society – the depravity, violence and degradation – but if your point of departure is one of anger and animosity, this is always going to be reflected in your art. I remember going out with my friends partying in the 1980s, the drugs, the sex, the pushing it to the edge, but you know what – we cared about each other. Nothing could be further from the truth in Goldin’s hedonistic (not heuristic) approach to her aura.

Shooting indiscriminately, hoping to find the rough diamond of an image, cuts both ways. In the arbitrary voyeurism of this work – do I snap now or a second later, what is happening outside of the frame – you never know what you are missing. Often you get nothing, or you get a reflection of yourself that is not very appealing. (Today is a very different world from the 1980s, we just snap and upload everything. These images are very of their time). There is so much more that could have been said other than through this controlling, diaristic approach to the subject matter.

I repeat, there seems to be a less than generous spirit captured in this work, of how Goldin looked at the world at that time, and it is reflected back to us in her images. Nothing to do with HIV / AIDS, nothing to do with bohemianism – everything to do with the spirit of the artist.

Dr Marcus Bunyan

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

“Since David Armstrong and I were young he always referred to photography as “diving for pearls.” If you took a million pictures you were lucky to come out with one or two gems. … I never learned control over my machines. I made every mistake in the book. But the technical mistakes allowed for magic. … Random psychological subtexts that I never would have thought to intentionally create. The subconscious made visible – though whether mine or the camera’s I don’t know …”

Nan Goldin. “Diving for Pearls,” quoted in Hilton Als. “Nan Goldin’s Life in Progress,” on The New Yorker website, July 4, 2016 [Online] Cited 18/11/2021

Nan Goldin (American, b. 1953)
Buzz and Nan at the Afterhours, New York City
1980
Silver dye bleach print, printed 2008
15 1/2 x 23 1/4″ (39.4 x 59cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
Nan and Dickie in the York Motel, New Jersey
1980
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
Self-Portrait in Blue Bathroom, London
1980
Silver dye bleach print, printed 2016
20 x 24″ (50.8 x 61cm)
The Museum of Modern Art, New York
Gift of Nan Goldin
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
Heart-Shaped Bruise, New York City
1980
Silver dye bleach print, printed 2006
20 x 24″ (50.8 x 61cm)
The Museum of Modern Art, New York
Gift of Nan Goldin
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
David and Butch Crying at Tin Pan Alley, New York City
1981
Silver dye bleach print, printed 2009
15 1/2 x 23 1/8″ (39.4 x 58.7cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
Nan on Brian’s Lap, Nan’s Birthday, New York City
1981
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.3 x 58.7cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
Rise and Monty Kissing, New York City
1980
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
Philippe H. and Suzanne Kissing at Euthanasia, New York City
1981
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
Max and Richard, New York City
1983
Silver dye bleach print, printed 2006
15 9/16 x 23 1/16″ (39.6 x 58.5cm)
The Museum of Modern Art, New York. The Family of Man Fund
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
Nan and Brian in Bed, New York City
1983
Silver dye bleach print, printed 2006
15 1/2 x 23 3/16″ (39.4 x 58.9cm)
The Museum of Modern Art, New York
Acquired through the generosity of Jon L. Stryker
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
Nan One Month After Being Battered
1984
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
The Parents’ Wedding Photo, Swampscott, Massachusetts
1985
Silver dye bleach print, printed 2006
15 1/2 x 23 1/8″ (39.4 x 58.7cm)
The Museum of Modern Art, New York
Acquired through the generosity of Richard O. Rieger
© 2016 Nan Goldin

Comprising almost 700 snapshot-like portraits sequenced against an evocative music soundtrack, Nan Goldin’s The Ballad of Sexual Dependency is a deeply personal narrative, formed out of the artist’s own experiences around Boston, New York, Berlin, and elsewhere in the late 1970s, 1980s, and beyond. Titled after a song in Bertolt Brecht and Kurt Weill’s The Threepenny Opera, Goldin’s Ballad is itself a kind of downtown opera; its protagonists – including the artist herself – are captured in intimate moments of love and loss. They experience ecstasy and pain through sex and drug use; they revel at dance clubs and bond with their children at home; and they suffer from domestic violence and the ravages of AIDS.

“The Ballad of Sexual Dependency is the diary I let people read,” Goldin wrote. “The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.”

The Ballad developed through multiple improvised live performances, for which Goldin ran through the slides by hand and friends helped prepare the soundtrack – from Maria Callas to The Velvet Underground – for an audience not unlike the subjects of the pictures. The Ballad is presented in its original 35mm format, along with photographs from the Museum’s collection that also appear as images in the slide show. Introducing the installation is a selection of materials from the artist’s archive, including posters and flyers announcing early iterations of The Ballad. Live performances will periodically accompany The Ballad during the course of the Museum’s presentation; performance details will be announced during the course of the exhibition presentation.

