Posts Tagged ‘American documentary photography

03
Jun
18

Review: ‘Diane Arbus: American Portraits’ at the Heide Museum of Modern Art, Melbourne

Exhibition dates: 21st March – 17th June 2018

Curator at Heide: Anne O’Hehir

 

Diane Arbus. 'Xmas tree in a living room in Levittown, L.I. 1963' 1963

 

Diane Arbus (1923-71)
Xmas tree in a living room in Levittown, L.I. 1963
1963
Silver gelatin print

 

Diane Arbus (1923-71) 'Xmas tree in a living room in Levittown, L.I. 1963' 1963

 

Diane Arbus (1923-71)
Xmas tree in a living room in Levittown, L.I. 1963 (installation view)
1963
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1981

 

 

The power of intention

If I had to nominate one photographer who is my favourite of all time, it would be Diane Arbus. There is just something about her photographs that impinge on my consciousness, my love of difference in human beings, their subversiveness and diversity. She pictures it all, some with irony, some with love, some with outright contempt, but always with interest. In photographs of dwarfs you don’t get the majesty and beauty that Susan Sontag desired, you get something else instead: the closeness of intention and effect – this is who this person was at that particular moment represented in a photograph, the essence of their being at that particular time.

Arbus was fascinated by the relationships between the psychological and the physical, probing her subjects with the camera to elicit a physical response. Her sensory, emotional, intellectual and aesthetic intelligence creates a single experience in relation to subject, stimulating her to respond to the world in her own unique way. While Arbus may well have hated aspects of American culture – “Its hypocrisy, this ‘happy happy’ story after the war, the consumerism, the racism, she feels deeply about that,” as Anne O’Hehir, curator of the National Gallery of Australia’s American Portraits observes – she photographed everything that makes us human in profound and powerful photographs. To me, her subjects were not ‘caught off guard’ nor did they unintentionally reveal aspects of themselves – they revealed themselves to Arbus just as they are, because she gained their trust, she had empathy for who they were… an empathy that probably flowed both ways, enhanced by the subjects sense of Arbus’ own personal travails.

It is unfortunate then, that this exhibition at Heide Museum of Modern Art is such a disappointment. This has nothing to do with the wonderful installation by the Heide curatorial team in the beautiful gallery spaces, but in the prints themselves and the artists that accompany Arbus’ work. Let’s look at the prints first.

According to an article by Louise Maher on the ABC News website in 2016, “The collection is one of the largest public holdings of her work outside New York and, according to NGA curator of photography Anne O’Hehir, one of the most impressive in the world. “The gallery was buying a huge amount of work in 1980 and ’81 leading up to the opening of the gallery in 1982,” Ms O’Hehir said. “We were offered in two lots these extraordinary photographs – they were the first release of prints from the Arbus estate and they were expensive at the time.”

These vintage prints are by the hand of Arbus, not later printings by other people, and as such should be as close a rendition to what Arbus intended the work to look like as can be found. The exhibition text notes that, “All the same, she was very clear about how she wanted her images to look; she worked hard to achieve a particular quality in her prints, which have a distinct feel and appearance that are quite different from other photographs of the 1960s … She reminds us consistently through a number of careful and deliberate strategies that we are looking at a photograph that has been made by a particular person.”

Through these strategies Arbus sought to differentiate her prints from the West Coast Ansel Adams Zone system of printing which was prevalent at the time. The Zone System would have been the antithesis of what Arbus wanted from her photographs. Every popular magazine at that time would have had Zone System stuff… so Arbus didn’t dare align herself with that school. But truth be told, if these prints are the best that she could do as a printer, then they are not very good. As can be seen from the installation photographs in this posting (not the media photographs), some of the prints are so dark as to be beyond comparison to the clarity of the prints that were later produced by her daughter Doon Arbus for the Arbus estate and for reproduction in books. You only have to look at the installation photograph of Xmas tree in a living room in Levittown, L.I. 1963 (above) and another reproduction of this image to see how dark the National Gallery of Australia’s prints are. If you take time to actually look at the photographs one of the prints, Identical twins, Roselle, N.J., 1966 (1966, below) was barely in focus under the enlarger when developed, and several others have not been fixed properly. They may have been first release, but how far down the release were they? We don’t know whether these were the top shelf prints, or tenth in the stack. I know from personal experience that I have a numbering system from one to ten. You sell the best print and so number two then becomes number one, and so on.

The poorness of these prints again becomes a sign of intention. The print is the final, luminous rendition of a photographers previsualisation, the ultimate expression of their creativity. This is how I want to show you the world, through this photograph. It is the end point of a long process. I believe strongly that Arbus wanted to show things as clearly as possible, as clearly as the best possible use that photography could provide. She is like a razor the way she cuts through. But in these particular final renditions, she lets herself down. And the people who bought these photographs, should have realised what poor prints they were.

Turning to the artists that accompany the work of Arbus… was it really necessary to surround such a powerful artist’s work with such noise? While it is always a delight to see the work of Mary Ellen Mark, William Eggleston, Milton Rogovin, Lee Friedlander, Garry Winogrand, Lisette Model, Walker Evans, Weegee and William Klein, to try and embed the work of Arbus within a photographic milieu, within a cacophony of imagery that stretches from the 1930s to the 1980s, simply does not work. While Arbus emerges out of the concerns of her era, she is such a powerful presence and force that simply no one compares. She is so different from the organised Evans and or the macabre Weegee, more closely aligned to Model, and certainly by no stretch of the imagination does she influence Eggleston, Friedlander, Winogrand, Mark or Rogovin in any significant way… that these artists works just become filler for this exhibition. If the intention was to situate Arbus’ work in the chronological “flow” of photography then the concept falls between intention and effect. While no artist’s work appears without regard to historical precedent, their work is simply their own and needs its own space to breathe.

What would have been more interesting would have been to position Arbus’ work within an Australian context. Now there’s an idea, since we live in Australia!

Here we go: exhibit Arbus’ prints with 15 prints by Carol Jerrems (Vale Street, Mark and Flappers), 15 prints of the early work of Polixeni Papapetrou (drag queens, Elvis fans, circus performers and wrestlers) and 15 prints of the work of Sue Ford. Four strong women who deal with issues of gender and identity in a forthright manner – not a cacophony of noise (9 artists, 6 of them men) to accompany the work of a genius. Analyse the influence of Arbus on this generation of Australian photographers. Pretty simple. Clean, concise, accessible, relevant to Australia audiences. Then intention would have possibly met effect.

There are highlights to be had within this exhibition, two in particular.

It was a pleasure to see the work of Milton Rogovin. I have always admired his work, and the small, intimate prints from his Lower West Side series (1973-2002) did not disappoint. While Arbus’ portraits are powerful visualisations, front and centre, Rogovin’s working class families are just… present. His social documentary photographs of working class families are almost reticent in their rendition. “His classical portraits, often grouped in diptychs and triptychs, expound narrative in a single image and over time. They compress time intimately… and by that I mean the viewer is engaged in a conversation with the subject, where we can imagine that we live those lives as they do (transcending time), the lives of what Rogovin called “the forgotten ones.” He makes their countenance, their physicality, the hardships they endure, and their narrative, directly and intimately compelling. We are made to feel their plight in the now and the forever. For these photographs are as relevant, if not more so, now as then.”

The other highlight is to see three Arbus photographs that I have never seen before: Old black woman with gnarled hand; Large black family in small shack; and Addie Taylor in her shack, Beaufort, South Carolina (all 1968, installation views below), all three taken with flash. These works were a revelation for their observational intimacy and evocation of a dark place in the existence of the poorest of human beings. The gnarled hand of the old woman lying in a filthy bed with cardboard walls is particularly distressing to say the least. To compare these photographs with Walker Evans’ flash photograph Hudson Street boarding house detail, New York (1931, below) and his naturally aspirated Bedroom, shrimp fisherman’s house, Biloxi, Mississippi (1945, below) in their pristine emptiness is instructive. This ideation, together with Arbus’ photographs relationship to the work of her sometime teacher Lisette Model (particularly her Lower East Side photographs (1939-42); Albert-Alberta, Hubert’s 42nd St Flea Circus, New York (c. 1945) and Woman with Veil, San Francisco (1949) all below) are the zenith of this exhibition, where the intention of embedding Arbus’ photographs in the history of the medium come best to fruition, in effect.

Finally, I must say a big thank you to Heide Museum of Modern Art for allowing me to come out to the gallery to take the installation photographs. Many thanks indeed.

Marcus

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

 

 

“People who met Arbus often said she was incredibly seductive. Immensely curious, she was softly spoken and her ability to connect with and gain the trust of people was legendary. She talked about “the gap between intention and effect”, explaining “it really is totally fantastic that we look like this and you sometimes see that very clearly in a photograph. Something is ironic in the world and it has to do with the fact that what you intend never comes out like you intend it.””

.
Kerrie O’Brien, curator of the National Gallery of Australia’s Diane Arbus: American Portraits

 

“The people in an Arbus photograph are never trivialised; they have certainly a larger-than-life intensity that few other photographers can achieve. While they seem like figures from fairy tales or myth, they are also invested with powerful agency.”

.
Gillian Wearing

 

“When you’re awake enough to question your purpose and ask how to connect to it, you’re being prodded by the power of intention. The very act of questioning why you’re here is an indication that your thoughts are nudging you to reconnect to the field of intention. What’s the source of your thoughts about your purpose? Why do you want to feel purposeful? Why is a sense of purpose considered the highest attribute of a fully functioning person? The source of thought is an infinite reservoir of energy and intelligence.

