Posts Tagged ‘American vernacular photography

29
May
22

Exhibition: ‘Real Photo Postcards: Pictures from a Changing Nation’ at the Museum of Fine Arts, Boston

Exhibition dates: 17th March – 25th July, 2022

 

Unidentified artist (American) 'Photographer in the Field' 1907 or later

 

Unidentified artist (American)
Photographer in the Field
1907 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

Life in all its variety!

A fascinating look at American real photo postcards and the stories they tell about the US in the early 20th century. They “reveal truths about a country that was growing and changing with the times – and experiencing the social and economic strains that came with those upheavals.”

Sometimes all is not as clear cut as the professional (vernacular) photographers would have us believe when they recorded a moment that would otherwise have been lost to posterity. For example, the Just Government League formed in 1909 – Maryland’s largest organisation advocating for women’s suffrage – was, like many suffrage organisations, predominantly white, Protestant, highly-educated, and financially well-off.

“In the early 20th century, in addition to its large African American population, Baltimore saw an influx of immigrants from eastern and southern Europe who were Jewish and Catholic. Anti-immigrant sentiment was widespread and supported by the eugenic science of the period, to which many of Baltimore’s elite subscribed.”

As with everything in life and photography, nothing is ever black and white. While the photograph captures one moment, one time freeze, the hidden stories embedded in light and language can be excavated with patience and understanding to reveal the many truths of life – that is, the hopes and fears, the discriminations and freedoms of fallible human beings.

Dr Marcus Bunyan

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

 

 

Unidentified artist (American) 'Lumberjacks' 1907 or later

 

Unidentified artist (American)
Lumberjacks
1907 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'The Lions, Scio, Oregon' 1907

 

Unidentified artist (American)
The Lions, Scio, Oregon
1907
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Telephone Operator' 1907 or later

 

Unidentified artist (American)
Telephone Operator
1907 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

Through occupational portraits as well as workplace snapshots, real photo postcards served as means of visually representing women’s work outside the home. Snapshot photography’s aesthetic norms may have privileged domesticity, but the same cannot be said for real photo postcards, which illustrate a broad gamut of jobs that women undertook outside of the domestic realm. In this way, real photo postcards both captured women’s participation in public life and, through the cards’ subsequent distribution, visually reinforced it.

Women’s work as shown in real photo postcards includes representations of both exceptional forms of labor and quotidian but under acknowledged ones. Some postcards illustrate the degree to which women were beginning to enter lines of work widely considered too hazardous for their participation. One card, for example, depicts a female lion tamer named Holmes, brandishing a whip as she poses flanked by four lions who sit neatly on pedestals (187). Others show an early female truck driver, Luella Bates (193), and the race car driver Irene Dare (194).

In other fields of work outside the home, women constituted a more expected class of labourers. Postcards depicting telephone exchanges featured women operators, who quickly came to dominate this field of work, owing in part to employers’ belief that they had better telephone manners than men, and in part to the fact that they could be paid considerably less than men.11 On the back of one postcard (188), which depicts an Elmira, New York, roomful of telephone exchange operators clad in shirtwaists and skirts, the sender identifies herself as one of those pictured: “This is where I hold forth,” she writes. Another operator (195), this one pictured solo at the switchboard as she offers a smile to the camera…

Annie Rudd. “Between Private and Public,” in Lynda Klich and Benjamin Weiss (eds.,). Real Photo Postcards: Pictures from a Changing Nation. MFA Publications, 2022, p. 177.

 

Unidentified artist (American) 'Street paving, Wyalusing, Pennsylvania' 1907 or later

 

Unidentified artist (American)
Street paving, Wyalusing, Pennsylvania
1907 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

This postcard depicts street layers working outside the Wyalusing Hotel in the town of Wyalusing, Pennsylvania, in 1907. According to the book, real estate development provided good opportunities for photo postcard photographers.

 

Unidentified artist (American) 'Photographer and Sitter with Dog' 1907

 

Unidentified artist (American)
Photographer and Sitter with Dog
1907
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Votes for Women' 1907 or later

 

Unidentified artist (American)
Votes for Women
1907 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

In 1903, at the height of the worldwide craze for postcards, the Eastman Kodak Company unveiled a new product: the postcard camera. The device exposed a postcard-sized negative that could print directly onto a blank card, capturing scenes in extraordinary detail. Portable and easy to use, the camera heralded a new way of making postcards. Suddenly almost anyone could make photo postcards, as a hobby or as a business. Other companies quickly followed in Kodak’s wake, and soon photographic postcards joined the billions upon billions of printed cards in circulation before World War II.

Real photo postcards, as such photographic cards are called today, captured aspects of the world that their commercially published cousins never could. Big postcard publishers tended to play it safe, issuing sets that showed celebrated sites from towns across the United States like town halls, historic mills, and post offices. But the photographers who walked the streets or set up temporary studios worked fast and cheap. They could take a risk on a scene that might appeal to only a few, or capture a moment that would otherwise have been lost to posterity. As the Victorian formality of earlier photography fell away, shop interiors, construction sites, train wrecks, and people acting silly all began to appear on real photo postcards, capturing everyday life on film like never before.

Featuring more than 300 works drawn from the MFA’s Leonard A. Lauder Postcard Archive, this exhibition takes an in-depth look at real photo postcards and the stories they tell about the US in the early 20th century. The cards range from the dramatic and tragic to the inexplicable, funny, and just plain weird. Along the way, they also reveal truths about a country that was growing and changing with the times – and experiencing the social and economic strains that came with those upheavals.

Today, real photo postcards open up the past in ways that can surprise and puzzle. Few of them come with explanations, so over and over again even the most striking images leave only questions: “why?” and sometimes even “what?” “Real Photo Postcards: Pictures from a Changing Nation” is a forceful reminder that memory and historical understanding are evanescent.

Text from the Museum of Fine Arts, Boston website [Online] Cited 06/05/2022

 

Unidentified artist (American) 'A man poses in an Uncle Sam costume in Patchogue, Long Island, New York' c. 1908

 

Unidentified artist (American)
A man poses in an Uncle Sam costume in Patchogue, Long Island, New York
c. 1908
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

A man poses for a studio photo in an Uncle Sam costume in Patchogue – a village in Long Island, New York – circa 1908. The author writes: ‘Uncle Sam as a symbol for the U.S. was ensured not only by the works of nineteenth-century cartoonists like Thomas Nast and James Montgomery Flagg’s “I Want You” recruiting poster during WWI, but also because of everymen like this one, who emulated Sam’s long white whiskers and stars-and-stripes suit.’

Sarah Holt and Sadie Whitelocks. “Step back in time to yesteryear America: Fascinating new book of vintage photo postcards reveals life in the U.S during the early 20th century, from gun gangs to Grand Canyon visits,” on the Mailonline website 14 April 2022 [Online] Cited 02/05/2022

 

Unidentified artist (American) 'Group of men outside the post office in the city of Lenox, Iowa' 1909 or later

 

Unidentified artist (American)
Group of men outside the post office in the city of Lenox, Iowa
1909 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Streetcar in Columbus, Ohio' around 1909 or later

 

Unidentified artist (American)
Streetcar in Columbus, Ohio
around 1909 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'The Strike is On' 1910

 

Unidentified artist (American)
The Strike is On
1910
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Smith Studio (publisher) 'U.S President Theodore Roosevelt speaking to a crowd at Freeport, Illinois' 1910

 

Unidentified artist (American)
Smith Studio (publisher)
U.S President Theodore Roosevelt speaking to a crowd at Freeport, Illinois
1910
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

Look up and you’ll see former U.S President Theodore Roosevelt speaking to a crowd at Freeport, Illinois. It’s thought the picture was captured in 1910, the year after his presidency came to an end. The book reads: ‘In 1910, Roosevelt undertook a transcontinental trip that passed through Illinois, stopping in Freeport, Belvedere, and Chicago. The events in Freeport were planned for September 8, 1910’.

Sarah Holt and Sadie Whitelocks. “Step back in time to yesteryear America: Fascinating new book of vintage photo postcards reveals life in the U.S during the early 20th century, from gun gangs to Grand Canyon visits,” on the Mailonline website 14 April 2022 [Online] Cited 02/05/2022

 

Unidentified artist (American) 'Man in a fur coat' 1910

 

Unidentified artist (American)
Man in a fur coat
1910
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

Featuring a moustachioed man in a fur coat, this postcard is from 1910. ‘Bearing a message in Norwegian, this card, addressed to Ole Flatland, of Canby, Minnesota, is testimony to the large and vibrant Scandinavian community in the upper Midwest,’ the book notes. It says in the absence of contextual information, ‘it is still possible to read images through clues offered in the physical object of the postcard itself, such as a caption on the front or message on the back, the clothes or uniforms that were worn, an object that was held, a person’s expression or body position, or the props and background chosen by the sitter to express a meaningful representation of themselves’

Sarah Holt and Sadie Whitelocks. “Step back in time to yesteryear America: Fascinating new book of vintage photo postcards reveals life in the U.S during the early 20th century, from gun gangs to Grand Canyon visits,” on the Mailonline website 14 April 2022 [Online] Cited 02/05/2022

 

Unidentified artist (American) 'Flood at H. H. Miller's Place Sample Room, Galena, Illinois' 1911

 

Unidentified artist (American)
Flood at H. H. Miller’s Place Sample Room, Galena, Illinois
1911
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

Men huddle together outside a bar, HH Miller’s Palace Sample Room, in the small town of Galena in Illinois, during the Valentine’s Day flood of 1911. The book says that the town ‘faced flooding every spring, but the Valentine’s Day flood of 19111 was particularly bad’. It continues: ‘HH Miller, the proprietor of the bar in this postcard, used the card as a New Year’s greeting the following January: “This is my saloon, the water was to the floor. Behind poast [sic] is myself and Berne and the man with white coat is my bartender. Good night.”‘ The tome also notes that these ‘news-style’ photo postcards, documenting ‘fires, floods, explosions, political rallies, strikes, and parades’ were ‘the direct forebear to the citizen journalism of the digital age, captured by ubiquitous smartphones and disseminated through social media’.

