Posts Tagged ‘American photography

22
Mar
17

Exhibition: ‘Edward Steichen: Twentieth-Century Photographer’ at deCordova Sculpture Park and Museum, Lincoln, MA

Exhibition dates: 7th October 2016 – 26th March 2017

 

Just for enjoyment.

Marcus

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Many thankx to the deCordova Sculpture Park and Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Edward Steichen (1879-1973) 'Self-Portrait with Studio Camera' 1917; printed 1982

 

Edward Steichen (1879-1973)
Self-Portrait with Studio Camera
1917; printed 1982
Silver gelatin print
13 1/8 x 10 5/8 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

Edward Steichen (1879-1973) 'Self-Portrait with Studio Camera' c. 1917

 

Edward Steichen (1879-1973)
Self-Portrait with Studio Camera
c. 1917
Gelatin silver print

 

Edward Steichen (1879-1973) 'Self-Portrait with photographers paraphenalia' 1929

 

Edward Steichen (1879-1973)
Self-Portrait with photographers paraphenalia
1929
Gelatin silver print

 

Installation view of 'Edward Steichen: Twentieth-Century Photographer' at the deCordova Sculpture Park and Museum

 

Installation view of Edward Steichen: Twentieth-Century Photographer at the deCordova Sculpture Park and Museum
Courtesy Photo/Clements Photography and Design, Boston
Creative Commons Wicked Local

 

 

DeCordova Sculpture Park and Museum is pleased to present the upcoming exhibition Edward Steichen: Twentieth-Century Photographer. Edward Steichen (1879-1973) is known for his role in expanding the breadth of twentieth-century photography through his memorable images and his work as a gallery director and museum curator. Steichen was a painter, horticulturalist, museum curator, graphic designer, publisher, and film director. He also served as a military photographer in both World Wars, and lived a life that embraced a century transformed by modernisation. On view in the James and Audrey Foster Galleries, the exhibition is drawn from deCordova’s permanent collection, and features important loans from private collectors and select institutions. The majority of photographs included in this show were made from Steichen’s original negatives and printed after his death in the 1980s by photographer George Tice. The exhibition also features a select number of vintage prints printed by Steichen in the 1910s and 1920s that reveal the lush interpretations he made with experimental printing techniques.

From his early Pictorialist images with their painterly quality, to his decades-long work as a commercial photographer for Condé Nast, Steichen explored the full range of the photographic medium. In his role as the Director of Photography at the Museum of Modern Art, New York, he often reproduced and integrated other photographers’ work into groundbreaking exhibitions that reflected his curatorial practice. The combined aspects of his career as a photographer and curator positioned Steichen to become a controversial yet prescient advocate for photography’s ability to record and amplify human observation, endeavour, and creativity.

The exhibition includes portraits of glamorous celebrities and socialites, still-life photographs of plants and flowers, dynamic cityscapes, and commercial advertisements. Also on view are Steichen’s portraits of fellow artists and writers that reveal his place among avant-garde cultural communities in New York and Europe. Edward Steichen also explores his work as the head of the Naval Aviation Photographic Unit in World War II, and traces his role at the Museum of Modern Art, NY where he curated over forty exhibitions. The aesthetic range of the images shows Steichen’s experimentation throughout his career with new techniques for lighting, composing, and printing photographs.

Edward Steichen continues deCordova’s longstanding commitment to the exhibition and collection of important photographic works. The exhibition opens to the public on October 7, 2016 and will be on view until March 26, 2017.

