Posts Tagged ‘Americana

21
Oct
16

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

Exhibition dates: 10th September – 28th October 2016

 

An American iconography

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

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

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

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

Marcus

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

 

 

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

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

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George Tice

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

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

Press release from the Joseph Bellows Gallery

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

George Tice in conversation with Paul Caponigro

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

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

Joseph Bellows Gallery website

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07
Oct
16

Exhibition: ‘William Eggleston Portraits’ at the National Portrait Gallery, London

Exhibition dates: 21st July to 23rd October 2016

Curator: Phillip Prodger, Head of Photographs at the National Portrait Gallery

 

 

Just look. Really look. And then think about that looking.

Minute, democratic observations produce images which nestle, and take hold, and grow in the imagination.

No words are necessary. This is a looking that comes from the soul.

“A lot of these pictures I take are of very ordinary, unremarkable things. Can one learn to see? I don’t know. I think probably one is born with the ability to compose an image, in the way one is born with the ability to compose music. It is vastly more important to think about the looking, though, rather than to try to talk about a picture and what it means. The graphic image and words, well, they are two very different animals.” ~ William Eggleston

Marcus

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

 

William Eggleston is a pioneering American photographer renowned for his vivid, poetic and mysterious images. This exhibition of 100 works surveys Eggleston’s full career from the 1960s to the present day and is the most comprehensive display of his portrait photography ever. Eggleston is celebrated for his experimental use of colour and his solo show at the Museum of Modern Art, New York, in 1976 is considered a pivotal moment in the recognition of colour photography as a contemporary art form. Highlights of the exhibition will include monumental prints of two legendary photographs first seen forty years ago: the artist’s uncle Adyn Schuyler Senior with his assistant Jasper Staples in Cassidy Bayou, Mississippi, and Devoe Money in Jackson, Mississippi.

Also on display will be a selection of never-before seen vintage black and white prints from the 1960s. Featuring people in diners, petrol stations and markets in and around the artist’s home in Memphis, Tennessee, they help illustrate Eggleston’s unique view of the world. (Text from the NPG website)

 

 

“Eggleston is someone who has always tried to maintain emotional detachment in his work, photographing landscapes and inanimate objects with the same attention he would apply to people. He does not believe a photograph is a ‘window on the soul’ as we so often have it, nor does he think a viewer can ever truly understand a photographer’s thoughts and feelings from the pictures they make. Instead, he photographs ‘democratically’, which is to say, he gives even the smallest observations equal weight. His usual method is to capture people going about their business unawares, often performing ordinary tasks like eating in a restaurant or pumping petrol at a filling station. He photographs everyone the same, whether they are a celebrity, a member of his family, or a stranger.”

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Curator Phillip Prodger

 

 

William Eggleston. 'Untitled' (the artist's uncle, Adyn Schuyler Senior, with assistant Jasper Staples, in Cassidy Bayou, Sumner, Mississippi) 1969-70

 

William Eggleston
Untitled, 1969-70 (the artist’s uncle, Adyn Schuyler Senior, with assistant Jasper Staples, in Cassidy Bayou, Sumner, Mississippi)
1969-70
Dye transfer print
© Eggleston Artistic Trust

 

 

For Eggleston this photo is highly personal. Jasper Staples, the figure on the right, had been around him for his whole life as his family’s “house man”. Here he is next to his employer, Eggleston’s uncle, at a funeral. His exact mimicking of his boss’s posture and their shared focus on an event happening off-camera gives them a moment of unity. Yet the composition of the shot, with their balance and the open car door suggesting some ongoing action, is highly theatrical and might even put us in mind of a TV detective show. (Text by Fred Maynard)

 

William Eggleston. 'Untitled, 1974' (Karen Chatham, left, with the artist's cousin Lesa Aldridge, in Memphis, Tennessee)

 

William Eggleston
Untitled, 1974 (Karen Chatham, left, with the artist’s cousin Lesa Aldridge, in Memphis, Tennessee)
1974
Dye transfer print
Wilson Centre for Photography
© Eggleston Artistic Trust;

 

William Eggleston. 'Untitled, 1974' (Biloxi, Mississippi)

 

William Eggleston
Untitled, 1974 (Biloxi, Mississippi)
1974
Dye transfer print
Wilson Centre for Photography
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled, 1970-74' (Dennis Hopper)

 

William Eggleston
Untitled, 1970-74 (Dennis Hopper)
1970-74
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' 1970-1973

 

William Eggleston
Untitled
1970-1973
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled, c. 1975' (Marcia Hare in Memphis Tennessee) c. 1975

 

William Eggleston
Untitled, c. 1975 (Marcia Hare in Memphis Tennessee)
c. 1975
Dye transfer print
© Eggleston Artistic Trust

 

 

One of Eggleston’s most famous images, this pictures shows why he is known as the man who brought colour photography into the artistic mainstream. The subject, Marcia Hare, floats on a cloud-like bed of soft-focus grass, the red buttons on her dress popping out like confectionary on a cake. The dye-transfer technique which Eggleston borrowed from commercial advertising and turned into his trademark gives such richness to the colour that we are brought out of the Seventies and into the realm of Pre-Raphaelite painting. The ghost of Millais’s “Ophelia” sits just out of reach, a connection which the inscrutable artist is happy, as ever, to neither confirm nor deny. (Text by Fred Maynard)

 

William Eggleston. 'Untitled, c. 1970' (Devoe Money in Jackson, Mississippi)

 

William Eggleston
Untitled, c. 1970 (Devoe Money in Jackson, Mississippi)
c. 1970
Dye transfer print
© Eggleston Artistic Trust

 

 

“This is Devoe, a distant relative of mine (although I can’t remember exactly how), but also a friend. She is dead now, but we were very close. She was a very sweet and charming lady. I took this picture in the yard at the side of her house. I would often visit her there in Jackson. I remember I found the colour of her dress and the chair very exciting, and everything worked out instantly. I think this is the only picture I ever took of her, but I would say it sums her up. I didn’t pose her at all – I never do, usually because it all happens so quickly, but I don’t think I would have moved her in any way. I’m still very pleased with the photograph.” ~ William Eggleston

