Posts Tagged ‘Ansel Adams Moonrise Hernandez

03
Apr
16

Exhibition: ‘The world is beautiful: photographs from the collection’ at the National Gallery of Australia, Canberra

Exhibition dates: 4th December 2015 – 10th April 2016

 

Despite a focus on the camera’s relationship to the beauty and pure form of the modern world – “the attraction and charm of the surface” – these photographs are more than just being skin deep. In their very straightforwardness the photographs propose a “rigorous sensitivity to form revealed patterns of beauty and order in the natural and man-made alike.” But more than the portrayal of something we would not see if it were not for the eye of the photographer, the lens of the camera, the speed of the film, the sensitivity of the paper, the design of the architect, the genetics of nature … is the mystery of life itself.

Modernist structures and mass-produced objects in plants and animals can never beat a good mystery. Just look at Man Ray’s Woman with closed eyes (c. 1928, below) or the look in the eyes of Robert Frank’s son, Pablo. You can never pin that down. While form may be beauty, mystery will always be beautiful.

Marcus

.
Please click on the photographs to view a larger version of the image.

 

 

“German photographer Albert Renger-Patzsch was a pioneering figure in the New Objectivity movement, which sought to engage with the world as clearly and precisely as possible.

Rejecting the sentimentality and idealism of a previous generation, Neue Sachlichkeit (New Objectivity) emerged as a tendency in German art, architecture and literature in the 1920s. Applying this attitude to the field of photography, Renger-Patzsch espoused the camera’s ability to produce a faithful recording of the world. ‘There must be an increase in the joy one takes in an object, and the photographer should be fully conscious of the splendid fidelity of reproduction made possible by his technique’, he wrote.

This selection reflects the range of subjects that Renger-Patzsch returned to throughout his career. It includes his early wildlife and botanical studies, images of traditional craftsmen, formal studies of mechanical equipment, commercial still lifes, and landscape and architectural studies. His images of the Ruhr region, where he moved in 1928, document the industrialisation of the area in almost encyclopaedic detail. All of his work demonstrates his sustained interest in the camera’s relationship to the beauty and complexity of the modern world.

In 1928 Renger-Patzsch published The World is Beautiful, a collection of one hundred photographs whose rigorous sensitivity to form revealed patterns of beauty and order in the natural and man-made alike. Embodying a new, distinctly modern way of looking at the world, the book established Renger-Patzsch as one of the most influential photographers of the twentieth century.”

Text by Emma Lewis on the Tate website

 

The world is beautiful is an exhibition of photographs taken over the last 100 years from the National Gallery of Australia’s magnificent photography collection, including work by Diane Arbus, Henri Cartier-Bresson, Max Dupain, Bill Henson, Robert Mapplethorpe, Man Ray, Cindy Sherman and many more.

It draws its title from one of the twentieth-century’s great photographic moments, the publication of Albert Renger-Patzsch’s book The world is beautiful in 1928. Renger-Patzsch’s approach embodied his belief that ‘one should surely proceed from the essence of the object and attempt to represent it with photographic means alone’.

Inspired by this confidence in the medium, the exhibition looks at the way the camera interacts with things in the world. One of photography’s fundamental attributes is its capacity to adopt a range of relationships with its subject, based on the camera’s physical proximity to it. Indeed, one of the most basic decisions that a photographer makes is simply where he or she places the camera. The pictures in this exhibition literally take you on a photographic trip, from interior worlds and microscopic detail to the cosmic: from near to far away.

Together, these photographs capture some of the delight photographers take in turning their cameras on the world and re-imaging it, making it beautiful through the power of their vision and their capacity to help us see the world in new ways.”

Text from the National Gallery of Australia website

 

Near

Close up, the world can be surprising. There is an undeniable intensity and focus that comes with getting up close to people and objects. It is rude to stare, but photography has no such scruples.

Pioneers of the medium attempted to photograph organic forms through a microscope, making once-hidden worlds accessible. The pleasure photographers take in getting up close to their subject has followed the medium’s progress. This was especially the case during the twentieth century, when advances in photographic technology and profound shifts in our relationship to space brought about by events such as war often turned our attention away from the outside world.

