Posts Tagged ‘American Vernacular

03
Sep
22

Exhibition: ‘Signs: Photographs by Jim Dow’ at the Nelson-Atkins Museum of Art, Kansas City

Exhibition dates: 7th May – 9th October 2022

 

Jim Dow (American, b. 1942) '"Fortune Teller" Sign. US 79 & 80, Greenwood, Louisiana' 1975

 

Jim Dow (American, b. 1942)
“Fortune Teller” Sign. US 79 & 80, Greenwood, Louisiana
1975
Gelatin silver print
15 5/8 × 19 9/16 inches (39.7 × 49.68cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

 

These photographs build on the lexicon of existing photographs of this type (Americurbana) from photographers such as Dorothea Lange, Berenice Abbott, Walker Evans, Margaret Bourke-White, Minor White and Harry Callahan. As such they add to the pantheon of known images on a subject. Dow studied with not just Harry Callahan, but also Walker Evans and Minor White, and these are early images in the development of the artist, when he was starting to find his artistic signature.

In some of the first images such as Lott’s Grocery Store. US 11, Bessemer, Alabama (1968, below) we can see Dow’s indebtedness to his teacher, Walker Evans’ vision; in other later photographs (1972 onwards) we see Dow’s concentration on detail, so that the sign fills the frame. In these contextless, groundless photographs the signs become floating signs, floating signifiers, where interpretation is left wholly up to the viewer.

In this sense, Dow is developing a different artistic and visual language to describe the American vernacular… graphic, isolated, strong and more than slightly surreal images that creep into the imagination as if in a bad dream. The robotic head covered in neon; the bowling ball struck through with an arrow; the diver like a swooping fighter plane; the skeletal horse and rider; and the look of fear on the child’s face as he gets inoculated. Weird tales and gothic fiction.

Dr Marcus Bunyan

.
Many thankx to 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.

 

Vivid, clear-sighted images of American vernacular signage and architecture encountered along old US highways showcase the early black-and-white work of the acclaimed photographer Jim Dow.

The American photographer Jim Dow (b. 1942) is renowned for photographs that depict the built environment – he first gained attention for his panoramic triptychs of baseball stadiums – and for his skill at conveying the “human ingenuity and spirit” that suffuse the spaces. This book is the first to focus on Dow’s early black-and-white pictures, featuring more than 60 photographs made between 1967 and 1977, a majority of which have never before been published. Indebted to the work of Walker Evans, a key mentor of Dow’s, these photographs depict time-worn signage taken from billboards, diners, gas stations, drive-ins, and other small businesses. While still recognisable as icons of commercial Americana, without their context Dow’s signs impart ambiguous messages, often situated between documentation and abstraction. Including a new essay by Dow that reveals his own perspective on the development of the work, Signs suggests how these formative years honed the artist’s sensibility and conceptual approach.

 

 

“Late in the fall of 1965, I met Walker Evans. I had no idea who he was or anything about his work. But his book ‘American Photographs’ completely changed the way I thought about photography. The pictures were descriptive, literate and distinct. They could be read slowly; information was packed into every square inch. They were intense but not dramatic. Rigorous in their making, they demanded attentive scrutiny. It was clear that I had a template for my education through a classic method: at first emulate, then lease the space and ultimately own the process, until taking pictures was no longer a re-enactment. …

I never travelled around the US to find myself. I went to find people, places and things I didn’t know about. Leaving familiar confines is an outward-facing process best done by car on older two- or three-lane roads, stopping, looking and listening every step of the way.”

.
Jim Dow in the book Signs: Photographs by Jim Dow

 

 

 

Signs: Photographs by Jim Dow, with essays by Jim Dow and April M. Watson
Distributed for The Nelson-Atkins Museum of Art

 

Jim Dow (American, b. 1942) 'Lott's Grocery Store. US 11, Bessemer, Alabama' 1968

 

Jim Dow (American, b. 1942)
Lott’s Grocery Store. US 11, Bessemer, Alabama
1968
Gelatin silver print
3 3/4 × 4 3/4 inches (9.53 × 12.07cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) 'Abandoned Truck Stop. US 61/AR 150, near Number Nine, Arkansas' 1970

 

Jim Dow (American, b. 1942)
Abandoned Truck Stop. US 61/AR 150, near Number Nine, Arkansas
1970
Gelatin silver print
7 15/16 × 9 11/16 inches (20.14 × 24.61cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) 'Bowling Pin with Arrow. US 1, Branford, Connecticut' 1971