 

William Eggleston. 'Untitled, c. 1965-9'

 

William Eggleston
Untitled, c. 1965-9
Dye transfer print
© Eggleston Artistic Trust

 

 

“These two are strangers. I happened to be walking past and there it was, the picture. As usual I took it very rapidly and we didn’t speak. I think I was fortunate to catch that expression on the woman’s face. A lot of these pictures I take are of very ordinary, unremarkable things. Can one learn to see? I don’t know. I think probably one is born with the ability to compose an image, in the way one is born with the ability to compose music. It is vastly more important to think about the looking, though, rather than to try to talk about a picture and what it means. The graphic image and words, well, they are two very different animals.” ~ William Eggleston

 

William Eggleston. 'Untitled, 1970' (Self-portrait)

 

William Eggleston
Untitled, 1970 (Self-portrait)
Dye transfer print
© Eggleston Artistic Trust

 

 

William Eggleston
Stranded in Canton
Video

In 1973, photographer William Eggleston picked up a Sony PortaPak and took to documenting the soul of Memphis and New Orleans.

 

 

“A previously unseen image of The Clash frontman Joe Strummer and a never-before exhibited portrait of the actor and photographer Dennis Hopper will be displayed for the first time in the National Portrait Gallery this summer.  They will be included in the first museum exhibition devoted to the portraits of pioneering American photographer, William Eggleston it was announced today, Thursday 10 March 2016.

William Eggleston Portraits (21 July to 23 October) will bring together over 100 works by the American photographer, renowned for his vivid, poetic and mysterious images of people in diners, petrol stations, phone booths and supermarkets. Widely credited with increasing recognition for colour photography, following his own experimental use of dye-transfer technique, Eggleston will be celebrated by a retrospective of his full career, including a selection of never-before seen vintage black and white photographs from the 1960s taken in and around the artist’s home in Memphis, Tennessee.

The first major exhibition of Eggleston’s photographs in London since 2002 and the most comprehensive of his portraits, William Eggleston Portraits will feature family, friends, musicians and actors including rarely seen images of Eggleston’s own close relations. It will provide a unique window on the artist’s home life, allowing visitors to see how public and private portraiture came together in Eggleston’s work. It will also reveal, for the first time, the identities of many sitters who have until now remained anonymous. Other highlights include monumental, five foot wide prints of the legendary photographs of the artist’s uncle, Adyn Schuyler Senior, with his assistant Jasper Staples in Cassidy Bayou, Mississippi and Devoe Money in Jackson, Mississippi from the landmark book Eggleston’s Guide (1976).

Since first picking up a camera in 1957, Eggleston’s images have captured the ordinary world around him and his work is said to find ‘beauty in the everyday’. His portrayal of the people he encountered in towns across the American South, and in Memphis in particular, is shown in the context of semi-public spaces. Between 1960 and 1965, Eggleston worked exclusively in black and white and people were Eggleston’s primary subject, caught unawares while going about ordinary tasks. In the 1970s, Eggleston increasingly frequented the Memphis night club scene, developing friendships and getting to know musicians and artists. His fascination with club culture resulted in the experimental video ‘Stranded in Canton’, a selection of which will also be on view at the exhibition. ‘Stranded in Canton’ chronicles visits to bars in Memphis, Mississippi and New Orleans.

Eggleston’s 1976 show at the Museum of Modern Art, New York, is considered a pivotal moment in the recognition of colour photography as a contemporary art form. His work has inspired many present day photographers, artists and filmmakers, including Martin Parr, Sofia Coppola, David Lynch and Juergen Teller.

Dr Nicholas Cullinan, Director of the National Portrait Gallery, London, says: William Eggleston makes memorable photographic portraits of individuals – including friends and family, musicians and artists – that are utterly unique and highly influential. More than this, Eggleston has an uncanny ability to find something extraordinary in the seemingly everyday. Combining well-known works with others previously unseen, this exhibition looks at one of photography’s most compelling practitioners from a new perspective.”

Curator Phillip Prodger, Head of Photographs at the National Portrait Gallery says, “Few photographers alive today have had such a profound influence on the way photographs are made and seen as William Eggleston. His pictures are as fresh and exciting as they were when they first grabbed the public’s attention in the 1970s. There is nothing quite like the colour in an Eggleston photograph – radiant in their beauty, that get deep under the skin and linger in the imagination.”

Press release from the National Portrait Gallery, London

 

William Eggleston. 'Untitled, 1965' (Memphis Tennessee)

 

William Eggleston
Untitled, 1965 (Memphis Tennessee)
Nd
Dye transfer print
Wilson Centre for Photography
© Eggleston Artistic Trust

 

 

According to Eggleston talking on this video, this was his first successful colour negative.

The photo that made Eggleston’s name, this image of a grocery-store boy lining up shopping carts is a prime example of his ability to capture the humdrum reality of life in mid-century America. Yet it is also something more: the delicacy of his motion, the tension in his posture, the concentration on his brow evoke a master craftsman at work. Despite Eggleston’s presence, he seems entirely unselfconscious: caught in perfect profile and sun-dappled like a prime specimen of American youth. Eggleston, hovering between documentarian and sentimentalist, creates a semi-ironic paean to America. (Text by Fred Maynard)

 

William Eggleston. 'Untitled' (Memphis) c. 1969-71

 

William Eggleston
Untitled (Memphis)
c. 1969-71
Dye transfer print
© Eggleston Artistic Trust

 

 

“I took this picture in front of the music school of the university in Memphis. She was waiting on an automobile to come pick her up. I remember she was studying the sheaves of music on her lap. Not one word was exchanged – I was gone before she had the chance to say anything to me and it happened so fast that she wasn’t even sure I had taken a picture. I didn’t make a point of carrying a camera, but I usually had one with me.” ~ William Eggleston