In a sense, thoughts about your purpose are really your purpose trying to reconnect to you. This infinite reservoir of loving, kind, creative, abundant energy grew out of the originating intelligence, and is stimulating you to express this universal mind in your own unique way.”

.
Dr Wayne Dyer from ‘The Power of Intention’

 

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne
Photos: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

 

Heide is delighted to host the National Gallery of Australia’s touring exhibition, Diane Arbus: American Portraits.

The photographs of Diane Arbus (1923-71) are among the most widely recognised in the history of photography. Her images stand as powerful allegories of post-war America, and once seen are rarely forgotten. Works such as Identical twins, Roselle, N.J., 1967 and Child with toy hand grenade, in Central Park, New York City have been described as two of ‘the most celebrated images in the history of the medium’.

Featuring 35 of Arbus’s most iconic and confrontational images from 1961-71, this exhibition examines the last decade of Arbus’s life,the period in which her style is in full flight. Her work has polarised viewers who question whether she exploited or empowered her subjects, who were often drawn from society’s margins. ‘The National Gallery of Australia is privileged to hold such an extraordinary collection of work by a photographer of Arbus’s significance,’ said Anne O’Hehir, curator. ‘This collection covers Arbus’s best-known pictures, and also includes images which are rarely seen. This exhibition is a testament to the power of Arbus’s extraordinary vision.’

Arbus’s photographs are exhibited alongside a selection of works by other leading American photographers whose work influenced Arbus, was shown alongside hers in the ’60s, or has been influenced by her. These include famous images by Lisette Model, Walker Evans and Weegee, her contemporaries William Klein, Garry Winogrand, Lee Friedlander and Milton Rogovin as well as a slightly younger generation, work by Mary Ellen Mark and William Eggleston.

Heide Director and CEO Dr Natasha Cica said: ‘Heide is delighted to present this exhibition of the renowned photographer Diane Arbus. Her uncompromising view challenged existing photography conventions in a surprising and enchanting way.’

Press release from Heide Museum of Modern Art

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne with at left, Weegee’s No title (at a concert in Harlem) c. 1948, National Gallery of Australia, Canberra Purchased 1981 followed by William Klein’s Christmas shoppers, near Macy’s, New York 1954 and Stickball gang, New York 1955
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Weegee (Arthur Fellig) (1899-1968) 'No title (at a concert in Harlem)' c. 1948

 

Weegee (Arthur Fellig) (1899-1968)
No title (at a concert in Harlem)
c. 1948
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of William Klein’s Christmas shoppers, near Macy’s, New York 1954 and Stickball gang, New York 1955
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Installation view of William Klein (born April 19, 1928) 'Christmas shoppers, near Macy's, New York' 1954

 

Installation view of William Klein’s Christmas shoppers, near Macy’s, New York 1954 National Gallery of Australia, Canberra Purchased 1993
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

William Klein (born April 19, 1928) 'Christmas shoppers, near Macy's, New York' 1954

 

William Klein (born April 19, 1928)
Christmas shoppers, near Macy’s, New York
1954
Gelatin silver photograph

 

 

Klein sandwiched his relatively short photographic career, working as a fashion photographer for Vogue, between being a painter and a filmmaker. Self-taught, he experimented with flash, wide-angle lenses, blurring, abstraction and accidents, and produced grainy, high contrast prints. He is deliberately at the other end of the spectrum from the invisible, disinterested photographer. Klein deliberately got really close to his subjects, in their faces, and caught them reacting to being photographed on the street. ‘To be visible, intervene and show it’ was his mantra.

Text © National Gallery of Australia, Canberra

 

Installation view of William Klein's 'Stickball gang, New York' 1955

 

Installation view of William Klein’s Stickball gang, New York 1955 National Gallery of Australia, Canberra Purchased 1993
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

William Klein (born April 19, 1928) 'Stickball gang, New York' 1955

 

William Klein (born April 19, 1928)
Stickball gang, New York
1955
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne with at right, Weegee’s No title (at a concert in Harlem) c. 1948, National Gallery of Australia, Canberra Purchased 1981 and at left, his No title (listening to Frank Sinatra, Palace theatre) c. 1944, National Gallery of Australia, Canberra Purchased 1981
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne with at right, Weegee’s No title (at a concert in Harlem) c. 1948, followed by his No title (listening to Frank Sinatra, Palace theatre) c. 1944 and Emmett Kelly, Ringling Brothers and Barnum & Bailey Circus 1943
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Weegee (Arthur Fellig) (1899-1968) 'Emmett Kelly, Ringling Brothers and Barnum & Bailey Circus' 1943 (installation view)

 

Installation view of Weegee’s Emmett Kelly, Ringling Brothers and Barnum & Bailey Circus 1943, National Gallery of Australia, Canberra Purchased 1981
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Weegee (Arthur Fellig) (1899-1968) 'No title (listening to Frank Sinatra, Palace theatre)' c. 1944

 

Weegee (Arthur Fellig) (1899-1968)
No title (listening to Frank Sinatra, Palace theatre)
c. 1944
Silver gelatin print

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Walker Evans
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ Rocks on wheels, Disneyland, Cal 1962; Xmas tree in a living room in Levittown, L.I. 1963; and Lady in a rooming house parlour, Albion, N.Y. 1963, all National Gallery of Australia, Canberra Purchased 1981
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Rocks on wheels, Disneyland, Cal' 1962

 

Diane Arbus (1923-71)
Rocks on wheels, Disneyland, Cal
1962
Silver gelatin print

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing at left, Diane Arbus’ Muscle Man in his dressing room with trophy, Brooklyn, N.Y. 1962 and at right, Burlesque comedienne in her dressing room, Atlantic City, N.J. 1963, both National Gallery of Australia, Canberra Purchased 1981 and 1980
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Muscle Man in his dressing room with trophy, Brooklyn, N.Y.' 1962

 

Diane Arbus (1923-71)
Muscle Man in his dressing room with trophy, Brooklyn, N.Y.
1962
Silver gelatin print

 

Diane Arbus (1923-71) 'Two Ladies at the Automat, New York City, 1966' 1966 (installation view)

 

Diane Arbus (1923-71)
Two Ladies at the Automat, New York City, 1966 (installation view)
1966
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Transvestite with torn stocking, N.Y.C. 1966' 1966 (installation view)

 

Diane Arbus (1923-71)
Transvestite with torn stocking, N.Y.C. 1966 (installation view)
1966
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Mae West on bed' 1965

 

Diane Arbus (1923-71)
Mae West on bed
1965
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Teenage couple on Hudson Street, N.Y.C. 1963' 1963 (installation view)

 

Diane Arbus (1923-71)
Teenage couple on Hudson Street, N.Y.C. 1963 (installation view)
1963
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'Teenage couple on Hudson Street, N.Y.C. 1963' 1963 (installation view)

 

Diane Arbus (1923-71)
Teenage couple on Hudson Street, N.Y.C. 1963 (installation view)
1963
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'Teenage couple on Hudson Street, N.Y.C. 1963' 1963

 

Diane Arbus (1923-71)
Teenage couple on Hudson Street, N.Y.C. 1963
1963
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’A Jewish giant at home with his parents in the Bronx, N.Y., 1970;Untitled (1) 1970-71; and Woman with a beehive hairdo 1965; and Mexican dwarf in his hotel room N.Y.C. 1970
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'A Jewish giant at home with his parents in the Bronx, N.Y., 1970' 1970

 

Diane Arbus (1923-71)
A Jewish giant at home with his parents in the Bronx, N.Y., 1970
1970
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Untitled (1)' 1970-71

 

Diane Arbus (1923-71)
Untitled (1)
1970-71
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Mexican dwarf in his hotel room N.Y.C. 1970' 1970

 

Diane Arbus (1923-71)
Mexican dwarf in his hotel room N.Y.C. 1970
1970
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Identical twins, Roselle, N.J., 1966' 1966

 

Diane Arbus (1923-71)
Identical twins, Roselle, N.J., 1966
1966
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967; A young man in curlers at home on West 20th St., N.Y.C. 1966; and A Family on Their Lawn One Sunday in Westchester, New York 1968
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967' 1967

 

Diane Arbus (1923-71)
Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967
1967
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'A young man in curlers at home on West 20th St., N.Y.C. 1966' 1966 (installation view)

 

Diane Arbus (1923-71)
A young man in curlers at home on West 20th St., N.Y.C. 1966 (installation view)
1966
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'A young man in curlers at home on West 20th St., N.Y.C. 1966' 1966

 

Diane Arbus (1923-71)
A young man in curlers at home on West 20th St., N.Y.C. 1966 (installation view)
1966
Gelatin silver photograph

 

Diane Arbus (1923-71) 'A Family on Their Lawn One Sunday in Westchester, New York 1968' 1968

 

Diane Arbus (1923-71)
A Family on Their Lawn One Sunday in Westchester, New York 1968
1968
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ A young Negro boy, Washington Square Park, N.Y.C. 1965; Blonde girl in Washington Square Park c. 1965-68; Woman with a beehive hairdo 1965; and Girl in a watch cap, N.Y.C. 1965
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'A young Negro boy, Washington Square Park, N.Y.C. 1965' c. 1965