 

Jim Dow (American, b. 1942)
Bowling Pin with Arrow. US 1, Branford, Connecticut
1971
Gelatin silver print
7 7/8 x 9 11/16 inches (19.99 × 24.61cm)
The Nelson-Atkins Museum of Art
Gift of Jim and Jacquie Dow

 

Jim Dow (American, b. 1942) 'Horse Painting on Sign, Ranch Entrance. US 87, Billings, Montana' 1972

 

Jim Dow (American, b. 1942)
Horse Painting on Sign, Ranch Entrance. US 87, Billings, Montana
1972
Gelatin silver print
15 7/8 × 20 1/16 inches (40.31 × 50.95cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) 'Curlicue Arrow Sign. US 2, near Wenatchee, Washington' 1972

 

Jim Dow (American, b. 1942)
Curlicue Arrow Sign. US 2, near Wenatchee, Washington
1972
Gelatin silver print
7 15/16 × 9 5/8 inches (20.14 × 24.46cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) 'Rear of Screen, Van Nuys Drive-In Theatre. Old US 101, Van Nuys, California' 1973

 

Jim Dow (American, b. 1942)
Rear of Screen, Van Nuys Drive-In Theatre. Old US 101, Van Nuys, California
1973
Gelatin silver print
15 9/16 x 19 ½ inches (39.52 × 49.53cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) 'Detail, Diving Lady Sign. Near US 19, Blairsville, Georgia' 1973

 

Jim Dow (American, b. 1942)
Detail, Diving Lady Sign. Near US 19, Blairsville, Georgia
1973
Gelatin silver print
7 15/16 x 9 11/16 inches (20.14 × 24.61cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

 

For American photographer Jim Dow, a road trip was not just an excuse to travel from one place to another; it provided an opportunity to find inspiration in the unique structures lining old U. S. highways. Between 1967 and 1977, a decade marking the first ten years of his career, Dow traveled over 150,000 miles on multiple cross-country road trips, photographing vernacular architecture, signage, and commercial billboards that conveyed a unique sense of human spirit and industry. A new, free exhibition at The Nelson-Atkins Museum of Art in Kansas City, Signs: Photographs by Jim Dow, draws visitors into Dow’s fascination with the everyday structures that constitute the landscapes we inhabit.

“Although most of Dow’s subjects have long since disappeared, the impetus to make one’s mark on the land through an assertion of livelihood, values, and aspiration remains,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO & Director of the Nelson-Atkins. “There will always be a desire to express individual agency and creativity, and Dow’s photographs remind us that as difficult as that may be, it remains vital for understanding ourselves and our community.”

Signs: Photographs by Jim Dow opens May 7 and features 62 black-and-white photographs from the early part of Dow’s career, as well as a small selection of recent colour photographs that extend the themes forged during his formative years.

“Dow travelled on back roads rather than the interstate system,” said April M. Watson, Senior Curator of Photography. “He always sought unusual or unique subjects that stood apart from the corporate chains that had begun to dominate the social landscape, often isolating specific details so they appear unmoored from their immediate surroundings.”

Born in 1942, Dow grew up in Belmont, Massachusetts and attended the Rhode Island School of Design. As an undergraduate, he majored in graphic design, and in his senior year, had the good fortune to take his introductory photography classes with renowned photographer Harry Callahan. Thanks to Callahan’s influence, Dow was able to continue graduate studies at RISD, completing his MFA in photography in 1968.

A meeting with Walker Evans while Dow was in graduate school made a profound impact on him. Dow found Evans’s sophisticated embrace of vernacular American subject matter and straightforward, descriptive application of the medium to be revelatory. Between 1969 and 1971, he worked closely with Evans when printing Evans’s work for a career retrospective at the Museum of Modern Art in New York. In the late 1960s, Dow began searching for his own subject matter, taking numerous road trips. Roadside diners, drive-in movie theatres, ice cream stands, burger joints, billboards, gas stations, and small-town, storefront murals all became part of Dow’s regular roster of subjects, as he refined his own artistic vision. Grants from the National Endowment for the Arts in 1973, and a Guggenheim Fellowship in 1974 allowed Dow to continue his project.

This exhibition is accompanied by a fully illustrated catalogue with essays by Dow and Watson, distributed by Yale University Press. Signs: Photographs by Jim Dow runs through Oct. 9, 2022.