Press release from the deCordova Sculpture Park and Museum

 

Edward Steichen (1879-1973) 'Auguste Rodin and the Monument to Victor Hugo' 1902

 

Edward Steichen (1879-1973)
Auguste Rodin and the Monument to Victor Hugo
1902
Gum bichromate print

 

 

When Edward Steichen arrived in Paris in 1900, Auguste Rodin (1840-1917) was regarded not only as the finest living sculptor but also perhaps as the greatest artist of his time. Steichen visited him in his studio in Meudon in 1901 and Rodin, upon seeing the young photographer’s work, agreed to sit for his portrait. Steichen spent a year studying the sculptor among his works, finally choosing to show Rodin in front of the newly carved white marble of the “Monument to Victor Hugo,” facing the bronze of “The Thinker.” In his autobiography, Steichen describes the studio as being so crowded with marble blocks and works in clay, plaster, and bronze that he could not fit them together with the sculptor into a single negative. He therefore made two exposures, one of Rodin and the “Monument to Victor Hugo,” and another of “The Thinker.” Steichen first printed each image separately and, having mastered the difficulties of combining the two negatives, joined them later into a single picture, printing the negative showing Rodin in reverse.

Text from the Metropolitan Museum website

 

Edward Steichen (1879-1973) 'J. Pierpont Morgan, Esq.' 1903

 

Edward Steichen (1879-1973)
J. Pierpont Morgan, Esq.
1903
Gum bichromate over platinum print

 

Edward Steichen (1879-1973) 'The Flatiron' 1904

 

Edward Steichen (1879-1973)
The Flatiron
1904
Gum bichromate over platinum print

 

 

While Steichen’s palette recalls Whistler’s Nocturne paintings and the foreground branch echoes those often found in the Japanese prints that were much in vogue in turn-of-the-century Paris, his subject is distinctly modern and American. The newly completed, twenty-two-story skyscraper soars so high above Madison Square in New York that it could not be contained within the photographer’s frame… Steichen’s three variant printings of The Flatiron, each in a different tonality, evoke successive moments of twilight and forcefully assert that photography can rival painting in scale, colour, individuality, and expressiveness.

Text from the Metropolitan Museum website

 

Edward Steichen (1879-1973) 'Lotus, Mount Kisco, New York' 1915; printed 1982

 

Edward Steichen (1879-1973)
Lotus, Mount Kisco, New York
1915; printed 1982
Silver gelatin print
13 1/4 x 10 1/2 inches (image and paper)
Gift of Diane Singer in honour of the marriage of Diane Singer to Eric Pearlman

 

Edward Steichen (1879-1973) Alfred 'Stieglitz' 1915; printed 1982

 

Edward Steichen (1879-1973)
Alfred Stieglitz
1915; printed 1982
Silver gelatin print
9 5/8 x 7 3/4 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

 

The most recognisable of these images involve celebrity. Artists – Constantin Brancusi, Eugene O’Neill – and actors Charlie Chaplin, Lillian Gish, Marlene Dietrich, the unforgettable Greta Garbo – all sat for Steichen, who strove for a discovery of the individual.

In black-and-white photography, composition, cast and shadow take prominence. Looming stage equipment behind a smiling Chaplin quietly recalls his movie roles. Garbo, clutching her “terrible hair,” wordlessly speaks volumes about her self- and public images. Carl Sandburg (Steichen’s brother-in-law) gazes poetically away from the camera. German author Gerhart Hauptmann stares directly into the camera under the starry firmament. The British dramaturge E. Gordon Craig poses foppishly in front of Notre-Dame cathedral in Paris.

Keith Powers. “DeCordova focuses on the varied career photographer Edward Steichen,” on The Metro West Daily News website

 

Edward Steichen (1879-1973) 'Brancusi, Voulangis, France' c. 1922; printed 1987

 

Edward Steichen (1879-1973)
Brancusi, Voulangis, France
c. 1922; printed 1987
Silver gelatin print
13 x 10 1/2 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

Edward Steichen (1879-1973) 'Carl Sandburg, Umpawaug, Connecticut' 1930

 

Edward Steichen (1879-1973)
Carl Sandburg, Umpawaug, Connecticut
1930
Gelatin silver print

 

 

Carl Sandburg (January 6, 1878 – July 22, 1967) was an American poet, writer, and editor who won three Pulitzer Prizes: two for his poetry and one for his biography of Abraham Lincoln. During his lifetime, Sandburg was widely regarded as “a major figure in contemporary literature”, especially for volumes of his collected verse, including Chicago Poems (1916), Cornhuskers (1918), and Smoke and Steel (1920). He enjoyed “unrivalled appeal as a poet in his day, perhaps because the breadth of his experiences connected him with so many strands of American life”, and at his death in 1967, President Lyndon B. Johnson observed that “Carl Sandburg was more than the voice of America, more than the poet of its strength and genius. He was America.”