For many photographers, the camera’s capacity to subject people and objects to close scrutiny has provided a way of paring back vision to its essence, to view the world unencumbered by emotion and sentiment. For others, getting up close is not just about physical proximity; it is also about psychological and emotional states that are otherwise difficult to represent. Experiences such as intimacy, love and emotional connection, as well as disquiet, anxiety and hostility, can all be suggested through the use of the close-up. Photographers have also used it literally to turn inwards, escaping into the imagination to create dreamworlds. The camera-eye really can see what the human eye cannot. (Text from the National Gallery of Australia website)

 

Albert Renger-Patzsch. 'Mantelpavian [Hamadryas Baboon]' c. 1925

 

Albert Renger-Patzsch
Mantelpavian [Hamadryas Baboon]
c. 1925
Gelatin silver photograph
23.8 x 16.8 cm
National Gallery of Australia, Canberra

 

 

“In photography one should surely proceed from the essence of the object and attempt to represent it with photographic terms alone.” Albert Renger-Patzsch

Renger-Patzsch’s primary interest was in the object as a document, removed from its usual context and unencumbered with sentiment. Die Welt ist schön [The world is beautiful], published in Munich in 1928, is one of the great photographic books in the history of photography and its influence across the world was profound. It is an astounding study of the world, celebrating beauty wherever the photographer found it – in modernist structures and mass-produced objects or in plants and animals. The connection and continuity of industry to the natural world is conveyed by emphasising underlying structural and formal similarities. The Gallery has a major holding of works by Renger-Patzsch, including a copy of Die Welt ist schön and 121 vintage prints, most of which were reproduced in the book.

Renger-Patzsch was always firmly committed to the principle of the photograph as a document or record of an object. While the title for his most famous contribution to photography came from his publisher, he wanted his now-iconic 1928 book Die Welt ist schön (The world is beautiful) to be titled simply Die Dinge (Things). In 1937 he wrote that the images in his book, ‘consciously portray the attraction and charm of the surface’. Indeed, the power of these pictures resides in their straightforwardness. (Text © National Gallery of Australia, Canberra)

 

Edward Weston (USA 1886-1956) 'Guadalupe de Rivera, Mexico' 1924

 

Edward Weston (United States of America 1886 – 1958)
No title (Guadalupe, Mexico, 1924): from “Edward Weston fiftieth anniversary portfolio 1902-1952”.
1924
Gelatin silver photograph
20.7 h x 17.8 w cm
National Gallery of Australia, Canberra, purchased 1981

 

 

In 1923 Weston travelled from San Francisco to Mexico City with his son, Chandler and his model and lover, Tina Modotti. The photographs he made there represented a startling, revolutionary breakthrough. Everything got stripped down to its essence, with objects isolated against neutral backgrounds. For these heroic head shots, he moved out of the studio, photographing in direct sunlight, from below and with a hand-held camera. They are monumental but still full of life: Weston was excited by the idea of capturing momentary expressions, in people he found ‘intense and dramatic’. (Text © National Gallery of Australia, Canberra)

 

Man Ray (United States of America 1890 - France 1976) 'No title (Woman with closed eyes)' c. 1928

 

Man Ray (United States of America 1890 – France 1976)
No title (Woman with closed eyes)
c. 1928
Gelatin silver photograph
Not signed, not dated. Stamp, verso, l.r., “Man Ray / 81 bis. Rue / Campagne Premiere / Paris / XIV”.
Image 8.9 h x 12.8 w cm sheet 8.9 h x 12.8 w cm
National Gallery of Australia, Canberra, purchased 1984

 

Robert Frank. 'Pablo' 1959

 

Robert Frank (Switzerland born 1924 – emigrated to United States 1947)
Pablo
1959
Gelatin silver photograph
Image 20.8 h x 31.0 w cm sheet 27.0 h x 35.4 w cm
National Gallery of Australia, Canberra, purchased 1980

 

 

Frank set out on a two-year road trip across the States in 1955. The images he made of race and class divisions, poverty, alienated youth and loneliness expose America’s dark soul. Others, such as this haunting image of his son, Pablo, were more personal. A selection appeared in The Americans, published in Paris in 1958 and in the States the following year. Many saw it as a bitter indictment of the American Dream, others saw an evocative, melancholic vision of humanity that is deeply moving. As Jack Kerouac commented in his introduction to the American edition, Frank ‘sucked a sad, sweet, poem out of America’. (Text © National Gallery of Australia, Canberra)

 

Carol Jerrems. 'Vale Street' 1975

 

Carol Jerrems (Australia 1949 – 1980)
Vale Street
1975
St Kilda, Melbourne, Victoria, Australia
Gelatin silver photograph
Image 20.2 h x 30.3 w cm sheet 40.5 h x 50.4 w cm
Gift of the Philip Morris Arts Grant 1982
© Ken Jerrems and the Estate of Lance Jerrems
National Gallery of Australia, Canberra

 

 

“I try to reveal something about people, because they are so separate, so isolated, maybe it’s a way of bringing people together I don’t want to exploit people. I care about them.”