 

William Eggleston. 'Untitled, c. 1980' (Joe Strummer)

 

William Eggleston
Untitled, c. 1980 (Joe Strummer)
c. 1980
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' 1973-4

 

William Eggleston
Untitled, 1973-74
1973-4
Dye transfer print
© Eggleston Artistic Trust

 

 

The closest Eggleston came to taking traditional portraits was in a series he shot in bars in his native Memphis and the Mississippi Delta in 1973-4. The sitters in his Nightclub Portraits – anonymous figures plucked, slightly flushed, from their nights out – are not posing but instead are photographed mid-conversation, Eggleston capturing them at their most unguarded. What is remarkable about this example is the strange composure of the subject, the slightly ethereal sheen as the flash from the camera is reflected by her make-up. Eggleston’s precise focus picks out the individual threads of her cardigan. Something hyper-real and statuesque emerges from an ordinary night out. (Text by Fred Maynard)

 

William Eggleston. 'Untitled, 1973-74'

 

William Eggleston
Untitled, 1973-74
1973-74
Dye transfer print
© Eggleston Artistic Trust

 

Another one of the sitters in his Nightclub Portraits

 

William Eggleston. 'Untitled, 1973-74' (Dane Layton)

 

William Eggleston
Untitled, 1973-74 (Dane Layton)
1973
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' 1970-1973

 

William Eggleston
Untitled
1970-1973
Dye transfer print
© Eggleston Artistic Trust

 

 

“I don’t know who this woman is, I simply saw her on the street. I never know what I am looking for until I see it. The images just seem to happen, wherever I happen to be. Was I attracted by the movement? I think I was attracted to the bright orange of her dress. She wasn’t raising her hand as a result of anything I did, but I think I must have been aware of the repeat made by her shadow in the frame – subconsciously at least – it needed to be in the picture.” ~ William Eggleston

 

William Eggleston. 'Untitled' 1971-1974

 

William Eggleston
Untitled
1971-1974
Dye transfer print
© Eggleston Artistic Trust

 

 

“Refusing to be pinned down to any viewpoint or agenda, Eggleston’s greatest strength is his almost enraging ambiguity. He is neither a sentimentalist nor a documentarian, neither subjective nor objective: he somehow captures that ephemeral moment we experience when we’re not quite sure why a memory sticks with us, why an otherwise mundane glance from a stranger seems to take on a greater significance.

His refusal to think of himself as a portraitist is what gives this exhibition such wry power. Here is a photographer who makes no distinctions, viewing every subject from cousins to coke cans with the same inscrutable gaze. When approached about the idea of a portrait show, the NPG’s Philip Prodger recalls, Eggleston expressed surprise because he didn’t “do” portraits. Prodger reframed the exhibition as a series of photos that just happened to have people in them. “That makes sense”, Eggleston deadpanned.

The unvarnished Americana for which he is so famous – brash logos and a hint of rust – can contain something uneasy, even threatening, precisely because Eggleston maintains a blithe poker-face about his feelings on his subjects. Walking through this exhibition is to meet more placards marked “Untitled” than you can handle. The names of previously anonymous sitters, revealed specially for this exhibition, are hardly likely to make things much more concrete for the viewer. Rather we are let in on an extraordinary experience, moving between the mysterious faces of a transitional moment in American history, not quite sure whether some greater revelation is bubbling under the surface.”

Extract from Fred Maynard. “William Eggleston, the reluctant portraitist,” on the 1843 website July 26, 2016 [Online] Cited 30/09/2016

 

William Eggleston. 'Untitled, 1960s'

 

William Eggleston
Untitled, 1960s
1960s
Silver gelatin print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled, 1960s'

 

William Eggleston
Untitled, 1960s
1960s
Silver gelatin print
© Eggleston Artistic Trust

 

 

National Portrait Gallery
St Martin’s Place
London, WC2H 0HE

Opening hours:
Monday – Wednesday, Saturday – Sunday 10am – 6pm
Thursday – Friday 10am – 9pm

National Portrait Gallery website

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09
Dec
15

Exhibition: ‘Multitude, Solitude: The Photographs of Dave Heath’ at the Philadelphia Museum of Art

Exhibition dates: 19th September – 20th December 2015

 

 

Following on from the magnificent Francesca Woodman, here we have an artist from a previous period who investigates aspects of alienation, despair, loss and hope. These are of the era:

Post-McCarthyism but still caught in that cataclysm / Henri Cartier-Bresson / Irving Penn / Ansel Adams / Saturday Evening Post / Allen Ginsberg / Beat Generation / emerging counterculture of the 1960s.

It is an Americana (the despairing history, geography and culture of the United States) with an elusive meaning and a aesthetic that seems to be tight … but one that can’t stand to be scratched.

While some of the images are memorable (such as Vengeful Sister, Chicago, 1956) there is not much living, lying underneath. Nothing that reveals itself to me over time, that makes me return to the image again and again, for insight and, possibly, refreshment. A little hope and much sadness.

Marcus

.
Many thankx to the Philadelphia 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.

 

 

“City streets were Heath’s first studio: Philadelphia; Chicago; New York, where he came to prominence; and later Toronto. Isolation is a prevailing theme: Subjects gaze cryptically into the camera, their expressions unreadable. Often they stare beyond the frame, lost in thought. Crowds of individuals populate a single location, but don’t interact; disconnected, in their own worlds.

The dispossessed and alienated are Heath’s subjects, and he wrote his autobiography with their images: children with ragged clothes and dirty faces, stone-faced or crying, hardly ever smiling. A sweet-faced girl with tangled hair and huge light eyes stares out from the cover of Heath’s masterwork A Dialogue with Solitude, as if to say, “Here I am,” and nothing more…

Heath, who had to find his way alone, photographed passengers looking out of car windows and riding in elevated trains, going who knows where? Many photos are of just one person, and even the group shots set one occupant apart. Faces are expressionless, but their eyes are full of sorrow, uncertainty, loneliness, fear. We recognize that look: the one we all have when our public mask falls away and our faces betray the thoughts that wake us in the middle of the night.”