Text from the Wikipedia website

 

Edward Steichen (1879-1973) 'Greta Garbo' 1929

 

Edward Steichen (1879-1973)
Greta Garbo
1929
Silver gelatin print

 

Edward Steichen (1879-1973) 'E. Gordon Craig, Paris' 1920, printed in 1987

 

Edward Steichen (1879-1973)
E. Gordon Craig, Paris
1920, printed in 1987
Gelatin silver print

 

 

Edward Henry Gordon Craig CH OBE (16 January 1872 – 29 July 1966), sometimes known as Gordon Craig, was an English modernist theatre practitioner; he worked as an actor, director and scenic designer, as well as developing an influential body of theoretical writings…

Craig’s idea of using neutral, mobile, non-representational screens as a staging device is probably his most famous scenographic concept. In 1910 Craig filed a patent which described in considerable technical detail a system of hinged and fixed flats that could be quickly arranged to cater for both internal and external scenes. He presented a set to William Butler Yeats for use at the Abbey Theatre in Ireland, who shared his symbolist aesthetic.

Craig’s second innovation was in stage lighting. Doing away with traditional footlights, Craig lit the stage from above, placing lights in the ceiling of the theatre. Colour and light also became central to Craig’s stage conceptualisations…

The third remarkable aspect of Craig’s experiments in theatrical form were his attempts to integrate design elements with his work with actors. His mise en scène sought to articulate the relationships in space between movement, sound, line, and colour. Craig promoted a theatre focused on the craft of the director – a theatre where action, words, colour and rhythm combine in dynamic dramatic form.

All of his life, Craig sought to capture “pure emotion” or “arrested development” in the plays on which he worked. Even during the years when he was not producing plays, Craig continued to make models, to conceive stage designs and to work on directorial plans that were never to reach performance. He believed that a director should approach a play with no preconceptions and he embraced this in his fading up from the minimum or blank canvas approach.

Text from the Wikipedia website

 

Edward Steichen (1879-1973) 'The Blue Sky, Long Island, New York' 1923; printed 1987

 

Edward Steichen (1879-1973)
The Blue Sky, Long Island, New York
1923; printed 1987
Silver gelatin print
9 1/2 x 7 1/4 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

 

DeCordova Sculpture Park and Museum
51 Sandy Pond Road in Lincoln, Massachusetts

Opening hours (Winter hours):
Wednesday – Friday, 10 am – 4 pm
Saturday – Sunday, 10 am – 5 pm

deCordova Sculpture Park and Museum website

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25
Jan
17

Exhibition: ‘Surveillance’ at the Nelson-Atkins Museum of Art, Kansas City, Missouri

Exhibition dates: 16th September 2016 – 29th January 2017

 

This looks to be a fascinating exhibition on a very interesting subject. It’s such a pity I cannot comment on the exhibition itself due to the small number of media images, and having no idea how the images I do have fit into the themes of the exhibition, although one can make guesses: Henri Cartier-Bresson’s Brussels (1932, below) surveys the watchers; his Hyeres, France (1932, below) is taken by an unseen camera; and Professor Lowe’s balloon Intrepid was used by the Union in the American Civil War to spy on Confederate troop movements. Others I have absolutely no idea.

“Dating from 1864-2014, the works in Surveillance fall under these categories: spying or hidden cameras, photography of the forbidden, military surveillance, areas of heavy surveillance and mapping satellites and drones. There are also examples of counter-surveillance that either prevent watching or surveille the watchers.”