Sarah Holt and Sadie Whitelocks. “Step back in time to yesteryear America: Fascinating new book of vintage photo postcards reveals life in the U.S during the early 20th century, from gun gangs to Grand Canyon visits,” on the Mailonline website 14 April 2022 [Online] Cited 02/05/2022

 

Unidentified artist (American) R. & H. Photo (publisher) 'Seen in Chinatown, San Jose, California' 1912 or later

 

Unidentified artist (American)
R. & H. Photo (publisher)
Seen in Chinatown, San Jose, California
1912 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Electricia, the Woman Who Tames Electricity' 1912

 

Unidentified artist (American)
Electricia, the Woman Who Tames Electricity
1912
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Gensmer & Wolfram Grocery Store, Portland, Oregon' 1913

 

Unidentified artist (American)
Gensmer & Wolfram Grocery Store, Portland, Oregon
1913
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Sufragists' about 1912

 

Unidentified artist (American)
Suffragists
about 1912
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Mary F. Mitchell Feeding Chickens, Wichita, Kansas' about 1912

 

Unidentified artist (American)
Mary F. Mitchell Feeding Chickens, Wichita, Kansas
about 1912
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Washerwomen' 1913

 

Unidentified artist (American)
Washerwomen
1913
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Long's Place Lunch Car' about 1914

 

Unidentified artist (American)
Long’s Place Lunch Car
about 1914
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Teacher in the Classroom' about 1914

 

Unidentified artist (American)
Teacher in the Classroom
about 1914
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'National Woollen Mills in Wheeling, West Virginia' around 1914

 

Unidentified artist (American)
National Woollen Mills in Wheeling, West Virginia
around 1914
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Men Drinking' about 1914

 

Unidentified artist (American)
Men Drinking
about 1914
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Tourists at Mariposa Grove of Big Trees' about 1914

 

Unidentified artist (American)
Tourists at Mariposa Grove of Big Trees
about 1914
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

T. W. Stewart (American, active early 20th century) 'Members of the Just Government League of Maryland' 1914

 

T. W. Stewart (American, active early 20th century)
Members of the Just Government League of Maryland
1914
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

Established in 1909, the Just Government League became the largest organisation in Maryland advocating for women’s suffrage. Local chapters were founded throughout the state including in Westminster in 1913. By 1915 statewide membership numbered 17,000. The League’s campaign centred on public education to affirm the social benefits of votes for women. After Congress passed the 19th Amendment in 1920, the League turned its focus to women’s civil and political rights, and won the right for women to hold public office in Maryland in 1922.

 

The Just Government League formed in 1909. Its leaders were Edith Houghton Hooker, a former Hopkins medical student, and her husband Donald Hooker, a Hopkins physician. They were aided by two close friends: Mabel Glover Mall, Edith’s classmate, and Florence Sabin, who completed her MD at Hopkins and became its first female senior faculty member.

Starting in 1910, suffragists began using cross-country hikes to “reach all sorts and conditions of people” outside of urban centres. The women of Maryland’s Just Government League hiked from Baltimore through Garrett County, about seventy miles, holding public meetings along the way.

Edith Hooker admired the direct-action approach of Alice Paul, and helped Paul to split the more radical National Woman’s Party from the moderate NAWSA. Though the Just Government League joined the National Woman’s Party in 1917, it remained more focused on diplomatic than on militant efforts, conducting intensive lobbying in Annapolis and Washington.

Despite their interest in reaching “all sorts” of people, the League, like many suffrage organisations, was predominantly white, Protestant, highly-educated, and financially well-off. In the early 20th century, in addition to its large African American population, Baltimore saw an influx of immigrants from eastern and southern Europe who were Jewish and Catholic. Anti-immigrant sentiment was widespread and supported by the eugenic science of the period, to which many of Baltimore’s elite subscribed.

Anonymous text. “The Just Government League,” on the John Hopkins Library website Nd [Online] Cited 03/05/2022

 

Unidentified artist (American) Rose Studio (publisher) 'Railroad worker, Portland, Oregon' 1911 or later

 

Unidentified artist (American)
Rose Studio (publisher)
Railroad worker, Portland, Oregon
1911 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Butcher and his Son' about 1914

 

Unidentified artist (American)
Butcher and his Son
about 1914
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Woman with Flowers' about 1914

 

Unidentified artist (American)
Woman with Flowers
about 1914
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Roller skater, Frankfort, Michigan' about 1914

 

Unidentified artist (American)
Roller skater, Frankfort, Michigan
about 1914
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

Featuring more than 300 works drawn from the Leonard A. Lauder Postcard Archive, a promised gift to the Museum of Fine Arts, Boston, Real Photo Postcards: Pictures from a Changing Nation takes an in-depth look at the innovative early-20th-century medium that enabled both professional and amateur photographers to capture everyday life in U.S. towns big and small. The photographs on these cards, which range from the dramatic and tragic to the inexplicable and funny, show this moment in history with striking immediacy – revealing truths about a country experiencing rapid industrialisation, mass immigration, technological change, and social and economic uncertainty. The exhibition is on view from March 17 through July 25, 2022 in the Herb Ritts Gallery and Clementine Brown Gallery. It is accompanied by an illustrated volume, Real Photo Postcards: Pictures from a Changing Nation, produced by MFA Publications and authored by Lynda Klich and Benjamin Weiss, the MFA’s Leonard A. Lauder Senior Curator of Visual Culture, with contributions by Eric Moskowitz, Jeff. L Rosenheim, Annie Rudd, Christopher B. Steiner and Anna Tome.

In 1903, at the height of the worldwide craze for postcards, the Eastman Kodak Company unveiled a new product: the postcard camera. The device exposed a postcard-sized negative that could print directly onto a blank card, capturing scenes in extraordinary detail. Portable and easy to use, the camera heralded a new way of making postcards. Suddenly almost anyone could make photo postcards, as a hobby or as a business. Other companies quickly followed in Kodak’s wake, and soon photographic postcards joined the billions upon billions of printed cards in circulation before World War II.

“Real photo postcards bring us back to the exciting early years of photojournalism. The new flexibility and mobility of this medium created citizen photographers who captured life on the ground around them. These cards particularly excite me because we learn from them both the grand historical narrative and the smaller events that made up the daily lives of those who participated in that history,” said Leonard A. Lauder.

Real photo postcards, as such photographic cards are called today, caught aspects of the world that their commercially published cousins never could. Big postcard publishers tended to play it safe, issuing sets that showed celebrated sites from towns across the U.S. like town halls, historic sites and post offices. But the photographers who walked the streets or set up temporary studios worked fast and cheap. They could take a risk on a scene that might appeal to only a few, or record a moment that would otherwise have been lost to posterity. As the Victorian formality of earlier photography fell away, shop interiors, constructions sites, train wrecks and people being silly all began to appear on real photo postcards – capturing everyday life on film like never before.

Real Photo Postcards: Pictures from a Changing Nation is organised thematically, with groupings of postcards centred around various events and activities that captivated both professional and amateur photographers at the time – from public festivities and organised sports to people at work in professions ranging from telephone operators to farmers. Many of the cards convey local spot news – fires, floods, explosions, political rallies, strikes and parades – presaging the digital journalism of our own age. The exhibition also features a wide array of postcard portraits, which were inexpensive and affordable to people from most walks of life. Popular categories of postcard portraits included workers posing with the tools of their trade or people posing with studio props or backgrounds, sitting on paper moons or “flying” in a fake airplane or hot-air balloon. Collectively, these portraits offer a rare view of a modern America in the making – one constructed by the people, for themselves.

“The postcards in this exhibition are precious, intricately detailed windows into life a century ago. In exploring the Lauder Archive, we selected and arranged the cards with the hope of conveying a measure of the intimacy and serendipity that might come from walking the streets of a town of that time,” said Weiss.

“Some of those cards reveal their history in great detail, while others are resolutely mute about who made them and why. That is one of the pleasures of working with postcards, and one of the things that makes the Lauder Archive such an inexhaustible mine of stories and mysteries,” added Klich.

Real Photo Postcards: Pictures from a Changing Nation is the third exhibition at the MFA drawn from the Leonard A. Lauder Archive, following The Art of Influence: Propaganda Postcards from the Era of World Wars (2018-2019) and The Postcard Age: Selections from the Leonard A. Lauder Collection (2012-2013).

Press release from the Museum of Fine Arts, Boston

 

Unidentified artist (American) 'Circus at Bi-County Fair, Union City, Indiana' 1917 or later

 

Unidentified artist (American)
Circus at Bi-County Fair, Union City, Indiana
1917 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

An image taken at Union City Bi-County Fair in Indiana around 1917. The book says of the photo postcard industry: ‘Just as postcard studios could flourish in the quieter corners of the country, away from the commercial photo studios of the big cities, so could postcard photographers find success close to home. They just needed to make sure that their products were tailored to local tastes: local celebrities, local sports teams, champion livestock and vegetables, the midway at the county fairgrounds, or the local quack–medicine salesmen’.