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Pamela J.  Forsythe. “Alone together” on the Broad Street Review website October 18, 2015

 

 

Dave Heath (Canadian, born United States, 1931) 'Kansas City, Missouri, March 1967'

 

Dave Heath (Canadian, born United States, 1931)
Kansas City, Missouri, March 1967
1967 (negative); 1968 (print)
Gelatin silver print
7 1/8 x 10 1/2 inches (18.1 x 26.7 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Berkeley, California, 1964'

 

Dave Heath (Canadian, born United States, 1931)
Berkeley, California, 1964
1964
Gelatin silver print
4 5/8 x 6 13/16 inches (11.7 x 17.3 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Erin Freed, New York City, 1963'

 

Dave Heath (Canadian, born United States, 1931)
Erin Freed, New York City, 1963
1963
Gelatin silver print
7 5/16 x 8 3/4 inches (18.6 x 22.2 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Carl Dean Kipper, Korea, 1953-54'

 

Dave Heath (Canadian, born United States, 1931)
Carl Dean Kipper, Korea, 1953-54
1953-54
Gelatin silver print
6 3/4 x 9 3/4 inches (17.1 x 24.8 cm)
The Nelson-Atkins Museum of Art, Kansas City, Missouri: Gift of Hallmark Cards, Inc.,

 

Dave Heath (Canadian, born United States, 1931) 'Philadelphia, 1952'

 

Dave Heath (Canadian, born United States, 1931)
Philadelphia, 1952
1952
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

 

“Experience Dave Heath’s bittersweet vision of modern life in his powerful photographs of loss and hope.

From a crowd gathered in Central Park to solitary figures lost in thought, Dave Heath’s images conjure feelings of alienation and a desire for human connection. Multitude, Solitude highlights the photographer’s black-and-white pictures of the 1950s and 1960s, an intense period of self-discovery and innovation for the artist. During these pivotal years, Heath developed groundbreaking approaches to narrative and image sequence, producing exquisite individual prints, handmade book maquettes, his poetic masterwork, A Dialogue with Solitude, and multimedia slide presentations. His sensitive explorations of loss, pain, love, and hope reveal Heath to be one of the most original photographers of those decades.

This exhibition is the first comprehensive survey of Heath’s deeply personal early work. Abandoned by both his parents by the age of four, Heath lived in Philadelphia foster homes and in an orphanage until the age of sixteen. The turmoil of his childhood profoundly shaped Heath and his artistic vision. Just before his sixteenth birthday, he encountered a poignant photo-essay about foster care in Life magazine, and became intrigued by photography’s potential to transcend simple reportage. Almost entirely self-taught, Heath channeled his feelings of abandonment into a body of work that underscores the importance and difficulties of human contact and interaction. Multitude, Solitude reaffirms Heath’s status as a key figure in twentieth-century photography and highlights his deeply empathetic sensibility.

About the artist

Born in Philadelphia in 1931, Dave Heath became interested in photography as a teenager. In the following years he trained himself in the craft, taking courses in commercial art, working in a photo-processing lab, and studying paintings at the Philadelphia Museum of Art. While stationed in Korea with the US Army, he photographed his fellow soldiers, creating images that are at once candid and subdued. In 1957 Heath moved to New York City and established himself as a major artistic talent.Heath taught at the Dayton Art Institute, Ohio, and Moore College of Art, Philadelphia, before moving in 1970 to Toronto, where he headed the photography program at Ryerson University for many years. His work is in the collections of leading museums, including The Nelson-Atkins Museum of Art, Kansas City, Missouri; the Philadelphia Museum of Art; the Museum of Modern Art, New York; the Art Institute of Chicago; and the National Gallery of Canada, Ottawa.

Heath’s major monograph, A Dialogue with Solitude, was published in 1965 and reprinted in 2000. His work has been included in important historical studies and surveys, such as Robert M. Doty’s Photography in America (1974); John Szarkowski’s Mirrors and Windows: American Photography Since 1960 (1978); James Borcoman’s Magicians of Light: Photographs from the Collection of the National Gallery of Canada (1993); and Keith F. Davis’s An American Century: From Dry-Plate to Digital (1999).”

Text from the Philadelphia Museum of Art website

 

Dave Heath (Canadian, born United States, 1931) 'Drowning Scene, Central Park, New York City, 1957'

 

Dave Heath (Canadian, born United States, 1931)
Drowning Scene, Central Park, New York City, 1957
1957
Gelatin silver print
6 3/8 x 9 9/16 inches (16.2 x 24.3 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Drowning Scene, Central Park, New York City, 1957' (detail)

 

Dave Heath (Canadian, born United States, 1931)
Drowning Scene, Central Park, New York City, 1957 (detail)
1957
Gelatin silver print
6 3/8 x 9 9/16 inches (16.2 x 24.3 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Vengeful Sister, Chicago, 1956'

 

Dave Heath (Canadian, born United States, 1931)
Vengeful Sister, Chicago, 1956
1956
Gelatin silver print
7 3/16 x 8 15/16 inches (18.3 x 22.7 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) '7 Arts Coffee Gallery, New York City, 1959'

 

Dave Heath (Canadian, born United States, 1931)
7 Arts Coffee Gallery, New York City, 1959
1959
Gelatin silver print
7 3/4 x 8 3/4 inches
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'New York City, 1958-59'

 

Dave Heath (Canadian, born United States, 1931)
New York City, 1958-59
1958-59
Gelatin silver print
7 x 8 5/8 inches
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) '5th Avenue at 43rd Street, New York City, 1958'

 

Dave Heath (Canadian, born United States, 1931)
5th Avenue at 43rd Street, New York City, 1958
1958
Gelatin silver print
6 1/2 x 9 3/4 inches
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Santa Barbara, California, 1964'