 

Jim Dow (American, b. 1942) 'Trailer Park Sign. US 27, Red Bank, Tennessee' 1973

 

Jim Dow (American, b. 1942)
Trailer Park Sign. US 27, Red Bank, Tennessee
1973
Gelatin silver print
7 7/8 × 9 11/16 inches (19.99 × 24.61cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) 'Neon Cowboy Sign. US 66, Duarte, California' 1973

 

Jim Dow (American, b. 1942)
Neon Cowboy Sign. US 66, Duarte, California
1973
Gelatin silver print
8 × 9 15/16 inches (20.32 × 25.22cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) 'Lady Reclining on La-Z-Boy Sign. PA 61, Shamokin, Pennsylvania' 1973

 

Jim Dow (American, b. 1942)
Lady Reclining on La-Z-Boy Sign. PA 61, Shamokin, Pennsylvania
1973
Gelatin silver print
8 × 9 15/16 inches (20.32 × 25.22cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) 'Coffee At It's Best Sign. US 11, Pittston, Pennsylvania' 1973

 

Jim Dow (American, b. 1942)
Coffee At It’s Best Sign. US 11, Pittston, Pennsylvania
1973
Gelatin silver print
8 x 9 15/16 inches
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) '"Heated Pool" Sign at Motel. US 99, Bakersfield, California' 1975

 

Jim Dow (American, b. 1942)
“Heated Pool” Sign at Motel. US 99, Bakersfield, California
1975
Gelatin silver print
7 11/16 × 9 11/16 inches (19.53 × 24.61cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) 'Detail, Coy Getting on Inoculation Sign. US 20, Idaho Falls, Idaho' 1975

 

Jim Dow (American, b. 1942)
Detail, Coy Getting on Inoculation Sign. US 20, Idaho Falls, Idaho
1975
Gelatin silver print
15 7/8 × 19 7/8 inches (40.31 × 50.47cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

 

“Jim was extremely fortunate to study with not just Harry Callahan, but also Walker Evans and Minor White; three of the most outstanding figures in photographic history, and all masters of black and white. His formal approach to his work obviously stems from their teaching, and in some ways, his love of “collecting culture” with his 8 x 10 view camera does as well. Like Evans and to some degree, Minor White, Jim is attracted to aspects of material culture which often speak to a fading history – that of small town America. He doesn’t seek out majestic or sublime subject matter, rather, he simply elevates the everyday. This characteristic of his work aligns him with other photographers working in colour in the 1970s and 80s, such as Stephen Shore, William Eggleston, and Joel Sternfeld who were all similarly enchanted with revealing the true textures of the world immediately around us and feeding our popular imaginations. And like his peers, Jim is indelibly part of the tried and true American tradition of hitting the road and traveling extensively to make his work. His wanderlust has led him throughout the country and he has amassed an impressive archive of the American vernacular in the process.”

Hannah Sloan, The Rose Gallery quoted in Aline Smithson. “Interview with Jim Dow: The Griffin Museum’s Focus Award recipient for Lifetime Achievement,” on the Lenscratch website October 24, 2014 [Online] Cited 31/08/2022

 

Jim Dow (American, b. 1942) 'Detail, School Crossing Sign. Albany, Georgia' 1975

 

Jim Dow (American, b. 1942)
Detail, School Crossing Sign. Albany, Georgia
1975
Gelatin silver print
7 11/16 x 9 5/8 inches
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

 

When Dow took to the road, he always sought unusual or unique subjects that stood apart from the ever-increasing presence of corporate chains. Rather than focusing on the entirety of his subjects, he often isolated specific details of image and text so that they appear unmoored from their immediate surroundings. Roadside diners, drive-in movie theatres, ice cream stands, burger joints, billboards, gas stations and small-town, storefront murals all became part of Dow’s regular roster, as he refined his own artistic vision and organically developed categories of subject matter. …

More often than not, Dow’s subjects bear the marks of time’s passage, evident in the weather-worn surfaces, outdated clichés, and stereotyped imagery that prevailed in mid-20th-century American consumer culture but had begun to deteriorate in the shifting socioeconomic and political landscape of the early 1970s. It is this sense of things passing out of one time period and into another that permeates Dow’s photographs, which are less of a particular time than about the passage of time itself. Though most of the subjects Dow photographed have long since disappeared, the impetus to make one’s mark on the land through an assertion of livelihood, values and aspiration remains. In a nation where economic prosperity relies on a perpetual renewal of tastes, trends and styles, there will always be a desire to express individual agency and creativity. Dow’s photographs remind us that as difficult as that endeavour may be in an era of monopolised, corporate consumption, it remains vital for understanding our sense of self and community.