My favourite images in this posting of surreptitious photography are those of Tomas van Houtryve from his series Blue Sky Days. I love the titles play on the ideas of blue sky thinking (original or creative thinking, unfettered by convention and not grounded in reality) and blue skies research (scientific research in domains where “real-world” applications are not immediately apparent) – views of the world that are quantifiable but not grounded in reality, and where the “reality” of the world is not immediately apparent. Such a clever and insightful “point of view” which engages with “the changing nature of surveillance, personal privacy, and war”, a projection on a vertical plane. More intriguing images from this series can be seen on his website.

Dr Marcus Bunyan for Art Blart

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

 

 

Henri Cartier-Bresson (French, 1908-2004) 'Brussels' 1932

 

Henri Cartier-Bresson (French, 1908-2004)
Brussels
1932
Gelatin silver print
9 1/2 × 14 3/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,
© Henri Cartier-Bresson / Magnum Photos

 

Henri Cartier Bresson (French, 1908-2004) 'Hyeres, France' 1932

 

Henri Cartier Bresson (French, 1908-2004)
Hyeres, France
1932
Gelatin silver print
© Henri Cartier-Bresson/Magnum

 

Tomas van Houtryve (Belgian) Schoolyard From the series 'Blue Sky Days' 2013-2014

 

Tomas van Houtryve (Belgian)
Schoolyard
From the series Blue Sky Days
2013-2014
150×100 cm gelatin-silver print

 

Tomas van Houtryve (Belgian) 'Domestic gathering' 2013-2014

 

Tomas van Houtryve (Belgian)
Domestic gathering
From the series Blue Sky Days
2013-2014

 

 

“The images captured from the drone’s perspective engage with the changing nature of surveillance, personal privacy, and war.” ~ Tomas van Houtryve

 

“In October 2012, a drone strike in northeast Pakistan killed a 67-year-old woman picking okra outside her house. At a briefing held in 2013 in Washington, the woman’s 13-year-old grandson, Zubair Rehman, spoke to a group of five lawmakers. “I no longer love blue skies,” said Rehman, who was injured by shrapnel in the attack. “In fact, I now prefer gray skies. The drones do not fly when the skies are gray.”

Over the past decade, drones have become the weapon of the United States military and the CIA for strikes overseas. Their use for surveillance and commercial purposes is also rapidly expanding both at home and abroad.

Tomas van Houtryve attached his camera to a small drone and traveled across America to photograph the very sorts of gatherings that have become habitual targets for foreign air strikes – weddings, funerals, groups of people praying or exercising. He also flew his camera over settings in which drones are used to less lethal effect, such as prisons, oil fields, industrial feedlots, and stretches of the U.S.-Mexico border.”

Text from the Pulitzer Center website

 

Mishka Henner (Belgian, b. 1976) 'Staphorst Ammunition Depot' 2011

 

Mishka Henner (Belgian, b. 1976)
Staphorst Ammunition Depot
2011
Inkjet print
31 1/4 × 35 1/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

 

British photographer Mishka Henner, in his series Dutch Landscapes, uses Google satellite views of locations that have been censored by the Dutch government because of concerns about the visibility of political, economic and military locations. Many countries blur, pixilate or whiten sensitive sites. The Dutch method, however, employs bold, multi-colored polygons. The resulting photograph is an artistic, visual contrast between secret sites and the surrounding rural environment, providing an unsettling reflection on surveillance and the contemporary landscape.

 

Unknown maker (American) 'Rochester, New York' 1886

 

Unknown maker (American)
Rochester, New York
1886
Albumen print, 5 5/8 × 5 5/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,

 

 

“Surveillance cameras in the 21st century are practically everywhere – on street corners, in shops, in public buildings, silently recording our every movement. Yet this is not a construct of modern times. As soon as cameras were introduced in the 1880s, anyone could be unknowingly photographed at any time. It was an unfortunate fact of life. The exhibition Surveillance opened at The Nelson-Atkins Museum of Art in Kansas City September 16, examining the role of surreptitious photography from the mid-19th century to the present day.