 

Dave Heath (Canadian, born United States, 1931)
Santa Barbara, California, 1964
1964
Gelatin silver print
5 x 7 9/16 inches (12.7 x 19.2 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Rochester, New York, 1958'

 

Dave Heath (Canadian, born United States, 1931)
Rochester, New York, 1958
1958
Gelatin silver print
6 9/16 x 9 13/16 inches (16.7 x 24.9 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of Hallmark Cards, Inc.,

 

Dave Heath (Canadian, born United States, 1931) 'Washington Square, New York City, 1959-1960'

 

Dave Heath (Canadian, born United States, 1931)
Washington Square, New York City, 1959-1960
1959-1960
Gelatin silver print
7 1/2 x 9 1/4 inches
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

 

Forever the outsider

Heath left Philadelphia to serve in the Korean War, where he photographed fellow soldiers and his impressions of war. Soon after his return, he departed for Chicago, where he worked as a photographer’s assistant. He began to assemble handmade books, grouping photos into themed essays and putting text to the images, establishing the template he would use in A Dialogue with Solitude.

Relocating to New York in 1957, Heath studied with photojournalist W. Eugene Smith, refining his photo essay technique and adopting Smith’s practice of making fine art prints of his work. He took photos with available light, in the street and at favorite haunts like Washington Square Park and Seven Arts Coffee Gallery, mounting the Dialogue exhibition in 1963. In that same year, he won his first Guggenheim.

Accepting life on its own terms

When Dialogue went to print in 1965, Heath employed the same editorial control he had with earlier creations, selecting, sizing, and laying out every photo, dictating typeface and size, and selecting text from famous authors, such as William Butler Yeats, Hermann Hesse, and T.S. Eliot. Only in the preface did he use his own words:

“Pressed from all sides by the rapid pace of technological progress and increased authoritarian control, many people are caught up in an anguish of alienation. Adrift and without sense of purpose, they are compelled to engage in a dialogue with the inmost depths of their being in a search for renewal.” He concludes, “What I have endeavored to convey in my work is not a sense of futility… but an acceptance… that the pleasures and joys of life are fleeting and rare.”

The final sections convey a few of those pleasurable moments: In two photos entitled Chicago (1956), a small boy stands, head thrown back in exultation, and two boys mug for the camera. In Fifth Avenue, New York City (1960), a father snuggles his baby to his face, looking over the child’s head protectively, and in Barbara Freed and Her Son Sean, New York City (1959), a toddler heads toward a pair of outstretched female hands. Heath selected the final excerpt from Eliot’s “Journey of the Magi”:

All this was a long time ago, I remember,

And I would do it again, but set down

This set down

This: were we led all that way for

Birth or Death?

.
Pamela J.  Forsythe. “Alone together” on the Broad Street Review website October 18, 2015

 

Dave Heath (Canadian, born United States, 1931) 'Greenwich Village, New York City, 1957'

 

Dave Heath (Canadian, born United States, 1931)
Greenwich Village, New York City, 1957
1957
Gelatin silver print
12 5/8 x 9 9/16 inches (32.1 x 24.3 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'New York City, 1962'

 

Dave Heath (Canadian, born United States, 1931)
New York City, 1962
1962
Gelatin silver print, 10 13/16 x 7 7/16 inches (27.5 x 18.9 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Chicago, 1956'

 

Dave Heath (Canadian, born United States, 1931)
Chicago, 1956
1956
Gelatin silver print, 12 9/16 x 8 9/16 inches (31.9 x 21.7 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Chicago, 1956'

 

Dave Heath (Canadian, born United States, 1931)
Chicago, 1956
1956
Gelatin silver print
9 3/4 x 6 5/8 inches
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Chicago, 1956'

 

Dave Heath (Canadian, born United States, 1931)
Chicago, 1956
1956
Gelatin silver print, 10 x 8 inches
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Washington Square, New York City, 1960'

 

Dave Heath (Canadian, born United States, 1931)
Washington Square, New York City, 1960
1960
Gelatin silver print
12 5/8 x 8 5/8 inches (32.1 x 21.9 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Washington Square, New York City, 1958'

 

Dave Heath (Canadian, born United States, 1931)
Washington Square, New York City, 1958
1958
Gelatin silver print
12 5/8 x 8 3/8 inches (32.1 x 21.3 cm)
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

Dave Heath (Canadian, born United States, 1931) 'Howard Crawford, c. 1953-54'

 

Dave Heath (Canadian, born United States, 1931)
Howard Crawford, c. 1953-54
c. 1953-54
Gelatin silver print
13 1/2 x 9 1/4 inches
The Nelson-Atkins Museum, Kansas City, Missouri: Gift of the Hall Family Foundation

 

 

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02
Sep
14

Exhibition: ‘Robert Heinecken: Object Matter’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 15th March – 7th September 2014

 

A bumper posting on probably the most important photo-media artist who has ever lived. This is how to successfully make conceptual photo-art.

A revolutionary artist, this para-photographer’s photo puzzles are just amazing!

Marcus

.
Many thank to MoMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF FEMALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

 

 

Robert Heinecken (American, 1931-2006) 'Figure Horizon #1' 1971

 

Robert Heinecken (American, 1931-2006)
Figure Horizon #1
1971
Ten canvas panels with photographic emulsion
Each 11 13/16 x 11 13/16″ (30 x 30 cm)
The Museum of Modern Art, New York. Gift of Shirley C. Burden, by exchange

 

Robert Heinecken (American, 1931-2006) 'Le Voyeur / Robbe-Grillet #2' 1972

 

Robert Heinecken (American, 1931-2006)
Le Voyeur / Robbe-Grillet #2
1972
Three canvas panels with bleached photographic emulsion and pastel chalk
14 x 40″ (35.6 x 101.6 cm)
George Eastman House, Rochester, New York. Museum Purchase with National Endowment for the Arts support

 

Robert Heinecken (American, 1931-2006) 'Child Guidance Toys' 1965

 

Robert Heinecken (American, 1931-2006)
Child Guidance Toys
1965
Black-and-white film transparency
5 x 18 1/16″ (12.7 x 45.8 cm)
The Art Institute of Chicago. Gift of Boardroom, Inc.