 

Diane Arbus (1923-71)
A young Negro boy, Washington Square Park, N.Y.C. 1965
c. 1965
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ Woman with a beehive hairdo 1965 and Girl in a watch cap, N.Y.C. 1965
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Woman with a beehive hairdo' 1965 (installation view)

 

Diane Arbus (1923-71)
Woman with a beehive hairdo (installation view)
1965
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Woman with a beehive hairdo' 1965

 

Diane Arbus (1923-71)
Woman with a beehive hairdo
1965
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Girl in a watch cap, N.Y.C. 1965' 1965

 

Diane Arbus (1923-71)
Girl in a watch cap, N.Y.C. 1965
1965
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Child with toy hand grenade, in Central Park, New York City 1962' 1962

 

Diane Arbus (1923-71)
Child with toy hand grenade, in Central Park, New York City 1962
1962
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'Old black woman with gnarled hand' 1968 (installation view)

 

Diane Arbus (1923-71)
Old black woman with gnarled hand (installation view)
1968
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Large black family in small shack [Robert Evans and his family, 1968]' 1968 (installation view)

 

Diane Arbus (1923-71)
Large black family in small shack [Robert Evans and his family, 1968] (installation view)
1968
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Addie Taylor in her shack, Beaufort, South Carolina' 1968 (installation view)

 

Diane Arbus (1923-71)
Addie Taylor in her shack, Beaufort, South Carolina (installation view)
1968
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'A family of six at a nudist camp' c. 1963 (installation view)

 

Diane Arbus (1923-71)
A family of six at a nudist camp (installation view)
c. 1963
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

 

Introduction

The photographs of Diane Arbus (1923-1971) are powerful allegories of postwar America. Once seen they are rarely forgotten. Contemporary audiences found the way that Arbus approached the genre of portraiture confronting and her work continues to polarise opinion. The images raise difficult, uncomfortable questions concerning the intent of the photographer.

Arbus had a huge curiosity about the society around her; her favourite thing was ‘to go where I’ve never been’. As she was a photographer, this manifested as an obsessive exploration into what it means to photograph and be photographed, and what can happen at that moment of exchange – something elusive and a little bit magical. Whether Arbus is an empathetic champion of the outsider, or an exploitative voyeur, is something that each viewer alone must decide.

The National Gallery of Australia’s collection of Arbus photographs is among the most impressive in the world. The NGA is extremely fortunate to have bought 36 rare, vintage prints in 1980 and 1981, from the earliest releases of prints from the Arbus Estate. These works are from the last decade of the artist’s life, the period in which her recognisable style is in full flight and she was in total control of her medium.

These rare prints are shown alongside photographs by others who also sought to redefine the tradition of portraiture, and whose vision of America is also both challenging and moving. The work of these photographers relates to Arbus in a variety of ways: they are influencers, contemporaries or heirs to aspects of her worldview. Like Arbus, they are keen, singular observers of their worlds, transforming the sometimes banal and ugly into images of unexpected beauty.

 

An uncompromising view of the world

Diane Arbus was born Diane Nemerov, the daughter of wealthy Jewish New Yorkers; her father ran Russek’s, a department store on Fifth Avenue selling furs and women’s clothing. Growing up in an apartment in a towering building on Central Park West, her world was highly protected, one in which she never felt adversity. This was something Arbus resented both at the time and later; it seemed to her to be an unreal experience of the world. At 18 she married her childhood sweetheart, Allan Arbus, and for a decade from the mid 1940s, they ran a successful photography studio doing fashion shots for leading picture magazines.

In 1956 Arbus ceased working with Allan in the studio and began instead to explore subjects of her own choice. She was, apart from the occasional class, essentially self-taught and as she struck out on her own, she undertook a detailed study of the work of other photographers. Compelled to confront that which had been off-limits in her own privileged childhood, she looked to other photographers who had confronted the world head-on, including Weegee, William Klein, Walker Evans and Lisette Model. They recorded, each in their own way, their surroundings with an at-times frightening candour. In their images, Arbus found an uncompromising view of the world, stripped of sentimentality.

Weegee

Weegee turns the banal and seedy underbelly of New York city streets after hours into moments of great psychological drama. A freelance news photographer, he supplied images to the popular press but was also well regarded in art circles. The Museum of Modern Art collected his work and exhibited it in 1943. Arbus owned a number of Weegee’s books and greatly admired his Runyonesque view of the world. She closely studied aspects of his working method as she formulated her own, especially his use of flash. His ‘wild dynamics’ made everyone else ‘look like an academician’, she wrote.

William Klein

Returning to New York in 1954 from his émigré life in Paris, Klein was at once taken aback by what he perceived to be a society pursuing purely materialistic goals, but also excited by the energy he found on the streets. Self-taught, he experimented with flash, wide-angle lenses, blurring and close-ups, abstraction and accidents, and produced grainy, high contrast prints. Klein’s 1956 book, Life is Good & Good for You in New York: Trance Witness Revels, a copy of which Arbus owned, gave impetus to the emerging genre of street photography through his harsh, uncompromising vision of the city. His work was met, particularly in the United States, with misunderstanding and hostility.

Walker Evans

The writer James Agee travelled to Alabama in America’s South in 1936 to research an article on the plight of tenant farmers for Fortune magazine. He chose photographer Walker Evans to accompany him. The article did not eventuate but a book did, Let us now praise famous men. Both men were unnerved by what they saw: Agee wrote of ‘the nakedness, disadvantage and humiliation of … an undefended and appallingly damaged group of human beings’. And yet in the face of this, Evans made images of insistent frontality and careful symmetrical framing; devoid of cliché or pretention, and suggesting an impartiality. This gave the images a great authenticity and power.

Evans’ oeuvre is essentially concerned with how photography represents the world. His significance in the development of twentieth-century photography was reappraised during the 1960s, largely through the largesse of John Szarkowski, the head of the Museum of Modern Art’s photography department at the time. Szarkowski argued that the foundations for many of the key aesthetic and formal tendencies of 1960s photography rested in Evans’ work. The catalogue that accompanied his 1938 exhibition American photographs, in particular, had a huge impact on the new generation of photographers, and on Arbus in particular. She met Evans in 1961 and visited him regularly at his New York home throughout the decade. He wrote in support of her 1963 Guggenheim Grant application.

Lisette Model

Lisette Model’s satirical portraits of the rich on the French Riviera and the photographs she made in the 1940s of the Lower East Side’s poor and marginalised bear out the fact that she took her own advice: ‘Don’t shoot ’till the subject hits you in the pit of your stomach’. By the 1950s she had largely turned to teaching and her influence on Arbus, who took a number of her classes at the New School in 1956 and again in 1957-58, was profound. Model encouraged Arbus to pursue her own distinctive voice. Model recalled, ‘One day I said to her, and I think this was very crucial, “originality means coming from the source…” And from then on, Diane was sitting there and – I’ve never in my life seen anybody – not listening to me but suddenly listening to herself through what was said.’

 

The gap between intention and effect

Prior to 1962 Arbus worked primarily with a 35mm Nikon camera. Her images at this time were often about gesture, with grainy images and subjects frequently shown in movement. In 1962 Arbus switched to a 2 ¼ inch medium-format, twin-lens Rolleiflex (later a Mamiyaflex), which she used with a flash and which when printed full-frame, gave the photographs a square format. The pictures she took with these cameras are deceptively, deliberately simple. Compositionally they are often masterful with repetitions of shapes and minutely observed, subtly presented details. Despite the confronting subject matter, her images have a classical stillness, an insistent frontality that she borrowed from classic documentary photography. To this Arbus adds a very deliberate use of the snap-shot aesthetic, with slightly tilted picture planes and people caught unawares, to signal the authenticity of her connection with the subject.

Arbus developed a working method and style that offered what amounts to a critique of the photographic portrait. There is a palpable tension in the way she presents her subjects, a complicity in the image-making process which rubs up against the fact that her subjects seem caught off-guard, unintentionally revealing aspects of themselves. Arbus identified this as ‘the gap between intention and effect’, explaining that ‘it really is totally fantastic that we look like this and you sometimes see that very clearly in a photograph. Something is ironic in the world and it has to do with the fact that what you intend never comes out like you intend it’. Arbus’s ability to connect with and gain the trust of people is legendary. Fellow photographer Joel Meyerowitz felt that she was ‘an emissary from the world of feeling. She cared about these people. They felt that and gave her their secret’.

 

The aristocrats

As a student at the alternative Fieldston Ethical Culture School in the Bronx, Arbus developed a fascination with myths, ritual and public spectacle. This preoccupation remained steadfast throughout her life. For example, in 1963 she was awarded a prestigious Guggenheim Fellowship to document ‘American rites, manners and customs’. Arbus had an almost insatiable curiosity and fascination with the world and she sought to make photographs that addressed fundamental aspects of our humanity in the broadest terms. It was the photographer Lisette Model, with whom she studied in the late 1950s, who made her realise that, in a seemingly contradictory way, the more specific a photograph of something was, the more general its message became.

To this extent, it is notable that Arbus’s photographs rarely address the issues of the day in any overt and obvious way. While there are exceptions – for example, her work for magazines from the sixties, including portraits of celebrities and documentary work examining the plight of the poor in South Carolina – for the most part Arbus used the camera as a licence to enter the specifics of other people’s lives.