Sarah Holt and Sadie Whitelocks. “Step back in time to yesteryear America: Fascinating new book of vintage photo postcards reveals life in the U.S during the early 20th century, from gun gangs to Grand Canyon visits,” on the Mailonline website 14 April 2022 [Online] Cited 02/05/2022

 

Unidentified artist (American) 'Man and Woman in an Automobile' 1918

 

Unidentified artist (American)
Man and Woman in an Automobile
1918
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Swimmers at Saltair, Utah Levene' 1918

 

Unidentified artist (American)
Swimmers at Saltair, Utah Levene
1918
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

The Northern Photo Company (publisher) 'Advanced Room, Indian School, Wittenberg Wisconsin' 1919

 

Unidentified artist (American)
The Northern Photo Company (publisher)
Advanced Room, Indian School, Wittenberg Wisconsin
1919
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) Harbaugh Photo (publisher) 'Paper Moon Portrait of a Barber' about 1914

 

Unidentified artist (American)
Harbaugh Photo (publisher)
Paper Moon Portrait of a Barber
about 1914
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Paper Moon Portrait of a Young Woman' 1917 or later

 

Unidentified artist (American)
Paper Moon Portrait of a Young Woman
1917 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Amish market in Lancaster, Pennsylvania' 1925

 

Unidentified artist (American)
Amish market in Lancaster, Pennsylvania
1925
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

Unidentified artist (American) 'Assembly line, Ford Motor Company factory, Dearborn, Michigan' mid-1920s

 

Unidentified artist (American)
Assembly line, Ford Motor Company factory, Dearborn, Michigan
mid-1920s
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

An assembly line of the Ford Motor Company factory photographed in the mid-1920s in Dearborn, Michigan. The authors write: ‘The photographs on these cards capture the United States in the early twentieth century with a striking immediacy. It was a time of rapid industrialisation, mass immigration, technological change, and social uncertainty – in other words, a time much like our own’.

 

Unidentified artist (American) 'Alma Mae Bradley' 1926 or later

 

Unidentified artist (American)
Alma Mae Bradley
1926 or later
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

Sometime in the early 1930s, a young Black woman posed for a portrait in what appears to be a makeshift photo studio, set up perhaps on the grounds of her high school campus (144). Affixed to the wall behind her is a cloth banner, its creases still visible from where it had been neatly pressed prior to being unfolded as a backdrop. Although the felt letters on the banner are mostly cut off from the image’s frame, there are enough letters visible to make out that the photograph was taken at Downingtown Industrial and Agricultural School, a vocational high school established in 1905 to educate Black children in and around Chester County, Pennsylvania. The young woman is dressed in the uniform of her school team, and she is wearing a pair of Ball-Band high-top canvas rubber-soled sneakers, the latest innovation in competitive athletic footwear. She stands with one foot in front of the other, her left knee slightly bent, and she appears ready to throw a basketball while looking off somewhere into the distance. Although the photograph represents a unique likeness or portrait of this individual, the image closely follows the stylistic conventions of this period – photographing athletes in the artificial surroundings of a photo studio while presenting them as if caught in a frozen moment of action during a game or sporting event. On the back of the postcard is written: “When you look at this, think of me. Keep this to remember me by. Love Alma Mae Bradley.” Beyond the small clues presented in the brief handwritten text and in the image, virtually nothing else is known about this young woman – who she was, whom she was writing to, and how exactly she would want to be remembered.1 Like so many other portraits on photo postcards produced in the early twentieth century, this one has been separated from its original context and from its intended recipient. What had started as a personal memento from a life being lived, is now a public document detached from individual experience and meaning.

Christopher B. Steiner. “When You Look at This, Think of Me,” in Lynda Klich and Benjamin Weiss (eds.,). Real Photo Postcards: Pictures from a Changing Nation. MFA Publications, 2022, p. 138.

 

Mitchell (American, photographer) 'Birger and his gang' October 1926

 

Mitchell (American, photographer)
Birger and his gang
October 1926
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

This incredible photograph was taken in Harrisburg, Illinois, by local resident and photographer Alvis Michael Mitchell and shows notorious gangster Charlie Birger and his gun-toting gang. Birger, reveals the book, was ‘as notorious as any gangster anywhere from 1926 to 1928’, with one newspaper story at the time describing Al Capone as ‘the Charlie Birger of Cook County’. Birger’s gang, we learn in the tome, ‘controlled bootlegging and “adult entertainment” across Southern Illinois’, with Birger eventually convicted of orchestrating the murder of a small-town mayor and becoming the last man publicly hanged in Illinois on April 19, 1928. He can be seen in the picture sitting sidesaddle on the porch rail at back-right in a bulletproof vest, the book reveals. Adding further insight, it says: ‘The inscription on [this] card, “Birger and His Gang”, vaults the viewer from quietly eyeing a band of outlaws to considering what photographer Mitchell might have felt as he steadied his camera before all that brandished firepower… though Mitchell suggested to a reporter years later that he had arranged the photo, family lore has it the other way: Birger’s gang enlisted the reluctant photographer, knocking on the door and spooking his wife.’ Despite the 1927 notation on the card, the book’s authors say the date ‘can be narrowed down to within a few days in October 1926, based on the movements, arrests, and deaths of the pictured gang members’.

Sarah Holt and Sadie Whitelocks. “Step back in time to yesteryear America: Fascinating new book of vintage photo postcards reveals life in the U.S during the early 20th century, from gun gangs to Grand Canyon visits,” on the Mailonline website 14 April 2022 [Online] Cited 02/05/2022

 

Unidentified artist (American) 'Two elegantly dressed women at the Grand Canyon' January 14, 1929

 

Unidentified artist (American)
Two elegantly dressed women at the Grand Canyon
January 14, 1929
Gelatin silver print on card stock
Leonard A. Lauder Postcard Archive

 

 

This photo, taken on January 14, 1929, shows two elegantly dressed women at the Grand Canyon. The book says of the shot: ‘The women stand before what is today a hackneyed tourist view… but what was then remarkable, a novelty. Their heeled shoes and clutches indicate that they did not rough it to get there, but were neatly dropped, likely by a driver, in a predetermined location designed to ensure that they could procure a photograph that would communicate, in effect, that they had “been there, done that”‘.

Sarah Holt and Sadie Whitelocks. “Step back in time to yesteryear America: Fascinating new book of vintage photo postcards reveals life in the U.S during the early 20th century, from gun gangs to Grand Canyon visits,” on the Mailonline website 14 April 2022 [Online] Cited 02/05/2022

 

'Real Photo Postcards: Pictures from a Changing Nation' book cover

 

Real Photo Postcards: Pictures from a Changing Nation book cover. The cover picture shows tourists at the Wawona Tree in California’s Yosemite National Park in 1908.

 

 

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08
Aug
17

Exhibition: ‘Walker Evans’ at the Centre Pompidou, Paris

Exhibition dates: 26th April 2017 – 14th August 2017

Curator: Mnam/Cci, Clément Cheroux

 

 

Walker Evans (1903-1975) 'Stamped Tin Relic' 1929

 

Walker Evans (American, 1903-1975)
Stamped Tin Relic
1929
Gelatin silver print
23.3 x 28cm
Collection Centre Pompidou, Paris Achat en 1996
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © Centre Pompidou / Dist.RMN-GP

 

Walker Evans (1903-1975) 'Coney Island Beach' c. 1929

 

Walker Evans (American, 1903-1975)
Coney Island Beach
c. 1929
Gelatin silver print
22.5 x 31cm
The J.Paul Getty Museum, Los Angeles, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © The J. Paul Getty Museum, Los Angeles

 

 

The un/ordinariness of ordinariness

What a pleasure.

I’ve never liked the term ‘”vernacular” photography’ because, for me, every time someone presses the shutter of the camera they have a purpose: to capture a scene, however accidental or incidental. That context may lie outside recognised networks of production and legitimation but it does not lie outside performance and ritual. As Catherine Lumby observes, what the promiscuous flow of the contemporary image culture opens up, “is an expanded and abstracted terrain of becoming… whereby images exceed, incorporate or reverse the values that are presumed to reside within them in a patriarchal social order.”1 Pace Evans.

His art of an alternate order, his vision of a terrain of becoming is so particular, so different it has entered the lexicon of America culture.

Marcus

 

Walker Evans: “The passionate quest to identify the fundamental features of American vernacular culture… the term “vernacular” designates those popular or informal forms of expression used by ordinary people for everyday purposes – essentially meaning all that falls outside art, outside the recognised networks of production and legitimation, and which in the US thus serves to define a specifically American culture. It is all the little details of the everyday environment that make for “Americanness”: wooden roadside shacks, the way a shopkeeper lays out his wares in the window, the silhouette of the Ford Model T, the pseudo-cursive typography of Coca-Cola signs. It is a crucial notion for the understanding of American culture.”

Text from press release

.
Many thankx to the Centre Pompidou for allowing me to publish the artwork in the posting. Please click on the art work for a larger version of the image.

1. Lumby, Catharine. “Nothing Personal: Sex, Gender and Identity in The Media Age,” in Matthews, Jill (ed.,). Sex in Public: Australian Sexual Cultures. St. Leonards: Allen and Unwin, 1997, pp. 14-15.

 

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

 

Walker Evans (American, 1903-1975)
Truck and Sign
1928-1930
Gelatin silver print
16.5 x 22.2cm
Collection particulière, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © Fernando Maquieira, Cromotex

 

Walker Evans (1903-1975) 'New York City Street Corner' 1929

 

Walker Evans (American, 1903-1975)
New York City Street Corner
1929
Gelatin silver print
18.4 x 12.7cm
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © The J. Paul Getty Museum, Los Angeles

 

Walker Evans (1903-1975) 'Self-Portrait in Automated Photobooth' 1930

 

Walker Evans (American, 1903-1975)
Self-Portrait in Automated Photobooth
1930
Gelatin silver print
18.3 x 3.8cm
The Metropolitan Museum of Art, New York
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © The Metropolitan Museum of Art, Dist-RMN-GP/Image of the MMA

 

Walker Evans (1903-1975) 'Self-Portrait in Automated Photobooth' 1930 (detail)

Walker Evans (1903-1975) 'Self-Portrait in Automated Photobooth' 1930 (detail)

 

Walker Evans (American, 1903-1975)
Self-Portrait in Automated Photobooth (details)
1930
Gelatin silver print
18.3 x 3.8cm
The Metropolitan Museum of Art, New York
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © The Metropolitan Museum of Art, Dist-RMN-GP/Image of the MMA

 

 

Walker Evans (1903-1975) was one of the most important of twentieth-century American photographers. His photographs of the Depression years of the 1930s, his assignments for Fortune magazine in the 1940s and 1950s, and his “documentary style” influenced generations of photographers and artists. His attention to everyday details and the commonplace urban scene did much to define the visual image of 20th-century American culture. Some of his photographs have become iconic.

