Posts Tagged ‘Ansel Adams Aspens Northern New Mexico

22
Mar
18

Exhibition: ‘Into the Woods: Trees in Photography’ at the Victoria and Albert Museum, London

Exhibition dates: 18th November 2017 – 22nd April 2018

 

Gustave Le Gray. 'In the Forest of Fontainbleau (Bas-Bréau)' 1852

 

Gustave Le Gray
In the Forest of Fontainbleau (Bas-Bréau)
1852
Gold-toned albumen print from waxed paper negative
Chauncey Hare Townshend Bequest 1868

 

 

Gustave Le Gray trained as a painter in the 1840s but took up photography soon after. He followed the Barbizon School painters to the French forest of Fontainebleau, where he made enchanting photographic studies. Combining technical knowledge with artistic flair, Le Gray rapidly became one of the most renowned photographers of his day.

 

 

I grew up on a farm for the first thirteen years of my life. I played in the fields and forests of England, and wandered the cart paths with my brother. I saw him for the first time in thirty years last August, after the passing of my father. We went back and walked those very same paths where we grew up and looked at the magnificent trees planted along the edge of the fields. After all that had happened, it was an emotional and healing journey for both of us…

The innocence of being a child growing up on the land returned, the innocence of something that is never really forgotten. I still am a country boy at heart; I still love the land and the trees. I always will.

It’s a pity then, that this seems to be just a “filler” exhibition from the V&A. No press release, two sentences on the website (see below) and no information about the images such as details of process etc… I had to dig into the collection to find the information you read here, including the text descriptions beneath the images. For such a magical and mythical subject that has fascinated human beings since the beginning of time, you might have expected a more in depth investigation.

As an addendum I have included my favourite tree images. You will have your own. The last image in particular has that element of threat and wonder that makes the forest such a rich, fluid and evocative space.

Marcus

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Many thankx to the V&A for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Trees have long been a source of inspiration for artists. This display explores the diverse representation of trees in photography – as botanical subjects and poetic symbols, in the context of the natural and human worlds.

 

 

Royal Engineers. 'Cutting on the 49th Parallel, on the Right Bank of the Mooyie River Looking West' about 1860

 

Royal Engineers
Cutting on the 49th Parallel, on the Right Bank of the Mooyie River Looking West
about 1860
Albumen print from wet collodion-on-glass negative
Photographed by a Royal Engineers photographer on a U.S.-Canada Border Survey
Received from the Foreign Office 1863

 

 

In 1856 the War Department appointed the South Kensington Museum photographer Charles Thurston Thompson to teach photography to the Royal Engineers. On one expedition these soldier-photographers documented the border between the USA and Canada. From the crest of the Rockies westwards along the 49th Parallel to the coast, they painstakingly recorded everything that crossed their path, producing ‘one of the earliest significant bodies of photographs made in the Pacific Northwest’.

 

Samuel Bourne. 'Poplar Avenue, Srinuggur, Kashmir, from the end' 1864

 

Samuel Bourne
Poplar Avenue, Srinuggur, Kashmir, from the end
1864
Albumen print from wet collodion negative

 

 

In 1863 Samuel Bourne (1834-1912) arrived in India. He had left his job as a Nottingham bank clerk in order to develop his new career as a photographer. Bourne undertook three treks to Kashmir and the western Himalayas in 1863, 1864 and 1866, during which he photographed his surroundings extensively.

He began his second trip to India, during which this photograph was taken, in March 1864. It was to be a nine-month expedition through the Kashmir region. Throughout his travels Bourne wrote about his first impressions of the places he visited and these writings were published in the British Journal of Photography. Of his first impressions of the poplar avenues at Srinagar he noted: “The next day was devoted to an ascent of the Takht Hill and a stroll among the poplar avenues, of which, as I before stated, there are several about Srinugger. One of them is known as the “poplar avenue,” and is a mile long and quite straight. This is a fine walk and is almost perfect-hardly a tree is wanting, and the effect on looking down it is very striking. It is carpeted with grassy turf and a level grassy plain stretches on each side of it; at right angles to this are the three or four smaller avenues extending to the river, a walk down which when the grapes are ripe is by no means an enjoyable exercise, if one be a good climber. Running up, and entwining themselves among the poplars to a height of ninety or a hundred feet, are numbers of vines, whose tempting clusters hanging at this elevation only mock the wistful, watery eyes cast up to them.” Bourne, S, Narrative of a Photographic Trip to Kashmir (Cashmere) and the Adjacent Districts, The British Journal of Photography, 23 January 1867, p.38

Towards the end of the 1860s, Bourne established a partnership with fellow photographer and Englishman Charles Shepherd (fl.1858-1878) and in the space of a few years Bourne & Shepherd became the pre-eminent photographic firm in India. By the end of 1870 they had three branches, in Simla, Calcutta and Bombay.