Carol Jerrems, 1977

.
Carol Jerrems became prominent in the 1970s as part of a new wave of young photographers. Influenced by the counter-culture values of the 1960s, they used art to comment on social issues and engender social change. Jerrems photographed associates, actors and musicians, always collaborating with her subjects, thereby declaring her presence as the photographer. Vale Street raises interesting questions about what is artifice and what is real in photography. She deliberately set up this image, employing her aspiring actress friend and two young men from her art classes at Heidelberg Technical School. Vale Street has achieved an iconic status in Australian photography; the depiction of a confident young woman taking on the world is an unforgettable one. It is an intimate group portrait that is at once bold and vulnerable. In 1975 it was thought to be an affirmation of free love and sexual licence. The image also appears to be about liberation from society’s norms and taboos – ‘we are all three bare-chested, we have tattoos and so what?’

The implication that this scene is perfectly natural is reinforced by locating the figures in a landscape. The young woman is strong and unafraid of the judgement of the viewer. The necklace around her neck is an ankh – a symbol of the new spiritualty of the Age of Aquarius and a re-affirmation of the ancient powers of women.

Text © National Gallery of Australia, Canberra 2010
From: Anne Gray (ed), Australian art in the National Gallery of Australia, National Gallery of Australia, Canberra, 2002

 

Paul Outerbridge. 'Nude lying on a love seat' c. 1936

 

Paul Outerbridge (United States of America 1896 – 1958; Paris 1925-28, Berlin and London 1928)
Nude lying on a love seat
c. 1936
Carbro colour photograph
30.2 h x 41.0 w cm
National Gallery of Australia, Canberra, purchased 1980

 

 

Like the Australian-born Anton Bruehl, Paul Outerbridge studied at the Clarence White School of Photography in New York. White was keen to see photography establish itself as a practical art that could be used in the service of the rapidly expanding picture magazine industry. Within a year of enrolling in the school, Outerbridge’s work was appearing in Vogue and Vanity Fair. During his lifetime, Outerbridge was known for his commercial work, particularly his elegant, stylish still-life compositions which show the influence of earlier studies in painting. He was also admired for the excellence of his pioneering colour work, which was achieved by means of a complicated tri-colour carbro process.

Much of Outerbridge’s fame now rests on work that he made following more private obsessions. His fetishistic nude photographs of women are influenced primarily by eighteenth-century French painters such as Ingres. Although the depiction of nudes was a genre pursued from the inception of photography, Outerbridge’s interest in breaking down taboos resulted in this material, if known at all, being passed over or vilified in his lifetime. Outerbridge sought to express what he described as an ‘inner craving for perfection and beauty’ through these often mysterious, languid and richly toned images. (Text © National Gallery of Australia, Canberra 2014)

 

Cindy Sherman. 'Untitled #92' 1981

 

Cindy Sherman (United States of America born 1954)
Untitled #92
1981
Type C colour photograph
61.5 h x 123.4 w cm
National Gallery of Australia, Canberra, purchased 1983

 

 

This is one of 12 Centerfolds made by Sherman in 1981. The Centerfolds present Sherman posing in a range of situations, each suggesting heightened emotional states and violent narratives; these associations are augmented by the uncomfortably tight framing and the panoramic format used by Sherman across the series. Initially commissioned for the art magazine Artforum, the Centerfolds were never published because they were deemed, with their apparently voyeuristic points of view, to reaffirm misogynist views of women. (Text © National Gallery of Australia, Canberra)

 

William Eggleston (American, born 1939) 'Untitled (Greenwood, Mississippi)' 1980

 

William Eggleston (United States of America born 1939)
Greenwood, Mississippi
(1973) prtd 1979
Dye transfer colour photograph
Image 29.5 h x 45.4 w cm sheet 40.2 h x 50.8 w cm
National Gallery of Australia, Canberra, purchased 1980

 

 

With its intense red, Eggleston’s picture of the spare room in a friend’s home is one of the most iconic of all colour photographs. Often called The red room, this photograph was intended to be shocking: Eggleston described the effect of the colour as like ‘red blood that is wet on the wall’. But the radicalness of the picture is not just in its juicy (and impossible to reproduce) redness; it is also found in the strange view it provides of a domestic interior, one that Eggleston has described as a ‘fly’s eye view’. (Text © National Gallery of Australia, Canberra)

 