 

Robert Heinecken (American, 1931-2006) 'Lessons in Posing Subjects / Matching Facial Expressions' 1981

 

Robert Heinecken (American, 1931-2006)
Lessons in Posing Subjects / Matching Facial Expressions
1981
Fifteen internal dye diffusion transfer prints (SX-70 Polaroid) and lithographic text on Rives BFK paper
15 x 20″ (38.1 x 50.8 cm)
Collection UCLA Grunwald Center for Graphic Art, Hammer Museum, Los Angeles. Gift of Dean Valentine and Amy Adelson

 

Robert Heinecken (American, 1931-2006) 'Kodak Safety Film / Taos Church' 1972

 

Robert Heinecken (American, 1931-2006)
Kodak Safety Film / Taos Church
1972
Black-and-white film transparency
40 x 56″ (101.6 x 142.2 cm)
The Museum of Modern Art, New York. Committee on Photography Fund

 

Robert Heinecken (American, 1931-2006) 'As Long As Your Up' 1965

 

Robert Heinecken (American, 1931-2006)
As Long As Your Up
1965
Black-and-white film transparency
15 1/2 x 19 5/8″ (39.4 x 49.8 cm)
The Robert Heinecken Trust, Chicago. Courtesy Petzel Gallery, New York

 

Robert Heinecken (American, 1931-2006) 'Periodical #5' 1971

 

Robert Heinecken (American, 1931-2006)
Periodical #5
1971
Offset lithography on found magazine
12 1/4 x 9″ (31.1 x 22.9 cm)
Collection Philip Aarons and Shelley Fox Aarons, New York

 

Robert Heinecken (American, 1931-2006) 'Six Figures/Mixed' 1968

 

Robert Heinecken (American, 1931-2006)
Six Figures/Mixed
1968
Layered Plexiglas and black-and-white film transparencies
5.75 x 9.75 x 1.5″ (14.61 x 24.77 x 3.81 cm)
Collection Darryl Curran, Los Angeles

 

Robert Heinecken (American, 1931-2006) 'Figure / Foliage #2' 1969

 

Robert Heinecken (American, 1931-2006)
Figure / Foliage #2
1969
Layered Plexiglas and black-and-white film transparencies
5 x 5 x 1 1/4″ (12.7 x 12.7 x 3.2 cm)
Collection Anton D. Segerstrom, Corona del Mar, California

 

Kaleidoscopic-Hexagon-#2-WEB

 

Robert Heinecken (American, 1931-2006)
Kaleidoscopic Hexagon #2
1965
Six gelatin silver prints on wood
Diameter: 14″ (35.6 cm)
Black Dog Collection. Promised gift to San Francisco Museum of Modern Art

 

Robert Heinecken (American, 1931-2006) '24 Figure Blocks' 1966

 

Robert Heinecken (American, 1931-2006)
24 Figure Blocks
1966
Twelve gelatin silver prints on wood blocks, and twelve additional wood blocks
14 1/16 x 14 1/16 x 13/16″ (35.7 x 35.7 x 2.1 cm)
Whitney Museum of American Art, New York. Gift of Jeanne and Richard S. Press

 

Robert Heinecken (American, 1931-2006) 'Multiple Solution Puzzle' 1965

 

Robert Heinecken (American, 1931-2006)
Multiple Solution Puzzle
1965
Sixteen gelatin silver prints on wood
11 1/4 x 11 1/4 x 1″ (28.6 x 28.6 x 2.5 cm)
Collection Maja Hoffmann/LUMA Foundation

 

 

The Museum of Modern Art presents Robert Heinecken: Object Matter, the first retrospective of the work of Robert Heinecken since his death in 2006 and the first exhibition on the East Coast to cover four decades of the artist’s unique practice, from the early 1960s through the late 1990s, on view from March 15 to September 7, 2014. Describing himself as a “para-photographer,” because his work stood “beside” or “beyond” traditional ideas associated with photography, Heinecken worked across multiple mediums, including photography, sculpture, printmaking, and collage. Culling images from newspapers, magazines, pornography, and television, he recontextualized them through collage and assemblage, photograms, darkroom experimentation, and rephotography. His works explore themes of commercialism, Americana, kitsch, sex, the body, and gender. In doing so, the works in this exhibition expose his obsession with popular culture and its effects on society, and with the relationship between the original and the copy. Robert Heinecken: Object Matter is organized by Eva Respini, Curator, with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, The Museum of Modern Art. The exhibition will travel to the Hammer Museum, and will be on view there from October 5, 2014 through January 17, 2015.

Heinecken dedicated his life to making art and teaching, establishing the photography program at UCLA in 1964, where he taught until 1991. He began making photographs in the early 1960s. The antithesis of the fine-print tradition exemplified by West Coast photographers Ansel Adams and Edward Weston, who photographed landscapes and objects in sharp focus and with objective clarity, Heinecken’s early work is marked by high contrast, blur, and under- or overexposure, as seen in Shadow Figure (1962) and Strip of Light (1964). In the mid-1960s he began combining and sequencing disparate pictures, as in Visual Poem/About the Sexual Education of a Young Girl (1965), which comprises seven black-and-white photographs of dolls with a portrait of his then-five-year-old daughter Karol at the center.