Samuel Bourne’s ability to combine technical skill and artistic vision has led to him being recognised today as one of the most outstanding photographers working in India in the nineteenth century.

 

Alfred Stieglitz. 'Poplars, Lake George' 1932

 

Alfred Stieglitz
Poplars, Lake George
1932
Gelatin silver print
© Alfred Stieglitz, Gift of the Georgia O’Keeffe Foundation

 

 

Lake George was the family estate where Stieglitz spent his summers, often with his wife, the painter Georgia O’Keefe. However, he took this photograph when O’Keefe was away in New Mexico. The loneliness of separation led Stieglitz to contemplate his own mortality, a theme reflected in this representation of poplars. Perhaps he identified with the trees’ dwindling vitality, as he photographed them repeatedly that summer, almost as one might check one’s pulse.

 

Ansel Adams. 'Aspens, Northern New Mexico' 1958

 

Ansel Adams
Aspens, Northern New Mexico
1958
Gelatin silver print
Given by Virginia and Ansel Adams

 

 

Ansel Adams is well-known for his portrayal of the mountain ranges, deserts, rivers and skies of the western United States. Adams was a passionate lover of the vast American wilderness and an active conservationist. He commented, “my approach to photography is based on my belief in the vigour and values of the world of nature – in the aspects of grandeur and of the minutiae all about us.” Having trained as a pianist before turning to photography in 1927, Adams often discussed his process of composition in musical terms.

 

Gerhard Stromberg. 'Coppice (King's Wood)' 1994

 

Gerhard Stromberg
Coppice (King’s Wood)
1994
C-type print
© Gerhard Stromberg

 

 

Gerhard Stromberg is one of the foremost contemporary photographers working with the subject of the British landscape. His images demonstrate how constructed this landscape can be. The subtle, large format prints (5 x 6 ft approx.) allow the viewer to contemplate details that reveal the photographers’ intimacy and familiarity with the subject. This piece is one of the most representative of his works.

A c-type print, such as Ektachrome, is a colour print in which the print material has at least three emulsion layers of light sensitive silver salts. Each layer is sensitised to a different primary colour – either red, blue or green – and so records different information about the colour make-up of the image. During printing, chemicals are added which form dyes of the appropriate colour in the emulsion layers. It is the most common type of colour photograph.

 

Mark Edwards. 'Rotting Apples' 2004

 

Mark Edwards
Rotting Apples
2004
From the series What Has Been Gathered Will Disperse
C-type print
Purchased through the Cecil Beaton Royalties Fund
© Mark Edwards

 

 

This image of apples lying rotten on a peacock blue carpet was taken in a family garden on a Norfolk nature reserve. The owners use pieces of old carpet, often donated by a neighbouring Buddhist retreat, as weed control. The decorative juxtaposition of the natural with the man-made moved Mark Edwards to record the carpet as it became integrated into the fabric of the garden. The photograph hints at ideas of contemplation and the passage of time.

 

Tokihiro Sato. 'Hakkoda #2' 2009

 

Tokihiro Sato
Hakkoda #2
2009
Gelatin silver print
Purchased with the support of the Photographs Acquisition Group
© Tokihiro Sato, Courtesy Leslie Tonkonow Artworks + Projects

 

 