Imogen Cunningham. 'Magnolia Blossom' 1925

 

Imogen Cunningham (United States of America 1883 – 1976)
Magnolia Blossom
1925
Gelatin silver photograph
Image 17.1 h x 34.6 w cm mount 38.2 h x 50.7 w cm
National Gallery of Australia, Canberra, purchased 1978

 

 

During the 1920s, raising three young sons, Cunningham began to focus on her immediate surroundings. This restricted environment encouraged Cunningham to develop a new way of working, as she began to place her camera closer to the subject: to zebras on a trip to the zoo, to snakes brought to her by her sons, and perhaps most famously to the magnolia blossoms and calla lilies she grew in her garden. Observing what she termed the ‘paradox of expansion via reduction’, the intensity and focus attendant to this way of seeing flooded her work with sensuality and reductive power. (Text © National Gallery of Australia, Canberra)

 

Olive Cotton. 'Skeleton Leaf' 1964

 

Olive Cotton (Australia 1911 – 2003)
Skeleton leaf
1964
Gelatin silver photograph
Image 50.4 h x 40.8 w cm sheet 57.8 h x 47.6 w cm
National Gallery of Australia, Canberra, purchased 1987

 

 

This leaf skeleton – a leaf that has had its pulp removed with heat and soda – was probably photographed in front of a window in Cotton’s home near Cowra, NSW. Since the 1930s Cotton had been drawn to the close study of nature, and many of her best photographs feature close-ups of flowers, tufts of grass and foliage. This photograph is notable because it was taken in the studio, and reflects the austerity and simplicity that pervaded Cotton’s work in the decades after the Second World War. (Text © National Gallery of Australia, Canberra)

 

Lee Friedlander (United States of America born 1934) 'Nashville, 1963' 1963

 

Lee Friedlander (United States of America born 1934)
Nashville, 1963
1963
Gelatin silver photograph
Image 28.2 h x 18.7 w cm sheet 35.3 h x 27.8 w cm
National Gallery of Australia, Canberra, purchased 1981

 

 

Middle distance

The further away we move from a subject, the more it and its story open up to us. While the close-up or compressed view tends to be very frontal (the camera presses up against the subject), the defining characteristic of much mid-century photography was its highly mobile relationship to space: its extraordinary capacity to survey and to organise the world.

The space between the camera and its subject can suggest impartiality and detachment. Documentary photographers and photojournalists, for example, open their cameras up to their subjects, as if to ‘let them speak’. But the depiction of the space between the camera and its subject, and the way that it is rendered through the camera’s depth of field, can also reflect decision making on the part of the photographer. By adjusting the camera’s settings, and thus choosing to render part of the subject in focus, the photographer can direct our focus and attention to certain parts of an image. In this way, photographers put forward an argument based on their world view. Photography can change the way we think about the world. (Text from the National Gallery of Australia website)

 

Ilse Bing. 'Eiffel Tower, Paris, 1931' 1931

 

Ilse Bing (Germany 1899 – United States of America 1998; France 1930-1941 United States from 1941)
Eiffel Tower, Paris
1931
Gelatin silver photograph
Signed and dated recto, l.r., pen and ink “Ilse Bing/ 1931”
Image 22.3 h x 28.2 w cm sheet 22.3 h x 28.2 w cm mount 35.0 h x 41.8 w cm
National Gallery of Australia, Canberra, purchased 1989

 

 

Bing took up photography in 1928 and quickly developed a reputation as a photojournalist and photographer of modernist architecture. Inspired by an exhibition of modern photography and the work of Paris-based photographer Florence Henri, Bing moved to Paris 1930 and quickly became associated with the city’s photographic avant-garde. Bing worked exclusively with the fledgling Leica 35mm-format camera; her interest in the pictorial possibilities of the hand-held Leica can clearly be seen in this striking view of the Eiffel Tower. (Text © National Gallery of Australia, Canberra)

 

Walker Evans (United States of America 1903 - 1975) 'Graveyard and steel mill, Bethlehem, Pennsylvania' 1935

 

Walker Evans (United States of America 1903 – 1975)
Graveyard and steel mill, Bethlehem, Pennsylvania
1935
Gelatin silver photograph
19.1 h x 24.0 w cm sheet 20.2 h x 25.2 w cm
National Gallery of Australia, Canberra, purchased 1980

 

Gary Winogrand. 'World´s Fair', New York, 1964

 