Press release from MoMA

Nan Goldin (American, b. 1953)
C.Z. and Max on the Beach, Truro, Massachusetts
1976
Silver dye bleach print, printed 2006
23 1/8 x 15 1/2″ (58.7 x 39.4cm)
The Museum of Modern Art, New York
Acquired through the generosity of Jon L. Stryker
© 2016 Nan Goldin

Nan Goldin (American, b. 1953)
The Hug, New York City
1980
Silver dye bleach print, printed 2008
23 1/8 x 15 1/2″ (58.7 x 39.4cm)
The Museum of Modern Art, New York. Purchase
© 2016 Nan Goldin

Janet Stein (designer)
Poster for ‘The Ballad of Sexual Dependency’, slide show by Nan Goldin, with ‘Desperate Living’, a film by John Waters
O.P. Screening Room, New York, March 29, 1982
Photocopy
11 × 8 1/2″ (27.9 × 21.6cm)
Collection Nan Goldin

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

LIKE ART BLART ON FACEBOOK

Back to top

Exhibition: ‘Recent Acquisitions in Focus: Latent Narratives’ at the J. Paul Getty Museum, Getty Centre, Los Angeles

Exhibition dates: 13th September 2016 – 29th January 2017

William Leavitt (American, b. 1941)
Innuendo
Negative 1995; print about 2008
Gelatin silver print
27.9 × 35.5cm (11 × 14 in.)
The J. Paul Getty Museum, Los Angeles
© William Leavitt

Again, telling stories with pictures…

Lyrical, ambiguous juxtapositions abound.

Hand, clock, motel, scream, bird, body, river, stairs, hand.

Latent = (of a quality or state) existing but not yet developed or manifest; hidden or concealed.

Unresolved. Interchangeable.

Marcus

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

“This exhibition features multipart photographic works by four contemporary artists: William Leavitt, Liza Ryan, Fazal Sheikh, and Whitney Hubbs. Juxtaposing images of people, places, and things, the works present fragmentary, enigmatic narratives that nonetheless establish a powerful, almost palpable atmosphere or mood. When sequenced by the artist in a specific order, the images recall storyboards used for motion pictures. When excerpted from a larger series, they suggest a stream-of-consciousness meditation on a theme.

By providing the visual cues or markers of stories still to be played out, these photographs encourage visitors to participate in completing the narratives. On view for the first time at the Getty, all the works in the exhibition are recent acquisitions drawn from the Museum’s permanent collection. Several were donated or purchased with funds provided by our donors, whom we would like to thank for their generosity.”

Text from the J. Paul Getty Museum

William Leavitt (American, b. 1941)
Spectral Analysis
Negative 1977; print about 2008
Chromogenic print
Framed: 42.9 × 154.6cm (16 7/8 × 60 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© William Leavitt

William Leavitt

Based in Los Angeles, Leavitt is closely tied to West Coast Conceptualism, and frequently references L.A.’s entertainment industry and vernacular culture in his work, which includes performance, installation, sculpture, painting, and photography. Spectral Analysis (1977) is a triptych of photographs based on his one-act play of the same name, which featured a man and woman in conversation within a set furnished with a starburst light fixture, a sofa, a side table with a portable television, and a long beige curtain into which a rainbow of colour is projected. The four photographs of Innuendo (1995) depict the lobby of an apartment building, a painting of a fountain, a painting of a motel in East L.A., and a circular UFO-like construction made of PVC pipe. These images provide the loose structure of a narrative that moves unseen actors from one location to the next, suggesting the atmosphere of film noir.

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 175.3 × 4.4cm (12 1/8 × 43 3/4 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 161.6 × 4.4cm (12 1/8 × 63 5/8 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

Liza Ryan

Working primarily in photography and video, Ryan often incorporates references from literature, poetry, and film to introduce additional layers of meaning. By cutting, collaging, and grouping her photographs and installing them in a manner that borrows from sculpture, she establishes evocative associative relationships between multiple images. Measuring thirty feet in length, Spill (2009) is a running band of cinematic narrative that alternates images of the human body and nature. Ryan poured India ink onto the surface of the prints, coaxing the pigment into a continuous, organic line that links the 23 frames as it wends its way from a primal scream at far left to an intimate touch at right.