This photograph embodies Sato’s ephemeral imagination. It was made in the primeval Hakkoda forest, in northern Honshu on the main island of Japan. The image reveals a long fascination with the sculptural form of the Japanese Beech tree. Sato has said that to him ‘these trees suggest the ancient continental origins of the Japanese people while representing masculine strength and feminine sensitivity’. To make the picture, he exposed large-format film, during which he moved in front of the camera with a mirror reflecting the sun’s rays. The power of the sun momentarily ‘blinds’ the camera, creating an area that registers on film as an intense flare of light. Although we know that Sato is standing somewhere in the scene, we struggle to locate precisely where. While his traces are like pinpoint coordinates on a map, all we can do is estimate his continually moving location and follow the possible connecting trails. In this way, his photographs can be seen as enigmatic sculptural or physical performances. Knowing how Sato makes his images, we recognise there is not a multiplicity of presences indicated by the lights, but instead a multiplicity of one presence: the artist’s. His omnipresence might be a hint of some kind of divinity: the ever-present force of an invisible creator. Or it may simply be a record of the movement of one human force. However it is interpreted, human or divine, the light is a kind of mark that asserts both transcendence and specificity: “I was here,” even if, as in life, it is only momentarily.

 

Tal Shochat. 'Rimon (Pomegranate)' 2011

 

Tal Shochat
Rimon (Pomegranate)
2011
C-type print
© Tal Shochat

 

 

Shochat applies the conventions of studio portraiture to photographing trees. The first stage in her meticulous process is to identify the perfect specimen of a particular type of tree. When the fruit is at the height of maturity, she cleans the dust off the branches, leaves and fruit. Finally, Shochat photographs the tree, artificially lit and isolated against a black cloth background. The photographs present a view of nature that would never actually exist in a natural environment. The work highlights the tensions in photography between reality and artifice.

 

Awoiska van der Molen. '#274-5' 2011

 

Awoiska van der Molen
#274-5
2011
From the series Sequester
Oil based pigment ink on Japanese Gampi paper, presented in a handmade linen box
Purchased with the support of the Photographs Acquisition Group
© Awoiska van der Molen

 

 

Awoiska van der Molen (b.1972, Groningen, Netherlands) is a Dutch photographer based in Amsterdam. She studied architecture and photography at the Academy of Fine Arts Minerva in Groningen. In 2003 she graduated from the St. Joost Academy of Art and Design in the Netherlands with an MFA in Photographic Studies. Her work is borne out of an immersion in nature and is concerned with the untamed landscape and the sense of solitude that can be experienced in isolated locations. She works with analogue technology and explains that her pictures should be ‘understood as a metaphysical quest, a journey to the essence of being.’

For the project Sequester, van der Molen walked alone in the Canary Islands, seeking to ‘gain access to the stoic nature of the landscape’, as she describes it. She made long exposure black-and-white pictures of the dramatic volcanic terrain and dense forests at dawn and dusk. The exposures could be as long as thirty minutes and result in photographs of great intensity and ambiguity.

Van der Molen’s photographs go beyond the long tradition of black and white landscape photography, exemplified by photographers in the V&A collection such as Gustave Le Gray, Samuel Bourne, Ansel Adams, and Edward Weston. Rather than emulating the visual approaches of past masters, she seeks to portray the inner condition that uninhabited natural spaces engender.

Her interest in psychological states in relation to landscape can be aligned with that of numerous contemporary practitioners, including Chrystel Lebas and Nicholas Hughes, whose landscape photographs are also created using long exposures and convey a similar atmosphere of primeval power and solitude.

The collotype process is a screenless photomechanical process that allows high-quality prints from continuous-tone photographic negatives. Collotypes are comprised of many layers of ink and have a velvety matte appearance; the process has the power to produce the depth and detail of these works faithfully. Other examples of collotypes in the collection largely date from the 19th century and include works by Eadweard Muybridge and Julia Margaret Cameron. Once a widespread process, today, there are only two professional collotype studios remaining, both of which are in Kyoto.

In 2014, van der Molen received the Japanese Hariban Award, which gave her the opportunity to collaborate with the master printmakers of the Benrido Collotype Atelier in Kyoto to produce this set of 8 collotypes from the Sequester project.