She was particularly drawn to marginalised people, who for whatever reason had fallen out of a conventional place in society and were forced (those born into disability) or chose (the nudists, for example) to construct their own identity. To find them, she frequented sideshow alleys and Hubert’s Freak Museum at Broadway and 42nd Street, joined nudist camps in New Jersey and Pennsylvania, and visited seedy hotels; she also found them in public spaces, in streets and parks where social rules were often arbitrarily imposed and discarded.

Arbus’s subjects are often seen to play with society’s roles and restrictions. She classified these people as ‘aristocrats’, having achieved a certain freedom from social constraints, and they made her feel a mix of shame and awe.

 

The prints

Arbus stated that, for her, ‘the subject of the picture is more important than the picture’. There is no doubt that the emotional authenticity of what she photographed was of upmost importance. In keeping with this, she often undersold her skill as a photographer; she often complained of technical difficulties, and others frequently observed that she seemed weighed down by her equipment. In downplaying her relationship to the technical aspects of her work, Arbus sought to emphasise instead her rapport with her subjects. All the same, she was very clear about how she wanted her images to look; she worked hard to achieve a particular quality in her prints, which have a distinct feel and appearance that are quite different from other photographs of the 1960s.

From the mid 1960s, Arbus worked hard to emphasise the photographic-ness of her pictures. She modified the negative tray on her Omega ‘D’ enlarger, which produced the distinctive black border around her images; later again, she used strips of cardboard down the sides of the negatives to blur the edges of her images. Both of these techniques meant that each of her prints is slightly, wonderfully unique. And there is often, as in the cases of Woman with a beehive hairdo and Girl in a watch cap, both made in 1965, damage (tears and marks) on the negative that Arbus has made no effort to minimise or disguise. Close viewing of the collection of photographs held at the NGA reveal ghostly traces of the hand of Arbus. She reminds us consistently through a number of careful and deliberate strategies that we are looking at a photograph that has been made by a particular person.

 

To know life

Arbus was not alone in photographing the social landscape of America in the 1960s. Others, including Garry Winogrand, Lee Friedlander and Milton Rogovin, similarly took to the country’s streets. Rogovin’s life work was to photograph people from poor minority groups, much of his work being made in Buffalo, New York, where he himself lived. Like Arbus, he often knew and befriended his subjects, returning to photograph them over many years, collaborating with them to create images of great dignity and integrity.

Like Arbus, Winogrand and Friedlander were included in the landmark 1967 exhibition New documents, curated by John Szarkowski for the Museum of Modern Art, New York. This was the only major showing of Arbus’s work during her lifetime. While acknowledging that each of the artists in the exhibition had their own distinct styles, Szarkowski characterised them as part of a generation that used the documentary tradition ‘to more personal ends.’ As he wrote: ‘Their aim has been not to reform life, but to know it. Their work betrays a sympathy – almost an affection – for the imperfections and frailties of society’.

An essential aspect of their innovation was the way they positioned photography and the acts of taking and viewing a photograph as an essential aspect of the work. Their photographs were not intended simply as windows to the world. As Winogrand noted when asked how he felt about missing photographs while he reloaded his camera, ‘there are no photographs while I’m reloading’. Winogrand, Friedlander and Arbus were fascinated by how the real was translated into the language of photography, and how the experience of the photograph involves a fascinating, multilayered three-way interaction between the photographer, the subject and the viewer.

Garry Winogrand

Winogrand restlessly prowled the same streets of New York as Arbus in the 1960s, working stealthily, capturing people without their knowledge. His viewpoint, one he asks the viewer to join, is unashamedly, unapologetically voyeuristic. He used a Leica M4 with a wide-angle lens and tipped the picture plane, giving his compositions a particular feel. Traumatised by the fraught political tensions of the cold war period, anxiety found its way into the imagery – lending his work an edge that makes for a compelling reading of an alienated and fearful society in the throes of change. His city is a site of unexpected confrontations and strange, witty juxtapositions. Fellow photographer Joel Meyerowitz remarked that Winogrand ‘set a tempo on the street so strong that it was impossible not to follow it. It was like jazz. You just had to get in the same groove’.

Lee Friedlander

Friedlander’s images are invariably about looking and this includes turning the camera on himself. He often intrudes into his hastily grabbed, ironic studies of the city, through reflection or shadow or a pair of shoes. Thus, the viewer of his photographs is constantly reminded that this is an image of the world that is made by someone, in this case, the photographer Lee Friedlander. The works are laconic, witty and intensely personal: and certainly the self-portraits are rarely flattering. Coming at the end of a decade in which a particular, new brand of art photographer had begun to achieve celebrity status, through the efforts of curators like John Szarkowski at the Museum of Modern Art, Friedlander’s self-portraits can also be seen as a shrewd send-up of fame.

Milton Rogovin

Originally trained as an optometrist, Rogovin began his career as a social documentary photographer in 1958, recording gospel services held in ‘store-front’ churches in the African-American neighbourhood of Buffalo, New York. Profoundly influenced as a young man by the impact of the Great Depression, Rogovin reflected that, ‘I could no longer be indifferent to the problems of the people, especially the poor, the forgotten ones’. He worked in collaboration with his subjects, who were always allowed to determine how they should be photographed. His photographs focus on family life, the celebrations and events that bind a community together, and the particulars of an individual’s existence.

 

The Arbus legacy

Arbus occupies an important place in the development of American photography. Her work has indelibly influenced the way that the documentary tradition has continued to evolve over the last 50 years, with many of the leading contemporary photographers, such as William Eggleston and Mary Ellen Mark, continuing to rethink the tradition, looking back to Arbus just as she looked back to her predecessors. Although it has often infuriated, and continues to do so, those who take issue with the way Arbus photographed the world, her impact on audiences and photographers alike is incontestable.

William Eggleston

While Arbus used the snap-shot aesthetic in her work to increase its aura of authenticity and immediacy, when Eggleston employed the same technique in colour without the abstraction and artistic mediation of black-and-white, contemporary audiences reacted with confusion. Careful observation of the images though reveals a masterful eye, and a sophisticated understanding of the way photography transforms the world. Eggleston’s images are at once monumental and mundane, ordinary and strange, prosaic and poetic. The result is luminous, breathtaking and perfectly banal.

Mary Ellen Mark

The photojournalist Mary Ellen Mark built a career photographing those on the fringes of society, seeking out those who she felt displayed what she described as attitude and often working on projects over many years, slowly earning trust. Her commitment was to give the people she photographed a unique voice, an individuality. Commenting on a body of work, Mark spoke of her desire to let her subjects ‘make contact with the outside world by letting them reach out and present themselves. I didn’t want to use them. I wanted them to use me’.

Mark spent months photographing the New York bar scene at night. This work formed the basis of her first one person exhibition, at the Photographers’ Gallery in London. She reflected at the time, ‘I would like to have the means to travel the whole country and show what America is through its bars. Millions of people who do not want or can not stay at home. The majority of clients are loners, which is why it is extremely difficult to work in these places. I had to make myself accepted’.

Text from the National Gallery of Australia website

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing at left, Lisette Model’s Coney Island Bather, New York 1939-41 and at right, Woman with Veil, San Francisco 1949
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lisette Model (1901-1983) 'Coney Island Bather, New York' [Baigneuse, Coney Island] c. 1939-1941

 

Lisette Model (1901-1983)
Coney Island Bather, New York [Baigneuse, Coney Island]
c. 1939-1941
Silver gelatin print
National Gallery of Australia, Canberra

 

Lisette Model (1901-1983) 'Woman with Veil, San Francisco' 1949

 

Lisette Model (1901-1983)
Woman with Veil, San Francisco
1949
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1978

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing at left, Lisette Model’s Lower East Side, New York
1942 and at right,Lower East Side, New York 1939-42
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lisette Model (1901-1983) 'Lower East Side, New York' 1942

 

Lisette Model (1901-1983)
Lower East Side, New York
1942
Gelatin silver photograph
49.2 h x 39.5 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Lisette Model (1901-1983) 'Lower East Side, New York' 1939-42

 

Lisette Model (1901-1983)
Lower East Side, New York
1939-42
Gelatin silver photograph
48.9 h x 38.9 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Lisette Model’s Fashion show, Hotel Pierre, New York City 1940-46; Cafe Metropole, New York City c. 1946; and Albert-Alberta, Hubert’s 42nd St Flea Circus, New York [Albert/Alberta] c. 1945
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lisette Model (1901-1983) 'Fashion show, Hotel Pierre, New York City' 1940-46

 

Lisette Model (1901-1983)
Fashion show, Hotel Pierre, New York City
1940-46
Gelatin silver photograph
40.0 h x 49.6 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Lisette Model (1901-1983) 'Cafe Metropole, New York City' c. 1946

 

Lisette Model (1901-1983)
Cafe Metropole, New York City
c. 1946
Gelatin silver photograph
49.5 h x 40.0 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

 

While training as a musician in Vienna, Lisette Model studied under the avant-garde composer Arnold Schoenberg, who introduced her to the Expressionist painters of the early 20th century. Influenced by European modernist philosophy and aesthetics, Model abandoned music in Paris in 1933, taking up painting and then photography. She gained initial renown for a series of photographs of men and women lounging in deck chairs along the Promenade des Anglais in the south of France. In 1938, she relocated to New York with her husband (the artist Evsa Model), where she took photographs of exuberant characters on the streets of New York – catching reflections of individuals in store windows and images of feet in motion and holidaymakers around Coney Island. Model taught at the New School where one of her most famous students was Diane Arbus, and was published by Harper’s Bazaar and other magazines.