“This body of work represents a sign of our times,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO and Director of the Nelson-Atkins. “Cameras have been recording our movements, many times secretly, since photography began. But it was the tragedy of 9/11 that increased our awareness of this constant presence and brought a new and chilling meaning to the art, and the intention, of surveillance.”

Dating from 1864-2014, the works in Surveillance fall under these categories: spying or hidden cameras, photography of the forbidden, military surveillance, areas of heavy surveillance and mapping satellites and drones. There are also examples of counter-surveillance that either prevent watching or surveille the watchers.

“Twenty-first century technology – like Google Earth View and drone photography – have provided photographers with a treasure trove of surveillance images,” said Jane L. Aspinwall, Associate Curator, Photography. “This work provokes uneasy questions about who is looking at whom and the limits of artistic expression.”

Photographer Roger Schall, formerly a French news reporter, secretly recorded the Nazi occupation of Paris beginning in June 1940. His photographs document his daily routine and illustrate how completely the Nazis permeated every facet of Parisian life.

British photographer Mishka Henner, in his series Dutch Landscapes, uses Google satellite views of locations that have been censored by the Dutch government because of concerns about the visibility of political, economic and military locations. Many countries blur, pixilate or whiten sensitive sites. The Dutch method, however, employs bold, multi-colored polygons. The resulting photograph is an artistic, visual contrast between secret sites and the surrounding rural environment, providing an unsettling reflection on surveillance and the contemporary landscape.

Other photographers employ techniques to circumvent surveillance. Adam Harvey creates “looks” that block online facial recognition software [CV Dazzle]. The contours of the face are manipulated in such a way that a computer is not able to identify a person, which can be a useful tool for social media sites like Facebook, in which users can search an entire archive for one particular face.”

Press release from the Nelson-Atkins Museum of Art

 

Brady Studio (American active c. 1843-1885) 'Professor Lowe inflating balloon Intrepid' 1862

 

Brady Studio (American, active c. 1843-1885)
Professor Lowe inflating balloon Intrepid
1862
Albumen print
3 1/4 × 2 3/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,

 

Intrepid being cross-inflated from Constitution in a spur-of-the-moment attempt to get the larger balloon in the air to overlook the imminent Battle of Seven Pines. The balloon Intrepid, one of six to eventually be constructed by Thaddeus Lowe and the Union Army Balloon Corps.

 

 

Peninsula Campaign

The battlefront turned toward Richmond in the Peninsula Campaign. The heavy forestation inhibited the use of balloons, so Lowe and his Balloon Corps, with the use of three of his balloons, the Constitution, the Washington, and the larger Intrepid, used the waterways to make its way inland. In mid May 1862, Lowe arrived at the White House on the Pamunkey River. This is the first home of George and Martha Washington, after which the Washington presidential residence is named. At this time, it was the home of the son of Robert E. Lee, whose family fled at the arrival of Lowe. Lowe was met by McClellan’s Army a few days later, and by 18 May, he had set up a balloon camp at Gaines’ Farm across the Chickahominy River north of Richmond, and another at Mechanicsville. From these vantage points, Lowe, his assistant James Allen, and his father Clovis were able to overlook the Battle of Seven Pines. 

A small contingent from Gen. Samuel P. Heintzelman’s corps crossed the river toward Richmond and was slowly being surrounded by elements of the Confederate Army. McClellan felt that the Confederates were simply feigning an attack. Lowe could see, from his better vantage point, that they were converging on Heintzelman’s position. Heintzelman was cut off from the main body because the swollen river had taken out all the bridges. Lowe sent urgent word of Heintzelman’s predicament and recommended immediate repair of New Bridge and reinforcements for him. 