 

Addendum

 

Carleton Watkins (U.S.A., 1829-1916) 'Yosemite Valley from the "Best General View"' 1866

 

Carleton Watkins (U.S.A., 1829-1916)
Yosemite Valley from the “Best General View”
1866
From the album Photographs of the Yosemite Valley
Albumen print
Lent by Department of Special Collections, Stanford University Libraries

 

 

Carleton Watkins had the ability to photograph a subject from the viewpoint that allowed the most information to be revealed about its contents. In this image, he captured what he considered the best features of Yosemite Valley: Bridalveil Falls, Cathedral Rock, Half Dome, and El Capitan. By positioning the camera so that the base of the slender tree appears to grow from the bottom edge of the picture, Watkins composed the photograph so that the canyon rim and the open space beyond it seem to intersect. Although he sacrificed the top of the tree, he was able to place the miniaturised Yosemite Falls at the visual centre of the picture. To alleviate the monotony of an empty sky, he added the clouds from a second negative. This image was taken while Watkins was working for the California Geological Survey. His two thousand pounds of equipment for the expedition, which included enough glass for over a hundred negatives, required a train of six mules. (Text from the J. Paul Getty Museum website)

 

Albert Renger-Patzsch (1897-1966) 'Das Bäumchen [Sapling]' 1928

 

Albert Renger-Patzsch (1897-1966)
Das Bäumchen [The little tree]
1928
Galerie Berinson, Berlin
© Albert Renger-Patzsch / Archiv Ann und Jürgen Wilde, Zülpich / ADAGP, Paris 2017

 

Alfred Stieglitz (American, 1864-1946) 'Dancing Trees' 1922

 

Alfred Stieglitz (American, 1864-1946)
Dancing Trees
1922
Photograph, palladium print
Gift of Alfred Stieglitz
Photograph: © Museum of Fine Arts, Boston

 

Ansel Adams. 'Edward Weston, Carmel Highlands, California' 1945

 

Ansel Adams
Edward Weston, Carmel Highlands, California
1945
Gelatin silver print

 

Wynn Bullock (American, 1902-1975) 'Child on Forest Road' 1958, printed 1973

 

Wynn Bullock (American, 1902-1975)
Child on Forest Road
1958
Gelatin silver print
© Bullock Family Photography LLC. All rights reserved

 

 

Victoria and Albert Museum
Cromwell Road
London
SW7 2RL
T: +44 (0)20 7942 2000

Opening hours:
Daily 10.00 – 17.30
Friday 10.00 – 21.30

V&A website

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21
Sep
09

Exhibition: ‘Ansel Adams: A Life’s Work’ at Museum of Photographic Arts, San Diego

Exhibition dates: 23rd May – 4th October 2009

 

Ansel Adams (American, 1902-1984) 'Monolith - The Face of Half Dome, Yosemite National Park' 1927

 

Ansel Adams (American, 1902-1984)
Monolith, The Face of Half Dome, Yosemite National Park
from the portfolio Parmelian Prints of the High Sierras
1927
Gelatin silver print

 

 

Some well known Ansel Adams images below with some less well known photographs from the Manzanar Relocation Center photographic series of 1943.

Marcus

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Many thankx to the Museum of Photographic Arts for allowing me to publish the three photographs, Winter Sunrise, Sierra Nevada from Lone Pine, California (1944), Mount McKinley, Alaska (1948) and Aspens, Northern New Mexico (1958). Please click on the photographs for a larger version of the image.

 

Ansel Adams (American, 1902-1984) 'Marion Lake, Kings River Canyon, California' c. 1925

 

Ansel Adams (American, 1902-1984)
Marion Lake, Southern Sierra
from the portfolio Parmelian Prints of the High Sierras
1927
Gelatin silver print

 

Ansel Adams (American, 1902-1984) 'Moonrise, Hernandez, New Mexico' 1941

 

Ansel Adams (American, 1902-1984)
Moonrise, Hernandez, New Mexico
1941
Gelatin silver print

 

 

Ansel Adams (American, 1902-1984)
Birds on wire, evening, Manzanar Relocation Center
1943
Gelatin silver print

 

 

“The Museum of Photographic Arts (MoPA) in Balboa Park is pleased to present Ansel Adams: A Life’s Work. The exhibition includes over 80 photographs by the 20th Century master, and celebrates Adams as an artist and conservationist. A Life’s Work will be on view May 23, 2009 through October 4, 2009, and features an overview of Adam’s work from his early years in the Sierra Nevadas and Yosemite Valley to his work in the Japanese Internment Camp at Manzanar, as well as his well-known masterpieces.