Text from the Artsy website

 

Lisette Model (1901-1983) 'Albert-Alberta, Hubert's 42nd St Flea Circus, New York' c. 1945

 

Lisette Model (1901-1983)
Albert-Alberta, Hubert’s 42nd St Flea Circus, New York [Albert/Alberta]
c. 1945
Gelatin silver photograph
49.5 h x 39.7 w cm
National Gallery of Australia, Canberra
Purchased 1981

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing work from Mary Ellen Mark’s The bar series 1977
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Mary Ellen Mark (1940-2015) 'Untitled' from 'The bar series' 1977

 

Mary Ellen Mark (1940-2015)
Untitled from The bar series
1977
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, William Eggleston’s Huntsville, Alabama c. 1971; Memphis c. 1969; and Greenwood, Mississippi “The Red Ceiling” 1973
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

William Eggleston (America,born July 27, 1939) 'Huntsville, Alabama' c. 1971

 

William Eggleston (American, born July 27, 1939)
Huntsville, Alabama
c. 1971
Dye transfer colour photograph
46.6 h x 32.4 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

William Eggleston (America, born July 27, 1939) 'Memphis' c. 1970 printed 1980

 

William Eggleston (American, born July 27, 1939)
Memphis
c. 1970 printed 1980
Dye transfer colour photograph
30.2 h x 44.2 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

William Eggleston (America,born July 27, 1939) 'Greenwood, Mississippi' ["The Red Ceiling"] 1973, printed 1979

 

William Eggleston (American, born July 27, 1939)
Greenwood, Mississippi [“The Red Ceiling”]
1973, printed 1979
Dye transfer colour photograph
29.5 h x 45.4 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

 

With its intense red, Eggleston’s picture of the spare room in a friend’s home is one of the most iconic of all colour photographs. Often called The red room, this photograph was intended to be shocking: Eggleston described the effect of the colour as like ‘red blood that is wet on the wall’. But the radicalness of the picture is not just in its juicy (and impossible to reproduce) redness; it is also found in the strange view it provides of a domestic interior, one that Eggleston has described as a ‘fly’s eye view’.

Text © National Gallery of Australia, Canberra

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Garry Winogrand
Photos: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Garry Winogrand (1928-1984) 'No title [Centennial Ball, Metropolitan Museum, New York]' 1969

 

Garry Winogrand (1928-1984)
No title [Centennial Ball, Metropolitan Museum, New York]
1969
Gelatin silver photograph
27.2 h x 42.0 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

Garry Winogrand (1928-1984) 'New York City, New York'. From "Garry Winogrand" 1970

 

Garry Winogrand (1928-1984)
New York City, New York. From “Garry Winogrand”
1970
Gelatin silver photograph
21.6 h x 32.6 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

 

Winogrand was asked how he felt about missing photographs while he reloaded his camera. He replied ‘There are no photographs while I’m reloading’: There is no possibility in the Winograndian world view of regarding the camera as a window onto the world; it becomes a mirror reflecting back the photographer’s concerns. Winogrand was fascinated by how the real was translated into the photographic. In the end this fascination became an obsession from which he could not escape or find solace – or meaning. At the time of his death there were a third of a million exposures that he had never looked at including 2,500 undeveloped rolls of film.

Text © National Gallery of Australia, Canberra

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Lee Friedlander
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lee Friedlander (born July 14, 1934) 'Rt. 9w, N.Y.' 1969

 

Lee Friedlander (American, born July 14, 1934)
Rt. 9w, N.Y.
1969
Gelatin silver photograph
18.8 h x 28.2 w cm
National Gallery of Australia, Canberra
Purchased 1981

 

Lee Friedlander (born United States 1934) 'Mount Rushmore' 1969

 

Lee Friedlander (American, born July 14, 1934)
Mount Rushmore
1969
Gelatin silver photograph
18.8 h x 28.0 w cm
National Gallery of Australia, Canberra
Purchased 1981

 

 

“I always wanted to be a photographer. I was fascinated with the materials. But I never dreamed I would be having this much fun. I imagined something much less elusive, much more mundane.” ~ Lee Friedlander

Friedlander is known for his complex, layered images, exploring the way that the urban landscape fragments our vision. Throughout his career he has found endless fascination in photographing reflections in windows – merging what lies behind the glass with what is reflected in it – out of which he has created juxtapositions which are witty and insightful. He often inserts himself into the image, either overtly or more frequently as a shadow or partially concealed form – part of his face, for instance, hidden behind the camera.

In the 1960s he moved away from a recognisably documentary style toward one in which the subject is more elusive, reflecting a society which had itself become more fragmented and complex. By cropping and cutting up city and natural landscapes he changes our perception of them. In creating compositions that are dynamic, unexpected and often confusing, Friedlander asks us to look freshly at our everyday environments.

Text © National Gallery of Australia, Canberra

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Walker Evans
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Walker Evans (1903-1975) 'Hudson Street boarding house detail, New York' 1931

 

Walker Evans (1903-1975)
Hudson Street boarding house detail, New York
1931
Gelatin silver photograph
15.7 h x 20.6 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

Walker Evans (1903-1975) 'Bedroom, shrimp fisherman's house, Biloxi, Mississippi' 1945

 

Walker Evans (1903-1975)
Bedroom, shrimp fisherman’s house, Biloxi, Mississippi
1945
Gelatin silver photograph
23.4 h x 18.3 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

Walker Evans (1903-1975) 'Tenant Farmer's Wife, Alabama' 1936

 

Walker Evans (1903-1975)
Tenant Farmer’s Wife, Alabama
[Allie Mae Burroughs, wife of a cotton sharecropper, Hale County, Alabama]

1936
Gelatin silver photograph
23.6 h x 18.0 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Milton Rogovin with from left to right, Not titled (Family in front of house) – 241-2 1973 and Not titled (Family in front of house) – 142-11 1985, both from the Lower West Side series (1973-2002)
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

 

“Written with her trademark flair and force, Sontag’s book [On Photography] inaugurated a wave of criticism, much of it influenced by Foucaultian theory, that underscored the instrumentality and implicit violence of photography, its ability to police and regulate it subjects, especially those lacking social and political power: the poor, presumed “deviants” or “criminals,” and workers. As Sontag herself acknowledged, however, photography is not only a predatory means of taking possession, but also a mode of conferring value; it can potentially be put to counter-hegemonic uses, used to see and frame in ways that affirm and legitimate, rather than strictly contain and control, the presence of culturally disenfranchised persons.”

“The power of his art stems from the particular manner in which Rogovin transforms traditional portrait photography and documentary practice, opening up potentially instrumentalist, one-sided visual forms to dynamics of reciprocity and mutuality…”

“Rogovin’s photography thus balances the documentary desire to grasp and present, to “capture” an image of the”Other,” with a commitment to holding back in order to allow his subjects space to shape the photographic process. His practice is a form of”approach,” to borrow a term from Carol Shloss, that resists even as it engages. We might call this an aesthetic of “making space”: a photographic method that creates room for subjects to actively participate in the production of their own images rather than stand as passive objects before a colonizing gaze.”

“The fact that Rogovin’s work at once invokes and questions the camera’s capacity to classify – to embed individuals in a larger archive – echoes his challenge to documentary business as usual. Certainly, Rogovin’s images of working people perform a classic documentary task: to lend public visibility to those who have been overlooked and exploited, to give aggrieved people the social recognition they are otherwise denied in our society. However, his images do not enforce the power and prerogatives of middle-class reformers or governmental institutions, as did so much early twentieth-century documentary photography, which, as Maren Stange has argued, tended to reassure “a 11 liberal middle-class that social oversight was both its duty and its right.” By refusing to provide pity-inducing images of working people that present them as weak and vulnerable, Rogovin’s photographs undercut the sense of privilege viewers often feel when looking at pictures of what Jacob Riis called “the other half.””

Joseph Entin. “Milton Rogovin’s Approach: Photography, Class, and the Aesthetics of Making Space (2008),” on the ASX website July 12, 2010 [Online] Cited 12/05/2018

 

 

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Bulleen, Victoria 3105

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02
Feb
18

Exhibition: ‘Walker Evans’ at the San Francisco Museum of Modern Art (SFMOMA)

Exhibition dates: 30th September 2017 – 4th February 2018

Curator: Clément Chéroux

 

 

Walker Evans (1903-1975) 'Self-Portrait' 1927

 

Walker Evans (1903-1975)
Self-Portrait
1927
Gelatin silver print
Collection of The Metropolitan Museum of Art, New York, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

I have posted on this exhibition before, when it was at the Centre Pompidou in Paris, but this iteration at SFMOMA is the exclusive United States venue for the Walker Evans retrospective exhibition – and the new posting contains fresh media images not available previously.

I can never get enough of Walker Evans. This perspicacious artist had a ready understanding of the contexts and conditions of the subject matter he was photographing. His photographs seem easy, unpretentious, and allow his sometimes “generally unaware” subjects (subway riders, labor workers) to speak for themselves. Does it matter that he was an outsider, rearranging furniture in workers homes while they were out in the fields: not at all. Photography has always falsified truth since the beginning of the medium and, in any case, there is never a singular truth but many truths told from many perspectives, many different points of view. For example, who is to say that the story of America proposed by Robert Frank in The Americans, from the point of view of an outsider, is any less valuable than that of Helen Levitt’s view of the streets of New York? For different reasons, both are as valuable as each other.