At the same time, he sent over an order for the inflation of the Intrepid, a larger balloon that could take him higher with telegraph equipment, in order to oversee the imminent battle. When Lowe arrived from Mechanicsville to the site of the Intrepid at Gaines’ Mill, he saw that the aerostat’s envelope was an hour away from being fully inflated. He then called for a camp kettle to have the bottom cut out of it, and he hooked the valve ends of the Intrepid and the Constitution together. He had the gas of the Constitution transferred to the Intrepid and was up in the air in 15 minutes. From this new vantage point, Lowe was able to report on all the Confederate movements. McClellan took Lowe’s advice, repaired the bridge, and had reinforcements sent to Heintzelman’s aid. An account of the battle was being witnessed by the visiting Count de Joinville who at day’s end addressed Lowe with: “You, sir, have saved the day!”

Text from the Union Army Balloon Corps Wikipedia entry

 

Paul Strand (American 1890-1976) 'Blind woman, New York' 1916

 

Paul Strand (American, 1890-1976)
Blind woman, New York
1916
Photogravure
8 13/16 × 6 9/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.,

 

Roger Schall (French, 1904-1985) 'Taking the subway' c. 1941

 

Roger Schall (French, 1904-1985)
Taking the subway
c. 1941
Gelatin silver print
7 7/16 × 7 1/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Jeffrey and Polly Kramer

 

 

Born in 1904, Roger Schall was one of the most renowned photographers of the 1930s and 1940s. He worked in all photographic disciplines from fashion, portraits, nudes, still lives and reporting. He began working with his father, a portrait photographer in 1918. 10 years later he would be one of the first reporters to work with a Leica or Rolleiflex. In 1939, he closed the studio-agency he had opened with his brother. From June 1940 to August 1944 he photographed German occupied Paris – hiding the negatives so they would not be seen by the censors. When the occupation was over his brother, Raymond Schall, published a book: A Paris sous la botte des Nazis (Paris under the heel of the Nazis) that was illustrated with the photographs of Roger Schall, Parry, Doisneau, the Seeberger brothers and many others. He then continued working in fashion, doing commercial and publicity work instead of news reporting. From 1970 until his death in 1995, he would manage his archive of some 80,000 images. (Text from the Real Life is Elsewhere blog)

His work covered a number of topics, especially Parisian everyday life, his favourite subject, which he photographed before, during and after the German occupation. Formed in 1931, Le Studio in Montmartre was the first agency to publish his work in leading international magazines, such as Vu, Vogue, L’illustration, Life, and Paris-Match. 150 covers and 10,000 shots were published in his lifetime. (Text from the Yellow Korner website)

 

Henri Cartier-Bresson. 'An Attentive Cat' 1953

 

Henri Cartier-Bresson
An Attentive Cat
1953
Gelatin silver print
© Henri Cartier-Bresson/Magnum

 

Raphaël Dallaporta (French b. 1980) 'Kafir Qala Citadel, Balkh Province, Afghanistan, from the Achaemenid period (6th-4th century BC) to the Ghorid period (12th-13th century AD)' 2010

 

Raphaël Dallaporta (French b. 1980)
Kafir Qala Citadel, Balkh Province, Afghanistan, from the Achaemenid period (6th-4th century BC) to the Ghorid period (12th-13th century AD)
2010
Inkjet print
59 × 47 1/4 × 1 5/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

 

The Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, MO 64111

Opening hours:
Wed, 10 am – 5 pm
Thurs, Fri, 10 am – 9 pm
Sat, 10 am – 5 pm
Sun, 10 am – 5 pm

The Nelson-Atkins Museum of 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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15
Dec
16

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

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

 

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

 

 

Nothing SALACIOUS

.
to see here

 

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

 

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

 

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

 

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

But I can’t.

Why not?

 

Because of the

un/solicitous

 

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

and

innocuous

 

 

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

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

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

 

And there’s the rub.

LIKE RUBBING TWO COCKS TOGETHER.

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

 

We can’t have them being seen online

.

.

Cocks forbidden

.

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

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

No comment is possible.

Marcus

.