Ansel Adams: A Life’s Work will be running concurrently with Jo Whaley: Theater of Insects on view from May 16 through September 27, 2009, as well as Picturing the Process: Exploring the Art and Science of Photography on view through July 25, 2009.

The exhibition begins with survey of Adams’ early years with the Sierra Club (1920s-1930s), where his photographs and essays were first published in the Club’s Bulletin. 1927 marked a pivotal point for Adams, where he participated in the Sierra Club’s annual High Trip, which took him to the high country of the Sierra. It was during this trip that he exposed the negative of the iconic image Monolith, the Face of Half Dome. Adams describes this photograph as “my first conscious visualisation; in my mind’s eye, I saw the final image.”

It was during this first High Trip that Adams met San Francisco-based arts patron, Albert Bender. Bender took immediate interest in Adam’s photographs, and published Adams’ first portfolio, The Parmelian Prints of the High Sierras (1927). The publication included an edition of 100 portfolios of 18 prints each, 75 were printed.

The exhibition features 15 of the rare Parmelian vintage prints, as well as eight photographs from the 1929 Sierra Club Portfolio.

The exhibition continues with a wide range of representative works from the 1930’s and 1940’s, including commercial work that the artist did for the YPCCO (Yosemite Park and Curry Company). From 1931 to 1937, Adams was hired by YPCCO, a group of businesses in Yosemite Valley, to photograph various winter sports for an advertising campaign. This opportunity provided a much needed source of income for the artist during the Great Depression. The exhibition also includes other various commercial assignments throughout his career, which Adams clearly separated from his fine art photography, but notes as a vital aspect of his career. In his Autobiography he wrote: “I have little use for students or artists who scorn commercial photography as a form of prostitution … Let them pay the bills! … I struggled with a great variety of assignments through the years. Some I enjoyed, some I detested, but learned from them all.”

A Life’s Work also includes the powerful and poignant images from the Manzanar Internment Camp. In late 1943 through 1944, Adams visited the camps in central California, where over 10,000 Japanese-Americans were interned during World War II. Adams’ intention for this self-assigned project was “to interpret the camp and its people, their daily life and their relationship to their community and their environment,” wrote Adams in his Autobiography. “As my work progressed, however, I began to grasp the problems of the remarkable readjustment these people had to make… With admirable strength of spirit, the Nisei rose above despondency and make a life for themselves… This was the mood and character I determined to apply to the project.”

A Life’s Work will feature many of his iconic masterworks, including Moonrise, Hernandez, New Mexico, as well as his works in colour, which he experimented with beginning in the late 1940s.”

Press release from the Museum of Photographic Arts website [Online] Cited 15/09/2009

 

Ansel Adams. 'View south from Manzanar to Alabama Hills, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
View south from Manzanar to Alabama Hills, Manzanar Relocation Center
1943
Gelatin silver print

 

Ansel Adams. 'View SW over Manzanar, dust storm, Manzanar Relocation Center' 1943

 

Ansel Adams (American, 1902-1984)
View SW over Manzanar, dust storm, Manzanar Relocation Center
1943
Gelatin silver print

 

Ansel Adams. 'Winter Sunrise, Sierra Nevada from Lone Pine, CA.,' 1944

 

Ansel Adams (American, 1902-1984)
Winter Sunrise, Sierra Nevada from Lone Pine, California
1944
Gelatin silver print
Courtesy of the Museum of Photographic Arts.
Copyright © 2009 The Ansel Adams Publishing Rights Trust

 

Ansel Adams, Mount McKinley, Alaska, 1948

 

Ansel Adams (American, 1902-1984)
Mount McKinley, Alaska
1948
Gelatin silver print
Courtesy of the Museum of Photographic Arts
Copyright © 2009 The Ansel Adams Publishing Rights Trust

 

Ansel Adams. 'Aspens, Northern New Mexico' 1958

 

Ansel Adams (American, 1902-1984)
Aspens, Northern New Mexico
1958
Gelatin silver print
Courtesy of the Museum of Photographic Arts
Copyright © 2009 The Ansel Adams Publishing Rights Trust

 

 

Museum of Photographic Arts
Located within Balboa Park at 1649 El Prado, 
San Diego, CA 92101
Phone: 619-238-7559

Opening hours:
Tuesday – Sunday: 10.00 am – 5.00 pm

MoPA website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr 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.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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