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 111.1 × 4.4cm (12 1/8 × 69 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 184.2 × 4.4cm (12 1/8 × 61 1/2 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 156.2 × 4.4cm (12 1/8 × 51 3/8 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 130.5 × 4.4cm (12 1/8 × 51 3/8 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

A painting of a motel in East Los Angeles. A primal scream. A funeral bier. A woman crouching in a bed of shrubs. These ambiguous images are each components within larger photographic works that juxtapose images of people, places, and things to present fragmentary, enigmatic narratives. Recent Acquisitions in Focus: Latent Narratives, on view September 13, 2016 – January 29, 2017 at the J. Paul Getty Museum, Getty Center, presents works by contemporary artists William Leavitt (American, born 1941), Liza Ryan (American, born 1965), Fazal Sheikh (American, born 1964), and Whitney Hubbs (American, born 1977). By providing the visual cues or markers of stories still to be played out, the works in the exhibition establish a powerful atmosphere and mood, and encourage viewers to take part in completing the narrative. On view at the Getty Museum for the first time since acquired, many of the works in the exhibition were donated or purchased with funds provided by donors.

“The Museum’s ‘In Focus’ gallery has generally been used to provide a thematic cross section of our photographs collection. This exhibition represents a slight departure in that it covers several recent acquisitions by artists of different generations, all of whom share an interest in telling stories with pictures,” explains Timothy Potts, director of the J. Paul Getty Museum. “These works are mostly non-linear narratives that require close attention to symbolism, mood, and seemingly insignificant details that create an overall story. In much the same way as pieces of a puzzle create a complete image, these multi-part works are reminiscent of storyboards used in motion pictures to provide an outline of a visual narrative that still needs to be played out.”

Press release from the J. Paul Getty Museum

Fazal Sheikh (American, b. 1964)
Ether
2008-2011
Inkjet print
Image: 13.3 × 20cm (5 1/4 × 7 7/8 in.)
Mount: 39.4 × 28cm (15 1/2 × 11 in.)
The J. Paul Getty Museum, Los Angeles
Purchased with funds provided by Joseph Cohen
© Fazal Sheikh

Fazal Sheikh

Fazal Sheikh is best-known for documenting displaced communities all over the world. Executed in black and white with a large-format camera, his photographs typically portray the victims of human rights violations and social injustices, serving as a call to action. For the series Ether (2008-2011), Sheikh traveled to Varanasi (also known as Benares, Banaras, or Kashi), a city located on the banks of the Ganges River in northern India. Hindu pilgrims bring their deceased to this holy site for cremation, believing that the soul will ascend to heaven and be freed from the eternal cycle of reincarnation. Rendered in luminous, jewel-like tones, these photographs (his first images in colour) highlight the vulnerability of subjects captured in the still of night or during early morning hours. Excerpted from the larger series, the four images presented – a sleeping man, sleeping dogs, a funeral bier, and burning embers – suggest the narrative progression of a pilgrimage. Collectively they can be seen as a meditation on the cyclical nature of life, as well as on the universal yet elusive experience of dreams.

Whitney Hubbs (American, b. 1977)
Untitled (Hair)
2012
Gelatin silver print
Sheet: 50.8 × 60.9cm (20 × 24 in.)
Framed: 51.1 × 61.3cm (20 1/8 × 24 1/8 in.)
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by Leslie, Judith, and Gabrielle Schreyer
© Whitney Hubbs

Whitney Hubbs (American, b. 1977)
Untitled (Stairs)
2012
Gelatin silver print
Sheet: 47 × 59.7cm (18 1/2 × 23 1/2 in.)
Framed: 48 × 60.7cm (18 7/8 × 23 7/8 in.)
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by Leslie, Judith, and Gabrielle Schreyer
© Whitney Hubbs

Whitney Hubbs (American, b. 1977)
Untitled (Baby)
2012
Gelatin silver print
Sheet: 50.8 × 60.9cm (20 × 24 in.)
Framed: 51.4 × 61.6cm (20 1/4 × 24 1/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the artist and M+B, Los Angeles
© Whitney Hubbs

Whitney Hubbs

Hubbs’s installations of richly detailed gelatin silver prints in various sizes create lyrical but ambiguous juxtapositions. Citing music as an important influence, Hubbs is more interested in establishing a mood than in conveying a clear-cut narrative. The five images in the exhibition – a rock formation, a building entry, a set of stairs, a woman crouching in a bed of shrubs, and a baby lying on a blanket – are taken from the series The Song Itself Is Already a Skip (2012). The title of the work was inspired by a passage of text by French philosopher Gilles Deleuze (1925-1995) that discusses the oscillation between order and chaos. The deep blacks of Hubbs’s meticulously printed photographs lend ominous overtones to her dreamlike imagery.

“The idea of a latent narrative is particularly pertinent to photographic images, which remain invisible to us between the moment of exposure and the moment of development,” says Virginia Heckert, head of the Getty Museum’s Department of Photographs and curator of the exhibition. “As much as we might want to know what the artist intended by bringing together diverse images, it is equally interesting to see how viewers interpret the relationship between images and bring to life their own narratives.”