The female nude is a recurring motif, featured in Refractive Hexagon (1965), one of several “photopuzzles” composed of photographs of female body parts mounted onto 24 individual “puzzle” pieces. Other three-dimensional sculptures – geometric volumes ranging in height from five to 22 inches – consist of photographs mounted onto individual blocks, which rotate independently around a central axis. In Fractured Figure Sections (1967), as in Refractive Hexagon, the female figure is never resolved as a single image – the body is always truncated, never contiguous. In contrast, a complete female figure can be reconstituted in his largest photo-object, Transitional Figure Sculpture (1965), a towering 26-layer octagon composed from photographs of a nude that have been altered using various printing techniques. At the time, viewer engagement was key to creating random configurations and relationships in the work; any number of possibilities may exist, only to be altered with the next manipulation. Today, due to the fragility of the works, these objects are displayed in Plexiglas-covered vitrines. However, the number of sculptures and puzzles gathered here offer the viewer a sense of this diversity.

Heinecken’s groundbreaking suite Are You Rea (1964-68) is a series of 25 photograms made directly from magazine pages. Representative of a culture that was increasingly commercialized, technologically mediated, and suspicious of established truths, Are You Rea cemented Heinecken’s interest in the multiplicity of meanings inherent in existing images and situations. Culled from more than 2000 magazine pages, the work includes pictures from publications such as Life, Time, and Woman’s Day, contact-printed so that both sides are superimposed in a single image. Heinecken’s choice of pages and imagery are calculated to reveal specific relationships and meanings – ads for Coppertone juxtaposed with ads for spaghetti dinners and an article about John F. Kennedy superimposed on an ad for Wessex carpets – the portfolio’s narrative moves from relatively commonplace and alluring images of women to representations of violence and the male body.

Heinecken began altering magazines in 1969 with a series of 120 periodicals titled MANSMAG: Homage to Werkman and Cavalcade. He used the erotic men’s magazine Cavalcade as source material, making plates of every page, and randomly printing them on pages that were then reassembled into a magazine, now scrambled. In the same year, he disassembled numerous Time magazines, imprinting pornographic images taken from Cavalcade on every page, and reassembled them with the original Time covers. He circulated these reconstituted magazines by leaving them in waiting rooms or slipping them onto newsstands, allowing the work to come full circle – the source material returning to its point of origin after modification. He reprised this technique in 1989 with an altered issue of Time titled 150 Years of Photojournalism, a greatest hits of historical events seen through the lens of photography.

 

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

 

Installation views of Robert Heinecken: Object Matter at The Museum of Modern Art (MoMA)
Photos by Jonathan Muzikar
© The Museum of Modern Art

 

Robert Heinecken (American, 1931-2006) 'Breast / Bomb #5' 1967

 

Robert Heinecken (American, 1931-2006)
Breast / Bomb #5
1967
Gelatin silver prints, cut and reassembled
38 1/2 x 38 1/4″ (97.8 x 97.2 cm)
Denver Art Museum. Funds From 1992 Alliance For Contemporary Art Auction

 

Robert Heinecken (American, 1931-2006) 'Then People Forget You' 1965

 

Robert Heinecken (American, 1931-2006)
Then People Forget You
1965
Gelatin silver print
10 3/8 x 12 15/16″ (26.3 x 32.8 cm)
The Art Institute of Chicago. Gift of Boardroom, Inc.

 

Robert Heinecken (American, 1931-2006) 'Cliche Vary / Autoeroticism' 1974

 

Robert Heinecken (American, 1931-2006)
Cliche Vary / Autoeroticism
1974
Eleven canvas panels with photographic emulsion and pastel chalk
39 1/2 x 39 1/2 in. (100.3 x 100.3 cm)
Collection Susan and Peter MacGill, New York

 

Robert Heinecken. 'Surrealism on TV' 1986

 

Robert Heinecken (American, 1931-2006)
Surrealism on TV
1986
216 35 mm color slides, slide-show time variable
The Robert Heinecken Trust, Chicago; courtesy Cherry and Martin Gallery, Los Angeles
© 2013 The Robert Heinecken Trust.

 

Robert Heinecken (American, 1931-2006) 'Shiva Manifesting as a Single Mother' 1989

 

Robert Heinecken (American, 1931-2006)
Shiva Manifesting as a Single Mother
1989
Magazine paper, paint and varnish
Collection Philip F. Denny, Chicago
© 2014 The Robert Heinecken Trust

 

 

Transparent film is also used in many of Heinecken’s works to explore different kinds of juxtapositions. In Kodak Safety Film/Christmas Mistake (1971), pornographic images are superimposed on a Christmas snapshot of Heinecken’s children with the suggestion in the title that somehow two rolls of film were mixed up at the photo lab. Kodak Safety Film/Taos Church (1972) takes photography itself as a subject, picturing an adobe church in New Mexico that was famously photographed by Ansel Adams and Paul Strand, and painted by Georgia O’Keeffe and John Marin. Presented as a negative, Heinecken’s version transforms an icon of modernism into a murky structure flanked by a pickup truck, telephone wires, and other modern-day debris.

Heinecken’s hybrid photographic paintings, created by applying photographic emulsion on canvas, are well represented in the exhibition. In Figure Horizon #1(1971), Heinecken reprised the cut-and-reassemble techniques from his puzzles and photo-sculptures, sequencing images of sections of the nude female body, to create impossible undulating landscapes. Cliché Vary, a pun on the 19th-century cliché verre process, is comprised of three large-scale modular works, all from 1974: Autoeroticism, Fetishism, and Lesbianism. The works are comprised of separately stretched canvas panels with considerable hand-applied color on the photographic image, invoking clichés associated with autoeroticism, fetishism, and lesbianism. Reminiscent of his cut-and-reassembled pieces, each panel features disjointed views of bodies and fetish objects that never make a whole, and increase in complexity, culminating with Lesbianism, which is made with seven or eight different negatives.