Evans’ photographs for the Farm Security Administration (FSA) documenting the effects of the Great Depression on American life are iconic because they are cracking good photographs, not because he was an insider or outsider. He was paid to document, to enquire, and that is what he did, by getting the best shot he could. It is fascinating to compare Floyd and Lucille Burroughs, Hale County, Alabama (1936, below) with Alabama Tenant Farmer Floyd Bourroughs (1936, below). In the first photograph the strong diagonal element of the composition is reinforced by the parallel placement of the three feet, the ‘Z’ shape of Lucille Burroughs leg then leading into her upright body, which is complemented by the two vertical door jams, Floyd’s head silhouetted by the darkness beyond. There is something pensive about the clasping of his hands, and something wistful and sad, an energy emanating from the eyes. If you look at the close up of his face, you can see that it is “soft” and out of focus, either because he moved and/or the low depth of field. Notice that the left door jam is also out of focus, that it is just the hands of both Floyd and Lucille and her face that are in focus. Does this low depth of field and lack of focus bother Evans? Not one bit, for he knows when he has captured something magical.

A few second later, he moves closer to Floyd Burroughs. You can almost hear him saying to Floyd, “Stop, don’t move a thing, I’m just going to move the camera closer.” And in the second photograph you notice the same wood grain to the right of Floyd as in the first photograph, but this time the head is tilted slightly more, the pensive look replaced by a steely gaze directed straight into the camera, the reflection of the photographer and the world beyond captured on the surface of the eye. Walker Evans is the master of recognising the extra/ordinary. “The street was an inexhaustible source of poetic finds,” describes Chéroux. In his creation of visual portfolios of everyday life, his “notions of realism, of the spectator’s role, and of the poetic resonance of ordinary subjects,” help Evans created a mythology of American life: a clear vision of the present as the past, walking into the future.

With the contemporary decline of small towns and blue collar communities across the globe Evans’ concerns, for the place of ordinary people and objects in the world, are all the more relevant today. As the text from the Metropolitan Museum observes, it is the individuals and social institutions that are the sites and relics that constitute the tangible expressions of American desires, despairs, and traditions. And not just of American people, of all people… for it is community that binds us together.

Marcus

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

 

 

Walker Evans is one of the most influential artists of the twentieth century. His elegant, crystal-clear photographs and articulate publications have inspired several generations of artists, from Helen Levitt and Robert Frank to Diane Arbus, Lee Friedlander, and Bernd and Hilla Becher. The progenitor of the documentary tradition in American photography, Evans had the extraordinary ability to see the present as if it were already the past, and to translate that knowledge and historically inflected vision into an enduring art. His principal subject was the vernacular – the indigenous expressions of a people found in roadside stands, cheap cafés, advertisements, simple bedrooms, and small-town main streets. For fifty years, from the late 1920s to the early 1970s, Evans recorded the American scene with the nuance of a poet and the precision of a surgeon, creating an encyclopaedic visual catalogue of modern America in the making. …

Most of Evans’ early photographs reveal the influence of European modernism, specifically its formalism and emphasis on dynamic graphic structures. But he gradually moved away from this highly aestheticized style to develop his own evocative but more reticent notions of realism, of the spectator’s role, and of the poetic resonance of ordinary subjects. …

In September 1938, the Museum of Modern Art opened American Photographs, a retrospective of Evans’ first decade of photography. The museum simultaneously published American Photographs – still for many artists the benchmark against which all photographic monographs are judged. The book begins with a portrait of American society through its individuals – cotton farmers, Appalachian miners, war veterans – and social institutions – fast food, barber shops, car culture. It closes with a survey of factory towns, hand-painted signs, country churches, and simple houses – the sites and relics that constitute the tangible expressions of American desires, despairs, and traditions.

Between 1938 and 1941, Evans produced a remarkable series of portraits in the New York City subway. They remained unpublished for twenty-five years, until 1966, when Houghton Mifflin released Many Are Called, a book of eighty-nine photographs, with an introduction by James Agee written in 1940. With a 35mm Contax camera strapped to his chest, its lens peeking out between two buttons of his winter coat, Evans was able to photograph his fellow passengers surreptitiously, and at close range. Although the setting was public, he found that his subjects, unposed and lost in their own thoughts, displayed a constantly shifting medley of moods and expressions – by turns curious, bored, amused, despondent, dreamy, and dyspeptic. “The guard is down and the mask is off,” he remarked. “Even more than in lone bedrooms (where there are mirrors), people’s faces are in naked repose down in the subway.”

Extract from Department of Photographs. “Walker Evans (1903-1975),” in Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000- (October 2004)

 

Walker Evans (1903-1975) 'Truck and Sign' 1928-1930

 

Walker Evans (1903-1975)
Truck and Sign
1928-30
Gelatin silver print
Private collection, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art, New York
Walker Evans (1903-1975) 'Floyd and Lucille Burroughs, Hale County, Alabama' 1936

 

Walker Evans (1903-1975)
Floyd and Lucille Burroughs, Hale County, Alabama
1936
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Floyd and Lucille Burroughs, Hale County, Alabama' 1936 (detail)

 

Walker Evans (1903-1975)
Floyd and Lucille Burroughs, Hale County, Alabama (detail)
1936
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Alabama Tenant Farmer Floyd Bourroughs' 1936

 

Walker Evans (1903-1975)
Alabama Tenant Farmer Floyd Bourroughs
1936
Gelatin silver print
22.9 x 18.4 cm
Collection particulière, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © Fernando Maquieira, Cromotex

 

Walker Evans (1903-1975) 'Allie Mae Burroughs, Wife of a Cotton Sharecropper, Hale Country, Alabama' 1936

 

Walker Evans (1903-1975)
Allie Mae Burroughs, Wife of a Cotton Sharecropper, Hale County, Alabama
1936
Gelatin silver print; private collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

“These are not photographs like those of Walker Evans who in James Agee’s account in Let Us Now Praise Famous Men took his pictures of the bare floors and iron bedsteads of the American mid-western sharecroppers while they were out tending their failing crops, and who even, as the evidence of his negatives proves, rearranged the furniture for a ‘better shot’. The best shot that Heilig could take was one that showed things as they were and as they should not be. …

To call these ‘socially-conscious documentary’ photographs is to acknowledge the class from which the photographer [Heilig] comes, not to see them as the result of a benign visit by a more privileged individual [Evans], however well-intentioned.”

Extract from James McCardle. “Weapon,” on the On This Day In Photography website [Online] Cited 29/01/2018

 

Walker Evans (1903-1975) 'Sidewalk and Shopfront, New Orleans' 1935

 

Walker Evans (1903-1975)
Sidewalk and Shopfront, New Orleans
1935
Gelatin silver print
Collection of the Museum of Modern Art, New York, gift of Willard Van Dyke
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Fish Market near Birmingham, Alabama' 1936

 

Walker Evans (1903-1975)
Roadside Stand Near Birmingham/Roadside Store Between Tuscaloosa and Greensboro, Alabama
1936
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Penny Picture Display, Savannah' 1936

 

Walker Evans (1903-1975)
Penny Picture Display, Savannah
1936
Gelatin silver print
Pilara Foundation Collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York
Walker Evans (1903-1975) 'Subway Portrait' January 1941

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans. 'Subway Passengers, New York' 1938

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans. 'Subway Passengers, New York' 1938

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (American, St. Louis, Missouri 1903–1975 New Haven, Connecticut) '[Subway Passengers, New York City]' 1938

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Subway Portraits' 1938-1941

 

Walker Evans (1903-1975)
Subway Portraits
1938-1941
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

Exhibition Displays Over 400 Photographs, Paintings, Graphic Ephemera and Objects from the Artist’s Personal Collection

The San Francisco Museum of Modern Art (SFMOMA) will be the exclusive United States venue for the retrospective exhibition Walker Evans, on view September 30, 2017, through February 4, 2018. As one of the preeminent photographers of the 20th century, Walker Evans’ 50-year body of work documents and distills the essence of life in America, leaving a legacy that continues to influence generations of contemporary photographers and artists. The exhibition will encompass all galleries in the museum’s Pritzker Center for Photography, the largest space dedicated to the exhibition, study and interpretation of photography at any art museum in the United States.

“Conceived as a complete retrospective of Evans’ work, this exhibition highlights the photographer’s fascination with American popular culture, or vernacular,” explains Clément Chéroux, senior curator of photography at SFMOMA. “Evans was intrigued by the vernacular as both a subject and a method. By elevating it to the rank of art, he created a unique body of work celebrating the beauty of everyday life.”

Using examples from Evans’ most notable photographs – including iconic images from his work for the Farm Security Administration (FSA) documenting the effects of the Great Depression on American life; early visits to Cuba; street photography and portraits made on the New York City subway; layouts and portfolios from his more than 20-year collaboration with Fortune magazine and 1970s Polaroids – Walker Evans explores Evans’ passionate search for the fundamental characteristics of American vernacular culture: the familiar, quotidian street language and symbols through which a society tells its own story. Decidedly popular and more linked to the masses than the cultural elite, vernacular culture is perceived as the antithesis of fine art.