Press release from the J. Paul Getty Museum

Whitney Hubbs (American, b. 1977)
Untitled (Entryway)
2012
Gelatin silver print
Sheet: 34.3 × 27 cm (13 1/2 × 10 5/8 in.)
Framed: 35.6 × 27.9 cm (14 × 11 in.)
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by Leslie, Judith, and Gabrielle Schreyer
© Whitney Hubbs

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

Opening hours:
Daily 10am – 5.30pm

The J. Paul Getty Museum website

LIKE ART BLART ON FACEBOOK

Back to top

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

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

Barbara Kruger (American, b. 1945)
Untitled (Know nothing, Believe anything, Forget everything)
1987/2014
Screenprint on vinyl
Overall: 274.32 x 342.05cm (108 x 134 11/16 in.)
National Gallery of Art, Washington, Gift of the Collectors Committee, Sharon and John D. Rockefeller IV, Howard and Roberta Ahmanson, Denise and Andrew Saul, Lenore S. and Bernard A. Greenberg Fund, Agnes Gund, and Michelle Smith
© Barbara Kruger

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

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

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

Know nothing, Believe anything, Forget everything!

Dr Marcus Bunyan

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

Barbara Kruger (American, b. 1945)
Untitled (We don’t need another hero)
1987
Photograph and type on paper
Overall: 14.61 x 28.89cm (5 3/4 x 11 3/8 in.)
Framed: 34.61 x 48.58 x 4.45cm (13 5/8 x 19 1/8 x 1 3/4 in.)
Glenstone Museum, Potomac, Maryland
© Barbara Kruger

Barbara Kruger (American, b. 1945)
Untitled (We don’t need another hero)
1987
Silkscreen on vinyl
Overall: 276.54 x 531.34 x 6.35cm (108 7/8 x 209 3/16 x 2 1/2 in.)
Whitney Museum of American Art, New York. Gift from the Emily Fisher Landau Collection
© Barbara Kruger

Barbara Kruger (American, b. 1945)
Untitled (Love is something you fall into)
1990
Photographic silkscreen/vinyl
Overall: 163.83 x 396.24cm (64 1/2 x 156 in.)
Hall Collection
© Barbara Kruger. Photo courtesy Mary Boone Gallery, New York

Barbara Kruger (American, b. 1945)
Untitled (A picture is worth more than a thousand words)
1992
Silkscreen on vinyl
Overall: 208.28 x 312.42cm (82 x 123 in.)
Private collection
© Barbara Kruger

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

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

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

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

Exhibition highlights

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

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

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

Barbara Kruger (b. 1945) short biography

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

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

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

Press release from the National Gallery of Art

Barbara Kruger (American, b. 1945)
Untitled (Your gaze hits the side of my face)
1981
Photograph and type on paper
Overall: 23.8 x 17.8cm (9 3/8 x 7 in.)
Framed: 47.94 x 39.05 x 4.45cm (18 7/8 x 15 3/8 x 1 3/4 in.)
Glenstone Museum, Potomac, Maryland
© Barbara Kruger

Barbara Kruger (American, b. 1945)
Untitled (You thrive on mistaken identity)
1981
Gelatin silver print
Overall: 152.4 x 101.6cm (60 x 40 in.)
Matthias Brunner
© Barbara Kruger. Photo courtesy Mary Boone Gallery, New York

Barbara Kruger (American, b. 1945)
Untitled (We have received orders not to move)
1982
Photographic collage
Overall: 177.17 x 120.65cm (69 3/4 x 47 1/2 in.)
Susan Bay-Nimoy and Leonard Nimoy
Courtesy: Mary Boone Gallery, New York
© Barbara Kruger
Photo: courtesy Mary Boone Gallery, New York

Barbara Kruger (American, b. 1945)
Untitled (Your creation is divine, Our reproduction is human)
1984
Gelatin silver print
Overall: 182.88 x 121.92cm (72 x 48 in.)
Phyllis and William Mack
© Barbara Kruger
Photo: courtesy Mary Boone Gallery, New York

Barbara Kruger (American, b. 1945)
Untitled (The future belongs to those who can see it)
1997
Silkscreen on vinyl
Overall: 215.9 x 152.4cm (85 x 60 in.)
From the Chris and Dori Carter Collection
© Barbara Kruger

Barbara Kruger (American, b. 1945)
Untitled (Think of me thinking of you)
2013
Digital print on vinyl
Overall: 243.84 x 191.77cm (96 x 75 1/2 in.)
Private collection
© Barbara Kruger
Photo: courtesy Mary Boone Gallery, New York

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

Opening hours:
Monday – Saturday 10.00am – 5.00pm
Sunday 11.00am – 6.00pm

National Gallery of Art website

LIKE ART BLART ON FACEBOOK

Back to top