In the mid-1970s, Heinecken experimented with new materials introduced by Polaroid – specifically the SX-70 camera (which required no darkroom or technical know-how) – to produce the series He/She (1975-1980) and, later, Lessons in Posing Subjects (1981-82). Heinecken experimented with different types of instant prints, including the impressive two-panel S.S. Copyright Project: “On Photography” (1978), made the year after the publication of Susan Sontag’s collection of essays On Photography (1977). The S.S. Copyright Project consists of a magnified and doubled picture of Sontag, derived from the book’s dustcover portrait (taken by Jill Krementz). The work equates legibility with physical proximity – from afar, the portraits appear to be grainy enlargements from a negative (or, to contemporary eyes, pixilated low-resolution images), but at close range, it is apparent that the panels are composed of hundreds of small photographic scraps stapled together. The portrait on the left is composed of photographs of Sontag’’ text; the right features random images taken around Heinecken’s studio by his assistant.

Heinecken’s first large-scale sculptural installation, TV/Time Environment (1970), is the earliest in a series of works that address the increasingly dominant presence of television in American culture. In the installation, a positive film transparency of a female nude is placed in front of a functioning television set in an environment that evokes a living room, complete with recliner chair, plastic plant, and rug. Continuing his work with television, Heinecken created videograms – direct captures from the television that were produced by pressing Cibachrome paper onto the screen to expose the sensitized paper. Inaugural Excerpt Videograms (1981) features a composite from the live television broadcast of Ronald Reagan’s inauguration speech and the surrounding celebrations. The work, originally in 27 parts, now in 24, includes randomly chosen excerpts of the oration and news reports of it. Surrealism on TV (1986) explores the idea of transparency and layering using found media images to produce new readings. It features a slide show comprised of more than 200 images loaded into three slide projectors and projected in random order. The images generally fit into broad categories, which include newscasters, animals, TV evangelists, aerobics, and explosions.

Text from the MoMA press release

 

Robert Heinecken (American, 1931-2006) 'Figure Cube' 1965

 

Robert Heinecken (American, 1931-2006)
Figure Cube
1965
Gelatin silver prints on Masonite
5 7/8 x 5 7/8″ (15 x 15 cm)
The Robert Heinecken Trust. Courtesy Center for Creative Photography, University of Arizona, Tucson

 

Robert Heinecken (American, 1931-2006) 'Figure in Six Sections' 1965

 

Robert Heinecken (American, 1931-2006)
Figure in Six Sections
1965
Gelatin silver prints on wood blocks
8 1/2 x 3 x 3″ (21.6 x 7.6 x 7.6 cm)
Collection Kathe Heinecken. Courtesy The Robert Heinecken Trust, Chicago

 

Robert Heinecken (American, 1931-2006) 'Fractured Figure Sections' 1967

 

Robert Heinecken (American, 1931-2006)
Fractured Figure Sections
1967
Gelatin silver prints on wood blocks
8 1/4 x 3 x 3″ (21 x 7.6 x 7.6 cm)
The Museum of Modern Art, New York. The Photography Council Fund and Committee on Photography Fund

 

Robert Heinecken (American, 1931-2006) 'The S.S. Copyright Project: "On Photography"' (Part 1 of 2) 1978

 

Robert Heinecken (American, 1931-2006)
The S.S. Copyright Project: “On Photography” (Part 1 of 2)
1978
Collage of black and white instant prints attached to composite board with staples
b 47 13/16 x 47 13/16″ (121.5 x 121.5 cm)
The Museum of Modern Art, New York. Purchased as the partial gift of Celeste Bartos

 

Robert Heinecken (American, 1931-2006) 'Recto/Verso #2' 1988

 

Robert Heinecken (American, 1931-2006)
Recto/Verso #2
1988
Silver dye bleach print
8 5/8 x 7 7/8″ (21.9 x 20 cm)
The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund

 

Robert Heinecken (American, 1931-2006) 'Figure Parts / Hair' 1967

 

Robert Heinecken (American, 1931-2006)
Figure Parts / Hair
1967
Black-and-whtie film transparencies over magazine-page collage
16 x 12″ (40.6 x 30.5 cm)
Collection Karol Heinecken Mora, Los Angeles

 

Robert Heinecken (American, 1931-2006) 'V.N. Pin Up' 1968

 

Robert Heinecken (American, 1931-2006)
V.N. Pin Up
1968
Black-and-white film transparency over magazine-page collage
12 1/2 • 10″ (31.8 • 25.4 cm)
Museum of Contemporary Art, Chicago. Gift of Daryl Gerber Stokols

 

Robert Heinecken (American, 1931-2006) 'Typographic Nude' 1965

 

Robert Heinecken (American, 1931-2006)
Typographic Nude
1965
Gelatin silver print
14 1/2 x 7″ (36.8 x 17.8 cm)
Collection Geofrey and and Laura Wyatt, Santa Barbara, California

 

Robert Heinecken (American, 1931-2006) 'Are You Rea #1' 1968

 

Robert Heinecken (American, 1931-2006)
Are You Rea #1
1968
Twenty-five gelatin silver prints
Various dimensions
Collection Jeffrey Leifer, San Francisco

 

Robert Heinecken (American, 1931-2006) 'Are You Rea #25' 1968

 

Robert Heinecken (American, 1931-2006)
Are You Rea #25
1968
Twenty-five gelatin silver prints
Various dimensions
Collection Jeffrey Leifer, San Francisco

 

Robert Heinecken (American, 1931–2006) 'Cybill Shepherd / Phone Sex' 1992

 

Robert Heinecken (American, 1931–2006)
Cybill Shepherd / Phone Sex
1992
Silver dye bleach print on foamcore
63 x 17″ (160 x 43.2 cm)
The Robert Heinecken Trust, Courtesy of Petzel Gallery, New York

 

Robert Heinecken (American, 1931-2006) 'MANSMAG: Homage to Werkman and Cavalcade' 1969

 

Robert Heinecken (American, 1931-2006)
MANSMAG: Homage to Werkman and Cavalcade
1969
Offset lithography on bound paper
8 3/4 x 6 5/8″ (22.2 x 16.8 cm)
The Robert Heinecken Trust, Chicago

 

 

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

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

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