Conceived as a retrospective of Evans’s work as a whole, the Centre Pompidou exhibition presents three hundred vintage prints in a novel and revelatory thematic organisation. It highlights the photographer’s recurrent concern with roadside buildings, window displays, signs, typography and faces, offering an opportunity to grasp what no doubt lies at the heart of Walker Evans’ work: the passionate quest to identify the fundamental features of American vernacular culture. In an interview of 1971, he explained the attraction as follows: “You don’t want your work to spring from art; you want it to commence from life, and that’s in the street now. I’m no longer comfortable in a museum. I don’t want to go to them, don’t want to be ‘taught’ anything, don’t want to see ‘accomplished’ art. I’m interested in what’s called vernacular. For example, finished, I mean educated, architecture doesn’t interest me, but I love to find American vernacular”.

In the English-speaking countries, and in America more notably, the term “vernacular” designates those popular or informal forms of expression used by ordinary people for everyday purposes – essentially meaning all that falls outside art, outside the recognised networks of production and legitimation, and which in the US thus serves to define a specifically American culture. It is all the little details of the everyday environment that make for “Americanness”: wooden roadside shacks, the way a shopkeeper lays out his wares in the window, the silhouette of the Ford Model T, the pseudo-cursive typography of Coca-Cola signs. It is a crucial notion for the understanding of American culture. It is to be found in the literature as early as the 19th century, but it is only in the late 1920s that it is first deployed in a systematic study of architecture. Its importance in American art would be theorised in the 1940s, by John Atlee Kouwenhoven, a professor of English with a particular interest in American studies who was close to Walker Evans himself.

After an introductory section that looks at Evans’s modernist beginnings, the exhibition introduces the subjects that would fascinate him throughout his career: the typography of signs, the composition of window displays, the frontages of little roadside businesses, and so on. It then goes on to show how Evans himself adopted the methods or visual forms of vernacular photography in becoming, for the time of an assignment, an architectural photographer, a catalogue photographer, an ambulant portrait photographer, while all the time explicitly maintaining the standpoint of an artist.

This exhibition is the first major museum retrospective of Evans’s work in France. Unprecedented in its ambition, it retraces the whole of his career, from his earliest photographs in the 1920s to the Polaroids of the 1970s, through more than 300 vintage prints drawn from the most important American institutions (among them the Metropolitan Museum and the Museum of Modern Art, New York, the J. Paul Getty Museum, Los Angeles, the Art Institute of Chicago, and the National Gallery of Art, Washington D.C.) and also more than a dozen private collections. It also features a hundred or so other exhibits drawn from the post cards, enamel signs, print images and other graphic ephemera that Evans collected his whole life long.

Press release from the Centre Pompidou

 

Walker Evans (1903-1975) 'Westchester, New York, farmhouse' 1931

 

Walker Evans (American, 1903-1975)
Westchester, New York, farmhouse
1931
Gelatin silver print pasted on cardboard
18 x 22.1cm
Collection Centre Pompidou, Paris
© W. Evans Arch., The Metropolitan Museum of Art
Photo: © Centre Pompidou / Dist. RMN-GP

 

Walker Evans (1903-1975) 'Main Street, Saratoga Springs, New York' 1931

 

Walker Evans (American, 1903-1975)
Main Street, Saratoga Springs, New York
1931
Gelatin silver print
18.73 x 16.19cm
Collection particulière, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © Fernando Maquieira, Cromotex

 

Walker Evans (1903-1975) 'License Photo Studio, New York' 1934

 

Walker Evans (American, 1903-1975)
License Photo Studio, New York
1934
Gelatin silver print
27.9 x 21.6cm (image: 18.3 x 14.4cm)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © The J. Paul Getty Museum, Los Angeles

 

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

 

Walker Evans (American, 1903-1975)
Penny Picture Display, Savannah
1936
Gelatin silver print
21.9 x 17.6cm
The Museum of Modern Art, New York Gift of Willard Van Dyke
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © 2016. Digital Image, The Museum of Modern Art, New York / Scala, Florence

 

Walker Evans (1903-1975) 'Joe's Auto Graveyard' 1936

 

Walker Evans (American, 1903-1975)
Joe’s Auto Graveyard
1936
Gelatin silver print
11.43 x 18.73cm
Collection particulière, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © Ian Reeves

 

Walker Evans (1903-1975) 'Houses and Billboards in Atlanta' 1936

 

Walker Evans (American, 1903-1975)
Houses and Billboards in Atlanta
1936
Gelatin silver print
16.5 x 23.2cm
The Museum of Modern Art, New York
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © 2016. Digital Image, The Museum of Modern Art, New York / Scala, Florence

 

 

Curator’s point of view

 

“You don’t want your work to spring from art; you want it to commence from life, and that’s in the street now. I’m no longer comfortable in a museum. I don’t want to go to them, don’t want to be ‘taught’ anything, don’t want to see ‘accomplished’ art. I’m interested in what’s called vernacular.”

.
Walker Evans, interviewed by Leslie Katz (1971)

 

Through more than 400 photographs and documents, this retrospective of the work of Walker Evans (1903-1975) explores the American photographer’s fascination with his country’s vernacular culture. Evans was one of the most important of twentieth-century American photographers. His photographs of the Depression years of the 1930s, his “documentary style” and his interest in American popular culture influenced generations of photographers and artists. Bringing together the best examples of his work, drawn from the most important private and public collections, the exhibition also accords a large place to the artefacts that Evans himself collected throughout his life, to offer a fresh approach to the work of one of the most significant figures in the history of photography.

Study of his images – from the very first photographs of the 1920s to the Polaroids of his last years – reveals a fascination with the utilitarian, the domestic and the local. This interest in popular forms and practices emerged very early, when he started to collect postcards as a teenager. More than ten thousand items he had gathered by the time of his death are now held by the Metropolitan Museum, New York. Other everyday objects from his personal collection – enamel signs, handbills and adverts – are exhibited here.

Walker Evans’s attraction to the vernacular finds expression, above all, in his choice of subjects: Victorian architecture, roadside buildings, shopfronts, cinema posters, placards, signs, etc. His pictures also feature the faces and bodies of ordinary people, whether victims of the Depression or anonymous passers-by. Something else “typically American” was the underside of progress. During the 1930s in particular, the American landscape was strewn with ruin and waste. Evans kept an eye on them ever after. Industrial waste, building debris, automobile carcases, wooden houses in ruins, Louisiana mansions fallen in the world, antiques, garbage, faded interiors, bare patches in exterior render: these were the other face of America. Just as much as the towering skyscraper or the gleaming motor car, all this was an element of the modern. This concern with decline and obsolescence gave the photographer a critical edge and reveals a profound fascination with the mechanisms of overproduction and consumption characteristic of the age.

Evans didn’t just collect the forms of the vernacular, he also borrowed its methods. In many of his images, he adopts the codes of applied photography: the shots in series, the frontality, the apparent objectivity. Waiting, camera in hand on the corner of the street or in the subway, he accumulated portraits of city-dwellers by the dozen, releasing his shutter with the mechanical regularity of a photo booth. Working like a post-card photographer or architectural photographer, Evans built up, in surprisingly systematic fashion, a catalogue of churches, doors, monuments and small-town main streets. Sculptures, wrought-iron chairs, household tools: all seem to have been selected for their unique qualities as objects. The repetitivity, the apparent objectivity and the absence of emphasis in these images are typical of commercial photographs produced to order. In 1935, the Museum of Modern Art, New York, asked Evans to photograph the six hundred sculptures of the exhibition of “African Negro Art”. The method he adopted was that of the catalogue photographer, rigorously avoiding dramatic effects by eliminating shadow; tightly framed and set against a neutral background, the pieces find a new elegance. The photographer would often have recourse to this regime in the years that followed, notably for a portfolio entitled “Beauties of the Common Tool”, published in Fortune magazine in July 1955. This adoption of the forms and procedures of non-artistic photography even as Evans laid claim to art prefigures – some decades in advance! – the practices of the conceptual artists of the 1960s.

Clément Chéroux
Julie Jones
in Code Couleur, No. 28, May – August 2017, pp. 14-17

 

Walker Evans (1903-1975) 'Shoeshine Stand Detail in Southern Town' 1936

 

Walker Evans (American, 1903-1975)
Shoeshine Stand Detail in Southern Town
1936
Gelatin silver print
14.5 x 17cm
The Metropolitan Museum of Art, New York Anonymous Gift
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © The Metropolitan Museum of Art, Dist-RMN-GP/Image of the MMA

 

Walker Evans (1903-1975) 'Negroes' Church, South Carolina' March 1936

 

Walker Evans (American, 1903-1975)
Negroes’ Church, South Carolina
March 1936, circulation April 1969
Gelatin silver print
25.2 x 20.2cm
Musée des beaux-arts du Canada, Ottawa Acheté en 1969
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © Musée des Beaux-Arts du Canada, Ottawa

 

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

 

Walker Evans (American, 1903-1975)
Alabama Tenant Farmer Floyd Bourroughs
1936
Gelatin silver print
22.9 x 18.4cm
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 (American, 1903-1975)
Allie Mae Burroughs, Wife of a Cotton Sharecropper, Hale Country, Alabama
1936
Gelatin silver print
22.3 x 17.3cm
Collection particulière
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © Collection particulière

 

Walker Evans (1903-1975) 'Subway Portrait' January 1941

 

Walker Evans (American, 1903-1975)
Subway Portrait
January 1941
Gelatin silver print
20.9 x 19.1cm
National Gallery of Art, Washington Gift of Kent and Marcia Minichiello, in Honour of the 50th Anniversary of the National Gallery of Art
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © National Gallery of Art, Washington

 

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

 