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

 

 

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

.
Juergen Teller

 

 

Robert Mapplethorpe. 'Pods' 1985

 

Robert Mapplethorpe
Pods
1985
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Madeline Stowe' 1982

 

Robert Mapplethorpe
Madeline Stowe
1982
© Robert Mapplethorpe Foundation. Used by permission
Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Apartment Window' 1977

 

Robert Mapplethorpe
Apartment Window
1977
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Frogs' 1984

 

Robert Mapplethorpe
Frogs
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

 

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

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

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

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

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

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

Short biographies

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

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

Press release from Alison Jacques Gallery

 

Robert Mapplethorpe. 'Arthur Diovanni' 1982

 

Robert Mapplethorpe
Arthur Diovanni
1982
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Cookie Mueller' 1978

 

Robert Mapplethorpe
Cookie Mueller
1978
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Paris Fashion Dovanna' 1984

 

Robert Mapplethorpe
Paris Fashion Dovanna
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Tattoo Artists' Son' 1984

 

Robert Mapplethorpe
Tattoo Artists’ Son
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Michael Reed' 1987

 

Robert Mapplethorpe
Michael Reed
1987
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

Robert Mapplethorpe. 'Shoes on Plates' 1984

 

Robert Mapplethorpe
Shoes on Plates
1984
© Robert Mapplethorpe Foundation
Used by permission Courtesy Alison Jacques Gallery, London

 

 

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

Opening hours:
Tuesday – Friday 10am – 6pm
Saturday 11am – 5pm
Closed Sunday and Monday

Alison Jacques Gallery website

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09
Dec
16

Exhibition: ‘Lewis Baltz NEVADA’ at Joseph Bellows Gallery, La Jolla, California

Exhibition dates: 15th November – 30th December 2016

 

I love this man’s work. Elegant, formalist, classical photographs of man altered landscapes and their environs.

New Topographics.

From the lineage of Carleton E. Watkins, Timothy O’Sullivan and Eadweard Muybridge in the 19th century through until today, these “modern and postmodern photographic landscapes mark a progressively disquieting understanding of humanity’s relationship to the natural universe.” First there was exploration and documentation, now there is the glare of blown-out skies, broken fluorescent tubes and soulless, tract homes.

The brooding mountain behind Model Home; the evanescent light of Night Construction falling into imperishable darkness; and the twinkling, star studded wall of New Construction, Shadow Mountain. Light-filled space traced onto film producing timeless, twisted dioramas. Landscape as conceptual performance.

Marcus

.
Many thankx to the Mike and 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.

 

 

“In Nevada, Lewis Baltz alternates unbuilt views with home construction, trailer parks, and roads in a documentation of a rapidly changing landscape in the desert valleys surrounding Reno, an area he once described as “landscape-as-real-estate.” Baltz, like Joe Deal and Harold Jones, whose works are on view in this gallery, developed projects as portfolios, believing that a single photograph cannot capture a complete portrait of a place. In Baltz’s series, a multifaceted, occasionally contradictory image of Nevada emerges through the accumulation of photographs.”

.
Text from the exhibition America in View: Landscape Photography 1865 to Now

 

“Once continental expansion had reached its limits, however, and no existential threats to white settlement remained, American landscape images began to reflect a new criticality – at turns romantic and realistic – that persists to this day. Indeed, for the last century, landscape photography has consistently mirrored Americans’ anxieties about nature, or rather its imminent loss, whether due to industrialization, pollution, population growth, real estate profiteering, or bioengineering. Alternately portraying nature as a balm for the alienated modern soul or a dystopian fait accompli, modern and postmodern photographic landscapes mark a progressively disquieting understanding of humanity’s relationship to the natural universe.”
.
Deborah Bright. Photographing Nature, Seeing Ourselves 2012 in America in View: Landscape Photography 1865 to Now catalogue, p.32

 

 

Lewis Baltz. 'Reno Sparks, Looking South' 1977

 

Lewis Baltz
Reno Sparks, Looking South [1]
1977
Silver gelatin print

 

Lewis Baltz. 'Hidden Valley, Looking South' 1977

 

Lewis Baltz
Hidden Valley, Looking South [2]
1977
Silver gelatin print

 