While many previous exhibitions of Evans’ work have drawn from single collections, Walker Evans will feature over 300 vintage prints from the 1920s to the 1970s on loan from the important collections at major museums including the Metropolitan Museum of Art, the Getty Museum, the Museum of Modern Art, the Art Institute of Chicago, the National Gallery of Art, Washington, D.C., the National Gallery of Canada, the Musée du Quai Branly and SFMOMA’s own collection, as well as prints from private collections from around the world. More than 100 additional objects and documents, including examples of the artist’s paintings; items providing visual inspiration sourced from Evans’ personal collections of postcards, graphic arts, enamelled plates, cut images and signage; as well as his personal scrapbooks and ephemera will be on display. The exhibition is curated by the museum’s new senior curator of photography, Clément Chéroux, who joined SFMOMA in 2017 from the Musée National d’Art Moderne of the Centre Pompidou, Paris, organizer of the exhibition.

While most exhibitions devoted to Walker Evans are presented chronologically, Walker Evans‘ presentation is thematic. The show begins with an introductory gallery displaying Evans’ early modernist work whose style he quickly rejected in favour of focusing on the visual portfolio of everyday life. The exhibition then examines Evans’ captivation with the vernacular in two thematic contexts. The first half of the exhibition will focus on many of the subjects that preoccupied Evans throughout his career, including text-based images such as signage, shop windows, roadside stands, billboards and other examples of typography. Iconic images of the Great Depression, workers and stevedores, street photography made surreptitiously on New York City’s subways and avenues and classic documentary images of life in America complete this section. By presenting this work thematically, the exhibition links work separated by time and place and highlights Evans’ preoccupation with certain subjects and recurrent themes. The objects that moved him were ordinary, mass-produced and intended for everyday use. The same applied to the people he photographed – the ordinary human faces of office workers, labourers and people on the street.

“The street was an inexhaustible source of poetic finds,” describes Chéroux.

The second half of the exhibition explores Evans’ fascination with the methodology of vernacular photography, or styles of applied photography that are considered useful, domestic and popular. Examples include architecture, catalog and postcard photography as well as studio portraiture, and the exhibition juxtaposes this work with key source materials from the artist’s personal collections of 10,000 postcards, hand-painted signage and graphic ephemera (tickets, flyers, logos and brochures). Here Evans elevates vernacular photography to art, despite his disinclination to create fine art photographs. Rounding out this section are three of Evans’ paintings using vernacular architecture as inspiration. The exhibition concludes with Evans’ look at photography itself, with a gallery of photographs that unite Evans’ use of the vernacular as both a subject and a method.

 

About Walker Evans

Born in St. Louis, Walker Evans (1903-1975) was educated at East Coast boarding schools, Williams College, the Sorbonne and College de France before landing in New York in the late 1920s. Surrounded by an influential circle of artists, poets and writers, it was there that he gradually redirected his passion for writing into a career as a photographer, publishing his first photograph in the short-lived avant-garde magazine Alhambra. The first significant exhibition of his work was in 1938, when the Museum of Modern Art, New York presented Walker Evans: American Photographs, the first major solo exhibition at the museum devoted to a photographer.

In the 50 years that followed, Evans produced some of the most iconic images of his time, contributing immensely to the visibility of American culture in the 20th century and the documentary tradition in American photography. Evans’ best known photographs arose from his work for the Farm Security Administration (FSA), in which he documented the hardships and poverty of Depression-era America using a large-format, 8 x 10-inch camera. These photographs, along with his photojournalism projects from the 1940s and 1950s, his iconic visual cataloguing of the common American and his definition of the “documentary style,” have served as a monumental influence to generations of photographers and artists.

Press release from SFMOMA

 

Walker Evans (1903-1975) 'Resort Photographer at Work' 1941

 

Walker Evans (1903-1975)
Resort Photographer at Work
1941, printed later
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Untitled [Street scene]' 1950s

 

Walker Evans (1903-1975)
Untitled [Street scene]
1950s
Gouache on paper
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Street Debris, New York City' 1968

 

Walker Evans (1903-1975)
Street Debris, New York City
1968
Gelatin silver print
Private collection, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) '"Labor Anonymous,” Fortune 34, no. 5, November 1946' 1946

 

Walker Evans (1903-1975)
“Labor Anonymous,” Fortune 34, no. 5, November 1946
1946
Offset lithography
Centre Pompidou, Musée national d’art moderne, Paris, Bibliothèque Kandinsky, Collection of David Campany
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) '"The Pitch Direct. The Sidewalk Is the Last Stand of Unsophisticated Display," Fortune 58, no. 4, October 1958' 1958

 

Walker Evans (1903-1975)
“The Pitch Direct. The Sidewalk Is the Last Stand of Unsophisticated Display,” Fortune 58, no. 4, October 1958
1958
Offset lithography
Centre Pompidou, Musée national d’art moderne, Paris, Bibliothèque Kandinsky, Collection of David Campany
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Collage with Thirty-Six Ticket Stubs' 1975

 

Walker Evans (1903-1975)
Collage with Thirty-Six Ticket Stubs
1975
Cut and pasted photomechanical prints on paper
Collection of The Metropolitan Museum of Art, New York, Walker Evans Archive
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Unidentified Sign Painter. 'Coca-Cola Thermometer' 1930-70

 

Unidentified Sign Painter
Coca-Cola Thermometer
1930-70
Enamel on ferrous metal
Collection of The Metropolitan Museum of Art, New York, Walker Evans Archive
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Chain-Nose Pliers' 1955

 

Walker Evans (1903-1975)
Chain-Nose Pliers
1955
Gelatin silver print
The Bluff Collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

John T. Hill. 'Interior of Walker Evans's House, Fireplace with Painting of Car' 1975, printed 2017

 

John T. Hill
Interior of Walker Evans’s House, Fireplace with Painting of Car
1975, printed 2017
Inkjet print
Private collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Lenoir Book Co., 'Main Street, Showing Confederate Monument, Lenoir, North Carolina' 1900-40

 

Lenoir Book Co.,
Main Street, Showing Confederate Monument, Lenoir, North Carolina
1900-40
Offset lithography
Collection of The Metropolitan Museum of Art, New York, Walker Evans Archive
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

San Francisco Museum of Modern Art
151 Third Street
San Francisco, CA 94103

Opening hours:
Open daily (except Wednesdays): 11 am – 5.45 pm
Open late Thursdays, until 8.45 pm

San Francisco Museum of Modern Art website

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20
Dec
16

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

December 2016

 

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

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

Happy Christmas!

.
Marcus

 

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

 

 

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

 

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

 

 

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30
Nov
16

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

Exhibition dates: 9th September – 18th December 2016

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

 

 

Life, love and loneliness in the big smoke.

Champions and accidents.

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

Unemployed and Looking.

Both * eyes * removed
Wounded

I AM TOTALLY BLIND.

Marcus

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

 

 

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

.
Walter Hopps

 

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

.
Louis Faurer

 

 

Louis Faurer. 'Accident, New York' 1952

 

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

 

Louis Faurer. 'Champion, New York' 1950

 

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

 

Louis Faurer. 'Orchard Street, New York' 1947

 

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

 

Louis Faurer. 'New York' 1949

 

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

 

Louis Faurer. 'Untitled, New York' 1949

 

Louis Faurer
Untitled, New York
1949
© Louis Faurer Estate

 

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

 

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

 

Louis Faurer. 'Market Street, Philadelphia' 1944

 

Louis Faurer
Market Street, Philadelphia
1944
© Louis Faurer Estate

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

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

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

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

Press release from Fondation Henri Cartier-Bresson

 

Louis Faurer. 'Market Street, Philadelphia' 1937

 

Louis Faurer
Market Street, Philadelphia
1937
© Louis Faurer Estate

 

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

 

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

 

Louis Faurer. 'Eddie, New York' 1948

 

Louis Faurer
Eddie, New York
1948
© Louis Faurer Estate

 

Louis Faurer. 'Deaf Mute, New York' 1950

 

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

 

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

 

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

 

 

Narrative of my career

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

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

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

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

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

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

Louis Faurer

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

 

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

 

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

 

Louis Faurer. 'Untitled, Philadelphia' Date unknown

 

Louis Faurer
Untitled, Philadelphia
Date unknown
© Louis Faurer estate

 

'Louis Faurer' Steidl Verlag

 

Louis Faurer
Steidl Verlag

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

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

 

 

Extracts from the book

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

Walter Hopps

 

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

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

Susan Kismaric

 

Louis Faurer. 'Viva, New York' 1962

 

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

 

 

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

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

Fondation Henri Cartier-Bresson website

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21
Oct
16

Exhibition: ‘George Tice: Urban Landscapes’ at the Joseph Bellows Gallery, La Jolla, California

Exhibition dates: 10th September – 28th October 2016

 

An American iconography

George Tice is a master photographer and an exceptional artist. Using a large format 8 x 10 camera this craftsman has created a “deeply-penetrating” photographic record of the American urban landscape, mainly based around the city of New Jersey where he has lived for most of his life.