Walker Evans (American, 1903-1975)
Resort Photographer at Work
1941
Gelatin silver print, later print
15.9 x 22.4cm
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © The J. Paul Getty Museum, Los Angeles

 

Walker Evans (1903-1975) 'Anna Maria, Florida' October 1958

 

Walker Evans (American, 1903-1975)
Anna Maria, Florida
October 1958
Oil on fibreboard
40 × 50.2cm
The Metropolitan Museum of Art, New York. Walker Evans Archive, 1994
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © The Metropolitan Museum of Art, Dist. RMN-Grand Palais / image of the MMA

 

Walker Evans (1903-1975) 'Untitled, Detroit' 1946

 

Walker Evans (American, 1903-1975)
Untitled, Detroit
1946
Gelatin silver print
16 x 11.4cm
Fondation A.Stichting, Bruxelles
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © Fondation A.Stichting, Bruxelles

 

Walker Evans (1903-1975) 'Tin Snips by J. Wiss and Sons Co., $1.85' 1955

 

Walker Evans (American, 1903-1975)
Tin Snips by J. Wiss and Sons Co., $1.85
1955
Gelatin silver print
25.2 x 20.3cm
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © The J. Paul Getty Museum, Los Angeles

 

 

Centre Pompidou 
75191 Paris cedex 04
Phone: 00 33 (0)1 44 78 12 33

Opening hours:
Exhibition open every day from 11am – 9pm except on Tuesday
Closed on May 1st

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26
Jul
17

Review: ‘Patrick Pound: The Great Exhibition’ as part of the NGV Festival of Photography at NGV Australia, Melbourne Part 2

Exhibition dates: 31st March – 30th July 2017

Photographs are in the chronological room order of the exhibition.

 

Entrance

Patrick Pound (New Zealander/Australian 1962- ) 'Pairs (and the double)' (detail) 2016-17

 

Patrick Pound (New Zealander/Australian, b. 1962)
The entrants (detail)
2016-2017
Site specific installation comprising objects collected by the artist and works from the NGV Collection
Courtesy of the artist, Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

 

e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e

 

E

 

 

This polymorphic album of an exhibition by Patrick Pound at NGV Australia, Melbourne, is unfortunately stuck with a most ridiculous title.

The great “show and tell” consists of 6 large galleries which are crammed full of thousands of photographs from the artists collection and artefacts from the NGV collection which form a (according to the exhibition blurb) “diagrammatic network of intersections, and in that way shows one of the underlying ideas of the whole exhibition, which is to seek out patterns and similarities and connections across objects and works of art and ideas. In other words, one thing leads to another.” Not necessarily.

Pound is interested in the writing of Georges Perec (a member of the Oulipo group of writers and mathematicians which formed in France in 1960) and his use of “restrictions in his writing as a way of encouraging new patterns and structures.” Perec wrote a whole novel in 1969, A Void, translated from the original French La Disparition (literally, “The Disappearance”) entirely without using the letter e (except for the author’s name). Oulipo writers sought to produce a document that undermines its own reliability. Through structures – or constraints – on composition, Oulipo writers sought to produce new and interesting works.

In a similar vein Pound restricts his collections of photographs to restrictive themes, such as people falling, sleepers, holes, readers, the air, lamps, listening to music, hands, shadows, interventions, backs, possibly dead people, holding cameras, self-portraits, doubles, entrants, etc. He seeks to gather his thoughts through these collections, and proposes that collecting found photographs “is like taking cuttings from the world.” A form of collage.

For me the grouping of all these “found” photographs together in display cases is a form of conceptual conceit: the collection of such varied instances of the shadow of the photographer appearing in every image, for example, means very little. Unlike the restrictions that Perec proposes which lead to interesting outcomes, Pound’s restrictions do not enrich the individual photographs by placing them all together, in fact the opposite. The totality is less than the sum of the parts. Reductio ad absurdum.

As individual photographs (as seen below in this posting), the images have presence, they have an aura which emanates from the moment, and context, in which the photograph was taken. Different in each instance. But in this exhibition we are overwhelmed by thousands of images and cannot give them due attention; the photographic “trace” becomes specious. The aura of the singular image is denuded; the aura of the collective does not exist. The collections become the collective photograph (of space) as reassurance: that the interrupting time freeze of individual photographs is not unique and occurs again and again and again. Pound’s collections are a form of photographic cancer… a kind of photographic plate-spinning, where the artist tries to keep all topics rotating in mid-air.

Pound’s existential typologies and classifications are a form of superficial play, using one photo to beget another. The addition of artefacts from the NGV collection only highlights the folly, in which two ceramic parrots paired with a photograph of two parrots is almost the indulgent nadir. The typologies and collections can, however, be seen as an ironic comment on the nature of our image saturated society, where millions of photographs are uploaded and viewed on the www every day. They can also be seen as a comment on the way people view photography in contemporary culture, where every selfie or picture of what I had for breakfast is posted online for consumption. While I admire Pound’s pugnaciousness and the obsessiveness needed to collect all of these images (being a collector myself) and, further, the tenacity required to catalogue and arrange them all – I really wonder about the clinamen – a term coined by Lucretius to describe the unpredictable swerve of atoms in his version of physics. It was adopted by the Oulipo set as – quoting Paul Klee – ‘the error in the system’. By gathering all of these photographs together in groups, the periphery becomes the centre … AND LOSES ITS UNPREDICTABILITY – the collective photographs loose their punctum, their unpredicatability. The photographs loose their individual transcendence of time. Perec’s missing eeeeeeeeeeeeeee’s at the beginning of this text thus exclude chaos, randomness, the capital E.

Other statements and ideas also grate. “The camera reduces the world to a list of things to photograph. When I click BUY on eBay – for me that’s the equivalent of taking a photograph. The mouse is my camera.” Well, no actually. The camera never reduces the world, it just is, it’s a machine. It is the person who takes the photograph, the human, that reduces the world to what they want to photograph. And when you click BUY on eBay it is not the equivalent of taking a photograph. You have used your money, your capitalism, your CAPITAL, to purchase your DESIRE. You are taking someone else’s vernacular, their moment of deciding what to photograph, to purchase their desire so that you can possess it yourself. You are coveting time and space. “Eventually every photograph is a photograph of a dead person.” Well, no actually, because not every photograph is of a person. “The camera is an idling hearse.” Yes, and so is your body, and the motor car, and walking across the road. The effect of these oblique statements is to further dumb down the public understanding of photography.

The work in the exhibition starts to come alive in Room 2 The Museum of There / Not there, where all of the things in the room are asked to stand in for an absence, where everything is a remnant or a trace. “Each thing here is a reminder of something else, it can be seen a surrogate or a partial representation.” The dissociative associations challenge the viewer to create their own connections and narratives from the objects placed before them. They mentally challenge the viewer to imagine. This challenge is further heightened in some of the best work in the exhibition, the series Portmanteau – definition: a large travelling bag; a word blending the sounds and combining the meanings of two others: podcast is a portmanteau, a made-up word coined from a combination of the words iPod and broadcast – in which visually disparate images (a cloud, a person blowing gum; a golf ball hovering over the cup, an eclipse) make unusual but sympathetic and intriguing connections across time and space. Photographs such as High wire act (2015) and The Fountainhead (2016, both below) are complex and creative examples of focused image making which reminded me of the Bauhaus collages of Josef Albers where Albers nowhere changes, “the rules of the game more profoundly than in his collages that feature a multitude of photographs. His collage of a bullfight in San Sebastian can be read as a short story or experimental film, where we as viewers recognise that we are being transported to a distant time and place, no less enchanting for its impossibility.” Randomness and synchronicity are back in the game.

Speaking of games, my favourite Pound objects in the exhibition were his Solander box series The game of things (2016, below). Their charm, wittiness, beauty, visual and mental acuity put paid to many other forced associations in the exhibition. He observes that, “Some things have little to do with each other until they come into contact.” But even when they do come into contact, they can still have very little to do with each other. Why The game of things series works so well is that Pound restricts himself (yes that Perec restriction that actually means something) in order / disorder to create something new and interesting, a document that undermines its own reliability (its a game!). The clinamen, the unpredictable swerve which, according to Lucretius occurs “at no fixed place or time” and which provides the “free will which living things throughout the world have” appears. Pound’s free will combines disparate elements in a pared down aesthetic, a playful game, where there is no need for thousands of photographs to focus his ideas.

While Pound’s description of multiplicities, repetitions and differences is engaging in a humorous and ironic way as “lines of escape from the generalities of society,” they create distance from laws and norms even while still re-enacting them. Much more interesting are Pound’s subversions of a singular reality through the overlapping of images – both mental and physical. While existing in a physical space, the “game of things” actually lives in my mind because humanness is the ultimate clinamen.