April M. Watson, Senior Curator, Photography. “Signs: Photographs by Jim Dow,” on the K C Studio website March 11, 2022 [Online] Cited 31/08/2022

 

Jim Dow (American, b. 1942) 'Papier-mâché Elephant. US 202, Gwynedd, Pennsylvania' 1977

 

Jim Dow (American, b. 1942)
Papier-mâché Elephant. US 202, Gwynedd, Pennsylvania
1977
Gelatin silver print
7 15/16 × 9 7/8 inches (20.14 × 25.07cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

Jim Dow (American, b. 1942) 'Hardware Store Painting on Wall. Nashville, Tennessee' 1977

 

Jim Dow (American, b. 1942)
Hardware Store Painting on Wall. Nashville, Tennessee
1977
Gelatin silver print
15 15/16 × 19 7/8 inches (40.46 × 50.47cm)
The Nelson-Atkins Museum of Art
Gift of the Hall Family Foundation

 

 

Jim Dow Trailer

 

'Signs: Photographs by Jim Dow' book cover

 

Signs: Photographs by Jim Dow book cover

 

 

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

Opening hours:
Thursday – Monday 10am – 5pm
Closed Tuesdays and Wednesdays

The Nelson-Atkins Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

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

Centre Pompidou website

LIKE ART BLART ON FACEBOOK

Back to top

07
Nov
14

Exhibition: ‘Walker Evans. A Life’s Work’ at Martin-Gropius-Bau Berlin

Exhibition dates: 25th July – 9th November 2014

 

Walker Evans. 'Young Women Outside Clothing Store' 1934-35

 

Walker Evans (American, 1903-1975)
Young Women Outside Clothing Store
1934-35
114 x 184mm
Lunn Gallery Stamp (1975)
© Walker Evans Archive, The Metropolitan Museum of Art

 

 

End of the week. Not a lot of energy or time to write an in depth piece on the wonders of Walker Evans, so just a few observations…

I like this photographer, I like him a lot. No histrionics, little subjectivity being thrown at the audience. The images are -just -so. The compositions are seemingly simple but are actually very complex. Only a skilled craftsman can make the difficult look simple. As Thomas Struth has said of his photography: ‘for me it is more interesting to try and find out something from the real than to throw something subjective in front of the audience.’

“The uninflected image gives no hints as to how it is to be interpreted, and the viewer is led to linger over what might otherwise seem an un-noteworthy, everyday vista.” It’s recognising that vista in the first place for what it is, and what else it can be, so that it ‘gives pause’ to the viewer.

I really like the portrait of Berenice Abbott and it is also very educational. Look at the depth of field, with the view camera probably one stop past wide open. The sharpness plane is very tiny but look at the quality of the lens and how it renders the values that are slightly out of focus. What a very beautiful image and I suspect a top drawer lens. Notice also it is print 22. Walker Evans would keep a lot of prints and they were not the same. The next copy of this print might have been better (he might have worked out something to do) or it might be worse – the developer might have gone off. So it is not strictly an “edition” it is just the numbering of the prints he made.

He used every sort of camera: 8 x 10 and the smaller view formats, roll film cameras, Colour polaroid! hence the different sizes of his prints. Occasionally he did crop his images but on other occasions he took “a stance” where you knew he was about to perform and there would be no cropping. If you are really interested in this master photographer, the best Walker Evans book to get is First and Last (1978, available cheaply as a hardback on Amazon) which contains many pictures and “threads” that are dynamite… and the John Szarkowski book Walker Evans (1972) is a good one as well.

Dr Marcus Bunyan

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

 

 

Walker Evans. 'Two Women' Frenchquarter, New Orleans, February - March 1935

 

Walker Evans (American, 1903-1975)
Two Women
Frenchquarter, New Orleans, February – March 1935
155 x 219mm
Lunn Gallery Stamp (1975)
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans. 'Girl In French Quarter' New Orleans, February - March 1935

 

Walker Evans (American, 1903-1975)
Girl In French Quarter
New Orleans, February – March 1935
117 x 178mm
Lunn Gallery Stamp (1975)
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans. 'Crowd In Public Square' 1930s

 

Walker Evans (American, 1903-1975)
Crowd In Public Square
1930s
143 x 248mm
Lunn Gallery Stamp (1975)
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans. 'Berenice Abbott' 1929-30

 

Walker Evans (American, 1903-1975)
Berenice Abbott
1929-30
© Walker Evans Archive, The Metropolitan Museum of Art

 

 

Walker Evans (1903-1975) was one of the great personalities of 20th century photography, being an exponent of what is called the “documentary style”. His work, which spans a period of over fifty years, will be represented by well over 200 original prints from the years 1928 to 1974, taken mostly from the considerable private collection of Clark and Joan Worswick, but also from various German collections.