Tice’s ongoing epic visual poem is at its strongest in his early period, from 1973-74. While his later 1990s work is qualified by simplified imagery and semiotic statements (for example Dorn’s Photoshop, Red Bank, NJ, 1999 and Lakewood Manor Motel, Lakewood, NJ, 1998, below) it is this early work that produces “attentive and quotidian descriptions of the everyday structures and places that define the American cultural landscape.” There seems to be a greater personal investment in these earlier images. Tice’s recognition of subject matter that mere mortals pass by is translated into beautiful, serene, tonal and dare I say, sensual images, that belie the complexity of their previsualisation. You only have to look at two images, Houses and Water Towers, Moorestown, NJ, 1973 and Hudson’s Fish Market, Atlantic City, NJ, 1973 (below) to understand that these photographs are visually complex, slightly surreal, affectionate images of places he personally knows so well. They possess a totally different feeling from the conceptual photography of the German school of Bernd and Hilla Becher. As Sanford Schwartz in The New York Times, on December 3, 1972 noted: “Tice’s pictures… show a remarkable blend of intimacy, affection and clear-sightedness.”

The almost tragic, objective renditions of a post-industrial landscape evidence a poetic intensity that has deep roots in the history of photography. Vivien Raynor, writing in The New York Times, said, “Finding precedents for Mr. Tice’s photography is easier than defining the personal qualities that make it so special. As others have remarked, his tranquil towns, usually deserted, could sometimes be those of Walker Evans updated; his industrial views are not unrelated to Charles Sheeler’s, and, for good measure, the stillness and silence of his compositions link him to Atget, the first great urban reporter.” Tice builds upon the lineage of other great artists but then, as any good artist should, he forges his own path, not reliant on the signature of others. As he himself observes, “… if you learn to see what photography is through one person’s eyes you become fixed in that one way of seeing.”

When I first started taking photographs in 1990, my heroes were Atget, Strand, Evans and Minor White. Looking at art, and looking at photographers, trained my eye. But as an artist, looking at the world is the most valuable education that you can have, for eventually you have to forge your own style, not copy someone else … and the signature that you create becomes your own. You know it’s a Mapplethorpe, just as you know it’s an Evans, or a Tice. Each piece of handwriting is unique. Nobody can teach that and it only comes with time and experience. As Paul Strand said, it takes 10 years to become an artist, 10 years to learn your craft, 10 years to drop ego away and find your own style. This is what the work of George Tice speaks to. He approaches the world with a clear mind, focused on a objective narrative that flips! exposing us (like his film), to a subjective, visceral charm all of his own making.

Marcus

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

 

 

“As I progressed further with my project, it became obvious that it was really unimportant where I chose to photograph. The particular place simply provided an excuse to produce work… you can only see what you are ready to see – what mirrors your mind at that particular time.”

“Documenting the place is principally what I do. The bulk of my photographs are of New Jersey. It may have been a subject series, like ice or aquatic plants, that could have been anywhere, but it was done in New Jersey. Most of my pictures are about place. I would say the Urban Landscape work is what is most distinctive about me.”

.
George Tice

 

 

George Tice. 'Jimmy's Bar and Grill and Conmar Zipper Company, Newark, NJ, 1973' 1973

 

George Tice
Jimmy’s Bar and Grill and Conmar Zipper Company, Newark, NJ, 1973
1973
Silver gelatin print

 

George Tice. 'Houses and Water Towers, Moorestown, NJ, 1973' 1973

 

George Tice
Houses and Water Towers, Moorestown, NJ, 1973
1973
Silver gelatin print

 

George Tice. 'Hudson's Fish Market, Atlantic City, NJ, 1973' 1973

 

George Tice
Hudson’s Fish Market, Atlantic City, NJ, 1973
1973
Silver gelatin print

 

George Tice. 'Dorn's Photoshop, Red Bank, NJ, 1999' 1999

 

George Tice
Dorn’s Photoshop, Red Bank, NJ, 1999
1999
Silver gelatin print

 

George Tice. 'Lexington Avenue, Passaic, NJ, 1973' 1973

 

George Tice
Lexington Avenue, Passaic, NJ, 1973
1973
Silver gelatin print

 

George Tice. 'Palace Funhouse, Asbury Park, 1995' 1995

 

George Tice
Palace Funhouse, Asbury Park, 1995
1995
Silver gelatin print

 

George Tice. 'Railroad Bridge, High Bridge, NJ, 1974' 1974

 

George Tice
Railroad Bridge, High Bridge, NJ, 1974
1974
Silver gelatin print

 

George Tice. 'Route #440 Overpass, Perth Amboy, 1973' 1973

 

George Tice
Route #440 Overpass, Perth Amboy, 1973
1973
Silver gelatin print

 

 

“Joseph Bellows Gallery is pleased to announce an exhibition of photographs by one of the medium’s master photographers, George Tice. George Tice: Urban Landscapes will open with a book signing and reception with the artist on Saturday September, 10th from 6-8pm. The exhibition will continue through October 28th, 2016.

The exhibition will present a remarkable selection of forty exceptionally rare vintage 8 x 10 inch gelatin silver contact prints from the early period (1973-74), of Tice’s ongoing epic visual poem of his native state of New Jersey. These unique vintage prints will be punctuated with larger photographs of some of artist’s most revered and significant images, as well as selections of more recent work from his extended New Jersey portrait.

Renowned for their attentive and quotidian descriptions of the everyday structures and places that define the American cultural landscape, Tice’s exquisitely printed photographs catalog a rich and layered journey that is both personal and universal. In the photographs that comprise Urban Landscapes, Tice defines a sense of America within a tradition rooted in the work of other American masters, namely Edward Hopper and Walker Evans. Tice’s photographs of New Jersey in the early to mid 1970’s describe a particular time and place; however, as the artist states, “It takes the passage of time before an image of a commonplace subject can be assessed. The great difficulty of what I attempt is seeing beyond the moment; the everydayness of life gets in the way of the eternal.” Now, with decades past, Tice’s observations have become even more poignant depictions, everlasting a specific era and landscape, as the artist intended.

As well as being one of the 20th Century’s most prominent photographers, Tice is revered as a master printer, having printed limited-edition portfolios of some of his favorite photographers, among them Edward Steichen, Edward Weston and Frederick H. Evans, as well as other important photographers including Francis Bruguiere, Ralph Steiner and Lewis Hine.”

Press release from the Joseph Bellows Gallery

 

George Tice. 'Tenement Rooftops, Hoboken, NJ, 1974' 1974

 

George Tice
Tenement Rooftops, Hoboken, NJ, 1974
1974
Silver gelatin print

 

George Tice. 'Steve's Diner, Route 130, North Brunswick, 1974' 1974

 

George Tice
Steve’s Diner, Route 130, North Brunswick, 1974
1974
Silver gelatin print

 

George Tice. 'Ideal Diner, Perth Amboy, NJ, 1980' 1980

 

George Tice
Ideal Diner, Perth Amboy, NJ, 1980
1980
Silver gelatin print

 

George Tice. 'White Castle, Route #1, Rahway, NJ, 1973' 1973

 

George Tice
White Castle, Route #1, Rahway, NJ, 1973
1973
Silver gelatin print

 

George Tice. 'Strand Theater, Keyport, NJ, 1973' 1973

 

George Tice
Strand Theater, Keyport, NJ, 1973
1973
Silver gelatin print

 

George Tice. 'Industrial Landscape, Kearny, NJ, 1973' 1973

 

George Tice
Industrial Landscape, Kearny, NJ, 1973
1973
Silver gelatin print

 

 

George Tice in conversation with Paul Caponigro

JPC You had said, “After a time you don’t want to have any photographic influences. It’s okay to be influenced by writers, poets, people in other fields but not okay by other photographers.”

GT You don’t want to be like anyone else. Like all those people who were influenced by Ansel Adams. I don’t think any of them will do better than he did.

JPC Not until they find their own voice. It’s impossible to successfully imitate someone else’s voice.

GT Right. And the natural landscape of the west, that’s not going to be better in the future, as the population increases and much of the wilderness gets erased. Timothy O’Sullivan probably had a better chance at it than Ansel Adams did. But you don’t want anyone to be too great an influence, like an apprenticeship. If I was to begin photography, study it, I wouldn’t want one teacher. I think one teacher is too great an influence. I’d rather have an education based on workshops. You draw some knowledge through every one of them. But if you learn to see what photography is through one person’s eyes you become fixed in that one way of seeing.

George Tice Conversations on the John Paul Caponigro “Illuminating Creativity” web page 07/01/1997 [Online] Cited 09/10/2016

 

George Tice. 'Jahos Brothers Clothing Store, Trenton, NJ, 1973' 1973

 

George Tice
Jahos Brothers Clothing Store, Trenton, NJ, 1973
1973
Silver gelatin print

 

George Tice. 'Minnie's Go-Go, Route 130, Merchantville, 1975' 1975

 

George Tice
Minnie’s Go-Go, Route 130, Merchantville, 1975
1975
Silver gelatin print

 

George Tice. 'Lakewood Manor Motel, Lakewood, NJ, 1998' 1998

 

George Tice
Lakewood Manor Motel, Lakewood, NJ, 1998
1998
Silver gelatin print

 

George Tice. 'Esso Station and Tenement House, Hoboken, NJ, 1972' 1972

 

George Tice
Esso Station and Tenement House, Hoboken, NJ, 1972
1972
Silver gelatin print

 

George Tice. 'Telephone Booth, 3 am, Railway, NJ, 1974' 1974

 

George Tice
Telephone Booth, 3 am, Railway, NJ, 1974
1974
Silver gelatin print

 

 

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

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

Joseph Bellows Gallery website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

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

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