Dr Marcus Bunyan

Word count: 1,372

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

 

 

A page from Georges Perec's book 'Species of Spaces (Espèces d'espaces) and Other Pieces' 1974

 

A page from Georges Perec’s book Species of Spaces (Espèces d’espaces) and Other Pieces 1974

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Entrance to the exhibition Patrick Pound: The Great Exhibition with the work The photographer’s shadow (2000-2017) right
Photo: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of Patrick Pound’s work The photographer’s shadow (2000-2017, detail)
Photo: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of Patrick Pound’s work The photographer’s shadow (2000-2017, detail)
Photo: Wayne Taylor

 

 

Patrick Pound (New Zealander/Australian, b. 1962)
The photographer’s shadow (detail)
2000-2017
Site specific installation comprising photographs collected by the artist
Video: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Patrick Pound (New Zealander/Australian 1962- ) 'The photographer's shadow' (detail) 2000-17

 

Patrick Pound (New Zealander/Australian, b. 1962)
The photographer’s shadow (detail)
2000-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

 

Patrick Pound (New Zealander/Australian, b. 1962)
People holding cameras (detail)
2007-2017
Site specific installation comprising photographs collected by the artist
Video: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Room 1

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation views of the exhibition Patrick Pound: The Great Exhibition at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography.
Photos: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation views of Patrick Pound’s work Damaged 2008-2017 (detail)
Photos: Wayne Taylor

 

Patrick Pound (New Zealander/Australian 1962- ) 'Damaged' (detail) 2008-17

Patrick Pound (New Zealander/Australian 1962- ) 'Damaged' (detail) 2008-17

Patrick Pound (New Zealander/Australian 1962- ) 'Damaged' (detail) 2008-17

Patrick Pound (New Zealander/Australian 1962- ) 'Damaged' (detail) 2008-17

 

Patrick Pound (New Zealander/Australian, b. 1962)
Damaged (details)
2008-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of Patrick Pound’s work People holding cameras 2007-2017 (detail)
Photo: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of Patrick Pound’s work Listen to the music 2016-2017 (detail)
Photo: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of Patrick Pound’s work Self portraits 2007-2017 (detail)
Photo: Wayne Taylor

 

Patrick Pound (New Zealander/Australian 1962- ) 'The hand of the photographer' (detail) 2007-17

Patrick Pound (New Zealander/Australian 1962- ) 'The hand of the photographer' (detail) 2007-17

 

Patrick Pound (New Zealander/Australian 1962- )
The hand of the photographer (details)
2007-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian 1962- )
The readers (installation view details)
2016-2017
Site specific installation comprising photographs collected by the artist and works from the NGV Collection
Courtesy of the artist, Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photos: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Photography and air (installation view details)
2016-2017
Site specific installation comprising photographs collected by the artist and works from the NGV Collection
Courtesy of the artist, Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photos: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Room 2

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation views of The Museum of there / Not there 2016-2017 (detail) with (above) John Brack’s Self-portrait (1955), David Potts Cat show, London (1953), Eugène Atget’s Eclipse (1911, top right), Lee Friedlander’s Mount Rushmore (1969, middle right) and Erich Salomon’s Banquet at the Quai d’Orsay, Paris, August 1931 (bottom right).
Photos: Wayne Taylor

 

Erich Salomon (Germany 1886-1944) 'Banquet at the Quai d'Orsay, Paris, August 1931. 'A le voilà, le roi des indiscrets!'' 1931, printed 1970

 

Erich Salomon (German, 1886-1944)
Banquet at the Quai d’Orsay, Paris, August 1931. ‘A le voilà, le roi des indiscrets!’
1931, printed 1970
Gelatin silver photograph, ed. 3/100
Purchased, 1971

 

 

Here are some examples of how
The Museum of There / Not there works:

From Rodin’s marble head
without its helmet …

to a sculpture that’s lost its head
yet remains holding onto its hair …

and from a broken comb found in
an Egyptian tomb to a novelty wig …

it is full of missing parts,
surrogates and substitutions,
apparitions and disappearing acts.

Every representation is, after all,
something of a conjurer’s trick.

Patrick Pound

 

The Museum of There / Not there is a collection of my things, and the NGV’s things. All of the things in this room are asked to stand in for an absence. To make its presence shimmer.

From a ventriloquist’s dummy to a copy of Jean-Paul Sartre’s Being and Nothingness; from a photo of an empty shell to a nineteenth-century bustle; from an American toy border patrol car to a painting of an immigrant – everything in this room is a remnant or a trace. They speak of being there or not being all there.

Each thing here is a reminder of something else, it can be seen a surrogate or a partial representation. There are things that are unfinished or incomplete; there are ghosts and traces; things that are missing parts or that are simply missing. Meanings too might have changed, or become fluid, with the passing of time. In effect, this is a giant collage where things are asked to stand in for other things. They are material realisations of ephemeral and ethereal states.

There is also a soundtrack, featuring music ranging from Tom Petty’s “Refugee” to Aretha Franklin’s “I Wonder (Where You Are Tonight)”.

Patrick Pound

 

Installation view of Patrick Pound's 'The Museum of there / Not there' 2016-17 (detail)

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
The Museum of There / Not there (installation view details)
2016-2017
Site specific installation comprising objects collected by the artist, a selection of works by the artist, and works from the NGV Collection
Courtesy of the artist, Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photos: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Passageway

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
The game of things (installation view detail)
2016
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

“Photographs and things reflect on each other as if in a game or a puzzle.” ~ Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
The game of things (installation view detail)
2016
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
The game of things (installation view detail)
2016
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
The game of things (installation view detail)
2016
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
The game of things (installation view detail)
2016
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

 

“To collect is to gather your thoughts through things.”

“When I began collecting photographs I was thinking of the way the camera reduces the world to a list of things to photograph. I thought that to photograph was to collect the world in the form of pictures… As writer Susan Sontag said, photography is not so much a representation of the world but a piece of it. Collecting found photos is like taking cuttings from the world. For me it is a form of collage.”

“I did suggest the call the show ‘Enough Already’ but they went with ‘The Great Exhibition’. Perhaps the best thing about that is that even people who really don’t like it will still have to call it ‘The Great Exhibition’.”

“The camera reduces the world to a list of things to photograph. When I click BUY on eBay – for me that’s the equivalent of taking a photograph. The mouse is my camera.”

“As Honoré de Balzac said, “A hobby, a mania, is pleasure transformed into the shape of an idea!””

“Some things have little to do with each other until  they come into contact.”

“To collect is to look for like-minded things. One thing inevitably leads to another. When you pair one thing with another, some things start to make sense – or not. In the end, every collection is, after all, a reflecting pool.”

“Every representation is, after all, something of a conjurer’s trick.”

“Art traditionally becalms her sitters.”

“Photography stops people in their tracks. Eventually every photograph is a photograph of a dead person. The camera is an idling hearse.”

.
Patrick Pound

 

 

Patrick Pound: The Great Exhibition is the first comprehensive exhibition of the New Zealand-born, Melbourne-based artist. An avid collector, Patrick Pound is equally interested in systems and the ordering of objects: an attempt, perhaps, to make things coherent. As Pound says, ‘to collect is to gather your thoughts through things’.

Through complex arrangements and installations of objects drawn from the artist’s expansive archives, Pound’s work playfully and poetically explores the art of collecting, and the ways in which things can hold and project ideas. For this exhibition Pound has created several vast new collections, which he describes as ‘museums of things’. Objects that are seemingly redundant or overlooked are meticulously collected by the artist and put back into ‘use’ in these museums. There are museums of falling, sleepers, and of holes.

The Museum of there / not there houses objects ranging from a souvenir spoon to a mask, a mourning locket to a painted ruin – one thing standing in for another. Within each museum a new logic or narrative is created for the viewer to unravel or identify. In several of Pound’s museums, works from the NGV Collection are grouped into their own categories or sit alongside his ‘things’, with the artist inviting us to rethink these works and consider what it means to collect.

Text from the NGV

 

Room 3

Patrick Pound (New Zealander/Australian 1962- ) 'Pairs (and the double)' (detail) 2016-17

 

Patrick Pound (New Zealander/Australian, b. 1962)
Pairs (and the double) (detail)
2016-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

 

“This room started with my collection of photos of reflections, and of photos of pairs of things; of twins and double exposures. I then began researching the NGV Collection and found an abundance of “pairs and doubles”, assembled within paintings, decorative arts objects, prints and photographs.

To collect is to look for like-minded things. One thing inevitably leads to another. When you pair one thing with another, some things start to make sense – or not. In the end, every collection is, after all, a reflecting pool.”

~ Patrick Pound

 

Patrick Pound (New Zealander/Australian 1962- ) 'Pairs (and the double)' (detail) 2016-17

 

Patrick Pound (New Zealander/Australian, b. 1962)
Pairs (and the double) (detail)
2016-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

Patrick Pound (New Zealander/Australian 1962- ) 'Pairs (and the double)' (detail) 2016-17

 

Patrick Pound (New Zealander/Australian, b. 1962)
Pairs (and the double) (detail)
2016-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

William De Morgan (designer, England 1839-1917) 'Startled tigers, dish' c. 1880

 

William De Morgan & Co., London (manufacturer, England 1872-1911)
William De Morgan (designer, England 1839-1917)
Startled tigers, dish
c. 1880
Earthenware
Felton Bequest, 1980

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Man Ray (born United States 1890, lived in France 1921-1939, 1951-1976, died France 1976)
Solarised double portrait
1930s
Gelatin silver photograph
Purchased through The Art Foundation of Victoria with the assistance of Miss F. MacDonald Anderson and Mrs E. E. O. Lumsden, Founder Benefactors, 1983

Guercino (Italian, 1591-1666)
Study for Esther before Ahasuerus
c. 1639
Red chalk
Felton Bequest, 1923

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Pairs (and the double) (installation view details)
2016-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photos: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Room 4

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
The collection of shelves (installation view)
1999-2017
Circles 1999-2015
28 (screwed) 2004
Knife blocks 1999-2017
Things Change 2015
The Collector 2000-2017
Some French things 2014
Museum darts 1989-2017
Twenty six and one books 2010
Tangled 2012-2015
Blade magazine 2014
Criminal records 2012
Index cards 2012
Lost birds 1999-2014
Index photos 2013
The names 2007
Small arms 2000-2017
Soldiers 2009
Lockets 1989-2016
26 brown things 2002
Site specific installation comprising objects collected by the artist
Photos: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of Patrick Pound’s work Twenty six and one books 2010 (detail)
Photo: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Twenty six and one books (installation view detail)
2010
Museum darts (detail)
1989-2017
From the work Twenty six and one books 2010
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

 

These shelves house a range of collections which Pound has been gathering over many years: they demonstrate how collections of things gradually evolved into works of art. These collections tend to be smaller than others seen throughout this exhibition, and each one operates according to a very specific constraint. Their organisational technique derives from Pound’s interest in the Oulipo group of writers and mathematicians which formed in France in 1960 and, specifically, in the writing of key member Georges Perec. Pound is fascinated by Perec’s use of restrictions in his writing as a way of encouraging new patterns and structures, and has translated some of those ideas into the formation of these collections.