For decades, right up to the present, the prolific photographic oeuvre of Walker Evans has acquired an increasingly model character. In the half century of his creative activity the photographer documented in sober documentary fashion a uniquely authentic picture of America, and like no other before him showed a particular feel for both the everyday and the subtle – the American Vernacular – creating a sense of identity and historic significance.

Visitors follow both Evans’ biography and the changing face of America, from the Great Depression to the onset of stability and business as usual: early impressions of the 1920s from the New York neighbourhood he lived in; portraits of his friends and fellow artists which give some indication of the ramified cultural ambience he inhabited; specimens of 19th century architecture that have blended into the evolving cultural life about them; picture cycles from Tahiti and Cuba; images of African sculptures and masks commissioned by the New York Museum of Modern Art; and numerous photographs taken in the 1930s in the rural south of the USA, which contrast starkly with the lifestyles of those who may be seen promenading in the fashionable streets of cities like New York.

In addition to street scenes, American monuments and shop window displays far from the world of “big business”, examples of his significant subway photographs are to be seen, taken with a hidden camera. We also see interiors whose modest appointments tell of the life of those who live in them, pictures that inevitably recall Evans’ remark that “I do like to suggest people by absence”. Evans’ predilection for typography, advertising and mass-produced articles give rise to strangely fascinating shots which seem to anticipate the soon-to-emerge Pop Art and its assemblages.

While the exhibition shows icons in the history of photography, it also highlights some of the photographer’s lesser known motifs dating from the 1940s, 1950s and 1960s. These include works done for Fortune, the magazine founded by Henry Luce in 1930; pictures taken on trips to London from 1945 onwards for the periodical Architectural Forum; or during stays at Robert Frank’s Nova Scotia house in the late 1960s.

Text from the Martin-Gropius-Bau website

 

Walker Evans. 'Façade of House with Large Numbers' Denver, Colorado, August 1967

 

Walker Evans (American, 1903-1975)
Façade of House with Large Numbers
Denver, Colorado, August 1967
Collection of Clark and Joan Worswick
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans. 'Interior View of Heliker/Lahotan House' Walpole, Maine, 1962

 

Walker Evans (American, 1903-1975)
Interior View of Heliker/Lahotan House
Walpole, Maine, 1962
Collection of Clark and Joan Worswick
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans. 'Interior View of Robert Frank’s House' Nova Scotia, 1969-71

 

Walker Evans (American, 1903-1975)
Interior View of Robert Frank’s House
Nova Scotia, 1969-71
Collection of Clark and Joan Worswick
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans. 'Robert Frank' Nova Scotia, 1969-71

 

Walker Evans (American, 1903-1975)
Robert Frank
Nova Scotia, 1969-71
Collection of Clark and Joan Worswick
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans. 'Barn' Nova Scotia, 1969-71


 

Walker Evans (American, 1903-1975)
Barn
Nova Scotia, 1969-71
Collection of Clark and Joan Worswick
© Walker Evans Archive, The Metropolitan Museum of Art

 

Walker Evans. 'Pabst Blue Ribbon Sign' Chicago, Illinois, 1946

 

Walker Evans (American, 1903-1975)
Pabst Blue Ribbon Sign
Chicago, Illinois, 1946
Collection of Clark and Joan Worswick
© Walker Evans Archive, The Metropolitan Museum of Art

 

 

Martin-Gropius-Bau Berlin
Niederkirchnerstraße 7
Corner Stresemannstr. 110
10963 Berlin
Phone: +49 (0)30 254 86-0

Opening Hours:
Wednesday to Monday 10 – 19 hrs
Tuesday closed

Martin-Gropius-Bau website

LIKE ART BLART ON FACEBOOK

Back to top




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.

Enter your email address to subscribe to this blog and receive notifications of new posts by email. If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,877 other followers

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

Follow Art_Blart on Twitter
Art Blart on Pinterest

Blog Stats

  • 12,357,017 hits

Recent Posts

Lastest tweets

October 2022
M T W T F S S
 12
3456789
10111213141516
17181920212223
24252627282930
31  

Archives

Categories

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,877 other followers