Lewis Baltz. 'Hidden Vlley, Looking Southeast' 1977

 

Lewis Baltz
Hidden Valley, Looking Southeast [3]
1977
Silver gelatin print

 

Lewis Baltz. 'Fluorescent Tube' 1977

 

Lewis Baltz
Fluorescent Tube [4]
1977
Silver gelatin print

 

Lewis Baltz. 'US 50, East of Carson City' 1977

 

Lewis Baltz
US 50, East of Carson City [5]
1977
Silver gelatin print

 

Lewis Baltz. 'New Construction, Shadow Mountain' 1977

 

Lewis Baltz
New Construction, Shadow Mountain [6]
1977
Silver gelatin print

 

Lewis Baltz. 'Night Construction' 1977

 

Lewis Baltz
Night Construction [7]
1977
Silver gelatin print

 

 

Joseph Bellows Gallery is pleased to announce its upcoming exhibition, NEVADA by the late American photographer, Lewis Baltz (1945-2014). NEVADA will present the entire portfolio of 15 black and white photographs created by Baltz in 1977. The exhibition will open on November 15th and continue through December 30th, 2016.

Nevada is a central work of Baltz’s continued interest in the American West and its changing landscape. The photographs describe the development of the desert region of Nevada, near Reno: construction sites and their artifacts, vistas of newly built tract communities, and the desert environments that surround their imprint are traced with the high-key light of the western sun or glow of artificial light illuminating the darkness of night.

Biography

Lewis Baltz was born in Newport Beach, California in 1945. He received his BFA from the San Francisco Art Institute in 1969 and his MFA from Claremont Graduate School in 1971. That same year he was included in The Crowed Vacancy: Three Los Angeles Photographers, an exhibition that also included Anthony Hernandez and Terry Wild.

Baltz’s photographs of the transforming American landscape defined a central role in 1970’s landscape photography and influenced forthcoming generations of photographic practice. He, along with other notable photographers including Frank Gohkle, Robert Adams, Stephen Shore and John Schott came to prominence through their inclusion in the groundbreaking and influential exhibition, New Topographics: Photographs of a Man-altered Landscape, an exhibition organized at the George Eastman House in 1975.

Baltz’s serial work often took the form of published portfolios relating to a particular landscape theme or geographic location. Portfolios include: The New Industrial Parks Near Irvine, California (1974), Nevada (1978), Park City (1980), San Quentin Point (1985) and Candlestick Point (1989). Baltz received two National Endowment for the Arts grants in 1973 and 1977 and a Guggenheim Fellowship in 1977. His photographs have been the subject of over 50 one-person exhibitions and seventeen monographs.

Press release from the Joseph Bellows Gallery

 

Lewis Baltz. 'Model Home, Shadow Mountian' 1977

 

Lewis Baltz
Model Home, Shadow Mountain [8]
1977
Silver gelatin print

 

Lewis Baltz. 'B Street, Sparks' 1977

 

Lewis Baltz
B Street, Sparks [9]
1977
Silver gelatin print

 

Lewis Baltz. 'Lemmon Valley, Looking North' 1977

 

Lewis Baltz
Lemmon Valley, Looking North [11]
1977
Silver gelatin print

 

Lewis Baltz. 'Lemmon Valley, Looking Northeast' 1977

 

Lewis Baltz
Lemmon Valley, Looking Northeast [12]
1977
Silver gelatin print

 

Lewis Baltz. 'Lemmon Valley, Looking Northwest, Toward Stead' 1977

 

Lewis Baltz
Lemmon Valley, Looking Northwest, Toward Stead [13]
1977
Silver gelatin print

 

Lewis Baltz. 'Nevada 33, Looking West' 1977

 

Lewis Baltz
Nevada 33, Looking West [14]
1977
Silver gelatin print

 

Lewis Baltz. 'Mustang Bridge Exit, Interstate 80' 1977

 

Lewis Baltz
Mustang Bridge Exit, Interstate 80 [15]
1977
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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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

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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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