In Pound’s work Twenty six and one books, 2010, each book has a number in the title, starting with Ground Zero, all the way through to Maxim Gorky’s story collection Twenty-Six and One. The entire 26 brown things, 2002, collection was found and purchased by the artist in one shop, on the same day, with everything being – you guessed it – brown.

Like some vast novel cycle, collections reflect the world. The use of such constraints when organising the collections allows for surprising and poetic responses. If we look closely enough, things are found to reflect, to hold and to project ideas.

 

Patrick Pound (New Zealander/Australian 1962- ) 'Tangled' 2012-15

Patrick Pound (New Zealander/Australian 1962- ) 'Tangled' 2012-15

 

Patrick Pound (New Zealander/Australian, b. 1962)
Tangled (details)
2012-2015
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of the exhibition Patrick Pound: The Great Exhibition at NGV Australia with the work Portmanteau (2015-2017) at middle centre. Presented as part of the NGV Festival of Photography.
Photo: Wayne Taylor

 

Patrick Pound (New Zealander/Australian 1962- ) 'Portmanteau' 2015-17

 

Patrick Pound (New Zealander/Australian, b. 1962)
Portmanteau (detail)
2015-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Portmanteau (installation view detail)
2015-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Portmanteau (installation view detail)
2015-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Portmanteau (installation view detail)
2015-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Portmanteau (installation view detail)
2015-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Portmanteau (installation view detail)
2015-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
High wire act (installation view)
2015
Collage of photographs
Courtesy of the artist, Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
The Fountainhead (installation view)
2016
Collage of photographs
Courtesy of the artist, Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

 

Photographs, objects and curios sourced from the internet and op shops will be organised alongside artworks from the NGV Collection in a wondrous series of encyclopaedic displays for Patrick Pound’s major exhibition Patrick Pound: The Great Exhibition.

An avid collector, the New Zealand-born, Melbourne-based artist is fascinated by the categorisation and ordering of objects. Irreverently titled The Great Exhibition, with a knowing nod to the epic ambitions of the famous London exposition of 1851, in his largest ever presentation Pound will showcase more than 50 collections, which he describes as ‘museums of things’, featuring hundreds of items from the artist’s expansive archives.

Pound has also extensively researched the scope of the NGV Collection, identifying more than 300 works from across all of the NGV collecting departments to incorporate into his ‘museums of things’. The connections that Pound draws between objects will allow audiences to see the NGV’s diverse holdings in surprising new contexts.

Among the ‘museums’, viewers will encounter vast displays of found photographs which, at closer glance, reveal their common thread, such as The hand of the photographer, a display in which the eclipsing thumb of the photographer is ever-present, and Damaged, a huge display of photographs which have been defaced by their original owners; faces marred by cigarette burns, marker or ripped out of the photo entirely.

Other ‘museums’ incorporate seemingly disparate items, like The Museum of there / Not there, which explores the idea of absence and presence, illustrated by a curated selection of objects such as an obsolete Australian $2 banknote and a mourning locket alongside a milk jug produced to commemorate the forthcoming coronation of King Edward VIII, who abdicated before he was crowned.

Tony Ellwood, Director, NGV, commented, “Through complex arrangements of items drawn from the artist’s archives alongside works from the NGV Collection, Pound’s installations playfully explore the art of collecting, and the ways in which things can hold and project ideas. Within each museum a new logic or exciting narrative is created for the viewer to unravel or identify.”

Pound last exhibited at the NGV in the 2013 exhibition Melbourne Now with his popular “Gallery of Air”, a wunderkammer of diverse artworks and objects that held the idea of air, drawn from the NGV Collection and the artist’s archives.

Press release from the NGV

 

Room 5

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation views of the exhibition Patrick Pound: The Great Exhibition at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography.
Photos: Wayne Taylor

 

 

This room contains several of Pound’s collections which intersect with each other in various ways, revealing what the artist describes as a ‘matrix of connections’. Occasionally the collections also connect to works of art in the NGV Collection, and vice versa. The room is a vast diagrammatic network of intersections, and in that way shows one of the underlying ideas of the whole exhibition, which is to seek out patterns and similarities and connections across objects and works of art and ideas. In other words, one thing leads to another.

This installation also reflects the way in which Pound searches on the internet, and the ways in which the internet leads us from one thing to another via algorithms. The room is a visual representation of what Pound describes as ‘thinking through things’.

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
In tears (installation view)
2016-2017
Site specific installation comprising photographs collected by the artist
Courtesy of the artist, Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

Man Ray. 'Eye and tears' 1930s, printed 1972

 

Man Ray (born United States 1890, lived in France 1921-1939, 1951-1976, died France 1976)
Eye and tears
1930s, printed 1972
Gelatin silver photograph
Purchased, 1973

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian 1962- )
With arms outstretched (installation view detail)
2016-2017
Site specific installation comprising photographs collected by the artist
Courtesy of the artist, Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Patrick Pound (New Zealander/Australian 1962- ) 'Drive by (en passant)' (detail) 2016-17

 

Patrick Pound (New Zealander/Australian, b. 1962)
Drive by (en passant) (detail)
2016-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Drive by (en passant) (installation view detail)
2016-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Drive by (en passant) (installation view detail)
2016-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
Drive by (en passant) (installation view detail)
2016-2017
Collection of the artist
Courtesy of Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

 

The photographs collected by Patrick Pound include masses of family and vernacular snapshots, as well as newspaper archives and movie stills, which he describes as being ‘unhinged’ from their original sources. Pound does not create photographs in the traditional sense; rather, he spends hours searching for, sorting and buying prints on the internet. He describes this process as a form of ‘retaking’ the photograph.

The images are then organised according to an idea or theme or pattern, such as: ‘readers’, ‘the air’, ‘lamps’ or ‘listening to music’. Pound says he likes the idea of photographing something you cannot otherwise see. Unexpected connections, repetitions and coincidences emerge when the images are placed together in this way. Looking through these images reminds the viewer of the dramatic changes that have occurred in photography – not only in terms of the evolving technology of cameras and prints, but also in terms of what people photograph, why, and how these photographs are shared.

“When I began collecting photographs I was thinking of the way the camera reduces the world to a list of things to photograph. I thought that to photograph was to collect the world in the form of pictures. I love the way photography is so directly connected with the world. It has a remarkable familiarity. We all think we can understand it immediately. As writer Susan Sontag said, photography is not so much a representation of the world but a piece of it. Collecting found photos is like taking cuttings from the world. For me it is a form of collage.

Typically, the analogue photograph stopped life in its tracks. It couldn’t stop time, of course, but it could hold it up to a mirror. The vernacular snap reminds us that the camera is both a portal and a mirror. Photographers used to put photographs in albums and in boxes to be viewed and reviewed at will. Photographs were never made to be scanned and redistributed on eBay. Whether they are analogue or digital, printed photographs have an afterlife that no one saw coming. Photography used to be the medium of record. Now it is equally the medium of transmission.”

Wall text from the exhibition

 

Room 6

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of the exhibition Patrick Pound: The Great Exhibition at NGV Australia with at left, People from behind 2016-2017; at centre, People who look dead but (probably) aren’t 2011-2014; and at right, The sleepers 2007-2017. Presented as part of the NGV Festival of Photography.
Photo: Wayne Taylor

 

 

The exhibition ends as it began, with figures whose backs are turned to us. Alongside are images of people who are asleep for the moment, and some forever; this gallery houses images of people who are all somehow removed from us. They are absorbed in their actions; they are unconscious, or not conscious, of us as they look away. There is a peculiar aspect of voyeurism that is afforded by the camera; the people in these photographs cannot see us looking at them. The camera also has a long association with the idea of stopping time – of freezing, or embalming, fleeting moments.

As Pound says, “Photography stops people in their tracks. Eventually every photograph is a photograph of a dead person. The camera is an idling hearse.”

 

 

Patrick Pound (New Zealander/Australian, b. 1962)
People who look dead but (probably) aren’t
2011-2014
Gelatin silver photographs and type C photographs
Yvonne Pettengell Bequest, 2014
© Patrick Pound
Photo: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of Patrick Pound’s People who look dead but (probably) aren’t 2011-2014 (installation view detail)
Photo: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
People who look dead but (probably) aren’t (installation view detail)
2011-2014
Gelatin silver photographs and type C photographs
Yvonne Pettengell Bequest, 2014
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of Patrick Pound’s The sleepers 2007-2017 (installation view)
Photo: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
The sleepers (installation view detail)
2007–2017
Site specific installation comprising photographs collected by the artist
Courtesy of the artist, Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photo: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Installation view of Patrick Pound’s People from behind 2016-2017 (installation view)
Photo: Wayne Taylor

 

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

Installation view of the exhibition 'Patrick Pound: The Great Exhibition' at NGV Australia, Federation Square. Presented as part of the NGV Festival of Photography

 

Patrick Pound (New Zealander/Australian, b. 1962)
People from behind (installation view details)
2016-2017
Site specific installation comprising works from the NGV Collection
Courtesy of the artist, Station, Melbourne, Stills Gallery, Sydney, Hamish McKay Gallery, Wellington and Melanie Roger Gallery, Auckland
© Patrick Pound
Photos: © Dr Marcus Bunyan, National Gallery of Victoria and Patrick Pound

 

Max Dupain (Australia 1911-92) 'Bondi' 1939, printed c. 1975

 

Max Dupain (Australian, 1911-1992)
Bondi
1939, printed c. 1975
Gelatin silver photograph
Purchased with the assistance of the Visual Arts Board, 1976

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
Daily 10am – 5pm

National Gallery of Victoria website

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30
Aug
16

Exhibition: ‘An Anonymous Art: American Snapshots from the Peter J. Cohen Gift’ at The Nelson-Atkins Museum of Art, Kansas City

Exhibition dates: 15th April – 4th September 2016

 

Unknown maker (American). 'Group at pond' c. 1910s

 

Unknown maker (American)
Group at pond
c. 1910s
Gelatin silver print
3 × 4 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

 

Dis/membering the snapshot

To say that I dislike the term “snapshot” is an understatement. The term snap/shot implies a lack of consideration in the physical act of taking the photograph. In a snap it was shot – like a snap of the fingers or a bolt out of the blue. But if we think about the photographs in this posting … and we then think about the photographs of Henri Lartigue, or Robert Frank and his travels across 1950s America, I would argue that the only difference between Lartigue, Frank and the former “Unknown makers” is that they were embarked upon a photographic project, and, latterly, were decreed artists.

I believe, and I have always believed, that the taking of photographs is a matter of intention on the part of the photographer.

If you look at these photographs from Unknown makers was it their intention to take this photograph, did they think about what they were doing before they pressed the shutter. And the answer is unequivocally, yes they did. Their aim, their purpose, was that they had the intention to take the photograph they did, they determined of their own free will how to frame these photos and at what split second to press the shutter so as to suit their aim, their thought about what they wanted to capture in the image. This is not a “snap” shot in contemporary parlance, but a considered action and intention.

To say, as Keith F. Davis, Senior Curator, Photography does in the press release, that “Snapshots represent a collective visual unconsciousness of 20th-century American culture,” could not be farther from the truth. They may represent a form of collective subconscious, where these images hover in collective memories and dreams waiting to be visualised, but a collective visual unconsciousness? I don’t think so. Vernacular photography is about a conscious decision to take a photograph and, at its most poignant, it is about a collective movement that emerges from the subconscious of people all the way around the world – in order (a taxonomic state) to document the world around them.

The joy of the women on the bed, the man and women in the cornfield, the couple in love with the Christmas tree, the man riding the bucking horse bareback, even the close-up of child’s mouth – all of the photographs were taken with an inquiring mind, with an intention to look and see, to feel the memory of that event, that time and space – not as a snap/shot but as an expression of (everlasting) life.

“To see a world in a grain of sand and heaven in a wild flower
Hold infinity in the palms of your hand and eternity in an hour.

William Blake

 

Dr Marcus Bunyan

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

 

 

Unknown maker (American). 'Man and woman in corn' c. 1930s

 

Unknown maker (American)
Man and woman in corn
c. 1930s
Gelatin silver print
3 × 4 1/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

Unknown maker (American). 'Couple with Christmas tree' c 1940s

 

Unknown maker (American)
Couple with Christmas tree
c. 1940s
Gelatin silver print
3 × 3 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

Unknown maker, American. 'Woman with drink on bed' 1950s

 

Unknown maker (American)
Woman with drink on bed
1950s
Gelatin silver print
3 1/8 x 4 inches
Gift of Peter J. Cohen

 

Unknown maker (American). 'Close-up of child's mouth' 1956

 

Unknown maker (American)
Close-up of child’s mouth
1956
Gelatin silver print
3 × 3 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

Unknown maker (American). 'Superman with dumbbell' 1972

 

Unknown maker (American)
Superman with dumbbell
1972
Ektacolor print
3 1/8 × 3 1/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

 

When photography was introduced in 1839, the making of even a single picture was difficult and painstaking. The medium was transformed in the 1880s with the introduction of easier processes and the simple Kodak camera. Amateur photography was born: images became casual and spontaneous, and they were called “snapshots.”

Amateur snapshots are highlighted in An Anonymous Art: American Snapshots from the Peter J. Cohen Gift, which opens at The Nelson-Atkins Museum of Art in Kansas City April 15. The Chicago-born Cohen, an investment manager who now lives in New York, bought his first snapshots at a flea market in 1991. Within 20 years he had amassed more than 50,000 of them, and has given away as many as 12,000 snapshots. Cohen gifted the Nelson-Atkins with 350 photos.

“This incredible exhibition of amateur snapshots depicts broadly shared aspects of everyday life,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO and Director of the Nelson-Atkins. “It highlights the deep cultural importance of photography, a visual tradition that flourishes today in images that are made and shared in a variety of ways.”

There are snapshots of pets, baseball games, Christmas trees, amateur plays, vacation fun – and even subjects snapping themselves in mirrors, which could be considered the original selfies.

“The large themes of this exhibition have tremendous continuity,” said Keith F. Davis, Senior Curator, Photography. “Snapshots represent a collective visual unconsciousness of 20th-century American culture – a connection to basic human concerns that is both direct and mysterious.”

Each of the 238 snapshots in An Anonymous Art was hand-selected by Davis himself from an extensive survey of the Cohen collection. The exhibition suggests the medium’s profound social importance as well as its quirky and surprising nature. It features groupings of works illustrating key visual traits and cultural motifs, ranging from accidental multiple exposures to comic and play-acting images. An Anonymous Art runs through Sept 4.

Press release from The Nelson-Atkins Museum of Art

 

Unknown maker (American). Flying bi-plane' c. 1920s

 

Unknown maker (American)
Flying bi-plane
c. 1920s
Gelatin silver print
5 3/8 × 3 3/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

Unknown maker (American). 'Whoa!' 1928

 

Unknown maker (American)
Whoa!
1928
Gelatin silver print
3 3/16 × 2 1/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

Unknown maker (American) 'Allen and Gladys' c. 1930s

 

Unknown maker (American)
Allen and Gladys
c. 1930s
Gelatin silver print
3 1/8 × 2 1/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

Unknown maker (American) 'Dog being held by neck' c. 1940

 

Unknown maker (American)
Dog being held by neck
c. 1940
Gelatin silver print
3 1/2 × 2 1/2 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

Unknown maker (American) 'Doris' 1949

 

Unknown maker (American)
Doris
1949
Gelatin silver print
3 1/8 × 2 1/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

Unknown maker (American) 'Boy with bat' c. 1950s

 

Unknown maker (American)
Boy with bat
c. 1950s
Gelatin silver print
3 × 3 1/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Peter J. Cohen

 

 

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

Opening hours:
Thursday – Monday 10am – 5pm
Closed Tuesday and Wednesday

The Nelson-Atkins Museum of Art website

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16
Jan
12

Exhibition: ‘The Three Graces’ at The Art Institute of Chicago

Exhibition dates: 29th October 2011 – 22nd January 2012

 

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

 

 

Artist unknown c. 1930s

 

Artist unknown
c. 1930s
Gelatin silver print
8.9 x 14.7 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

Artist unknown. 'Look Pleasant' c. 1910s

 

Artist unknown
Look Pleasant
c. 1910s
Gelatin silver print
8.9 x 8.6 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

Artist unknown c. 1910s

 

Artist unknown
c. 1910s
Gelatin silver print
11.6 x 6.8 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

 

This exhibition explores the early years of vernacular photography through graceful snapshots of female trios. Displaying more than 500 “found” images the exhibition features photographs of celebrations, vacations, and gatherings of family and friends are taken and kept with the aim of preserving moments in life for future generations. What happens, however, when a snapshot becomes an image “type” – transferred into the hands of a collector and folded into a broader cultural history?

This subject is explored in the Art Institute of Chicago’s The Three Graces – on view October 29, 2011, through January 22, 2012, in the museum’s Photography Galleries 3 and 4. The exhibition, featuring a private collection of more than 500 anonymous images depicting female trios, spans nearly a century of female role-playing for the camera. These mostly American “found” photographs, spanning from the 1890s to the 1970s, collectively reveal a great deal about the evolving ritual of women’s self-presentation, a theme already idealised in Classical culture with depictions of “The Three Graces.”

New York collector Peter J. Cohen, who has spent decades scouring flea markets, shops, and galleries in search of rare amateur photographs, amassed this image collection and gave it its title. Cohen was struck by the frequency of images featuring female trios, and had the wit to identify in them a playful echo of the Greek muses Aglaia, Euphrosyne, and Thalia, who are said to personify beauty, charm, and grace in both nature and humanity. Cohen owns some 20,000 anonymous snapshots spanning from the late 19th century until the 1970s. He has organised his mountainous holdings according to many classifications, among them “Double Exposures,” “Up on The Roof,” and “Dangerous Women.”

For Art Institute exhibition coordinator Michal Raz-Russo, who also authored the accompanying book, the “three graces” theme serves as a frame through which to chart shifts and continuities in women’s self-understanding across nearly a century. The 1888 introduction of the Kodak #1 camera and the 1900 debut of the Kodak Brownie made photography immensely popular, with much of the marketing was directed at women. Modern life and leisure in the 1920s coincided with the arrival of smaller cameras, faster film speeds, and automatic exposures; women of the expanding middle class became practiced at self-portraiture while vacationing or camping on their own. Later, in the mid-20th century, a clear convergence can be seen between women’s self-portraits and ideals of womanhood promulgated in films and glossy magazines. Throughout this history, men are clearly at work too, convincing women to participate in erotic poses according to another set of visual models. While the varieties of picturing and self-picturing are complex, The Three Graces demonstrates that women worked to define themselves as social beings through photography.

Visitors to the exhibition can find information on individual snapshots – gleaned from inscriptions and the clues provided by clothing and setting – at a special computer kiosk located in the gallery.

Press release from The Art Institute of Chicago website

 

Artist unknown c. 1920s

 

Artist unknown
c. 1920s
Gelatin silver print
13.5 x 8.3 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

Artist unknown c. 1930s

 

Artist unknown
c. 1930s
Gelatin silver print
14.5 x 8.7 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

Artist unknown c. 1940s

 

Artist unknown
c. 1940s
Gelatin silver print
11.7 x 7 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

Artist unknown c. 1940s

 

Artist unknown
c. 1940s
Gelatin silver print
12.2 x 7.6 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

 

The Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
Phone: (312) 443-3600

Opening hours:
Monday – Wednesday 10.30am – 5.00pm
Thursday 10.30am – 8.00pm (Free Admission 5.00 – 8.00, member-only access to Matisse)
Friday 10.30am – 8.00pm
Saturday – Sunday 10.00am – 5.00pm
The museum is closed Thanksgiving, Christmas, and New Year’s days.

The Art Institute of Chicago website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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