Garry Winogrand (United States of America 1928 – Mexico 1984)
World’s Fair, New York
1964
Gelatin silver photograph
Image 21.8 h x 32.7 w cm mount 37.4 h x 50.1 w cm
Image rights: © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco
National Gallery of Australia, Canberra, purchased 1978

 

 

Winogrand had a tremendous capacity to photograph people in public spaces completely unawares. This image records a group of visitors to the 1964 World’s Fair; it focuses on three young women – Ann Amy Shea, whispering into the ear of Janet Stanley, while their friend Karen Marcato Kiaer naps on Stanley’s bosom. The figures fill the space between the picture’s fore- and middle-grounds, to the extent of allowing the viewer to examine people’s expressions and interactions in close detail. This in turn allows us to encroach on the personal space of people we don’t know. (Text © National Gallery of Australia, Canberra)

 

Diane Arbus, 'Child with a toy hand grenade in Central Park, N.Y.C. 1962'

 

Diane Arbus (New York, United States of America 1923 – 1971)
Child with toy hand grenade, in Central Park, New York City
1962
Gelatin silver photograph
Image 20.0 h x 17.2 w cm sheet 32.8 h x 27.6 w cm
National Gallery of Australia, Canberra, purchased 1980

 

 

During workshops with Lisette Model, Arbus was encouraged to develop a direct, uncompromising approach to her subjects. She did this using the square configuration of a medium-format camera which Arbus most usually printed full frame with no cropping. Model also convinced Arbus, who had been interested in myth and ritual, that the more specific her approach to her subjects, the more universal the message. In many ways this image of a boy caught hamming it up in Central Park, with his contorted body and grimacing face, captures and prefigures many of the anxieties of America during the sixties, a country caught in an unwinnable war in Vietnam and undergoing seismic social change. (Text © National Gallery of Australia, Canberra)

 

Henri Cartier-Bresson (France 1908 - 2004) 'Rue Mouffetard, Paris' 1954 prtd c. 1980

 

Henri Cartier-Bresson (France 1908 – 2004)
Rue Mouffetard, Paris
1954 prtd c. 1980
Gelatin silver photograph
Image 35.9 h x 24.2 w cm sheet 39.4 h x 29.6 w cm
National Gallery of Australia, Canberra, purchased 1982

 

Helen Levitt. 'New York' 1972

 

Helen Levitt (United States of America 1913 – 2009)
New York
1972
Dye transfer colour photograph
Image 23.9 h x 36.2 w cm sheet 35.6 h x 42.9 w cm
National Gallery of Australia, Canberra, purchased 1984

 

 

“The streets of the poor quarters of the great cities are, above all, a theatre and a battleground.” Helen Levitt

Inspired by seeing work by Walker Evans and Henri Cartier-Bresson in 1935, Levitt took to the streets. Children became her most enduring subject. Like Evans, Levitt was famously shy and self-effacing, seeking to shoot unobserved by fitting a prism finder on her Leica. Her approach eschews the sensational; instead she is interested in capturing small, idiosyncratic actions in the everyday. Her images were often shot through with a gentle, lyrical humour though a dark strangeness also surfaces at times. (Text © National Gallery of Australia, Canberra)

 

Helen Levitt. 'New York' c.1972

 

Helen Levitt (United States of America 1913 – 2009)
New York
1972
Dye transfer colour photograph
Image 23.4 h x 35.6 w cm sheet 35.4 h x 42.9 w cm
National Gallery of Australia, Canberra, purchased 1984

 

Ernst Haas (1921-1986). 'Route 66, Albuquerque, New Mexico, USA' 1969

 

Ernst Haas (Austria 1921 – United States of America 1986; United States from 1951)
Albuquerque, New Mexico
1969
Dye transfer colour photograph
Image 44.9 h x 67.8 w cm sheet 52.3 h x 75.7 w cm
National Gallery of Australia, Canberra, purchased 2000

 

 

For Haas, colour photography represented the end of the grey and bitter war years and he started seriously working in the medium after moving to America in 1951. Work on his photoessay, Land of Enchantment and film stills assignments for The Misfits, The Bible and Little Big Man took Haas to the Southwest. The desert landscape of Albuquerque, located on Route 66, had been totally transformed by progress since the 1920s. Photographing the street after rain, Haas has signified that evolution by way of his distinctive ability to translate the world into shimmering energy. (Text © National Gallery of Australia, Canberra)

 

Faraway

Photography has a long-standing interest in faraway places. In 1840, right in photography’s infancy, astronomical photography was launched when the first photograph of the moon was made. As photographic imaging technology has improved, so has the medium’s capacity to make faraway places accessible to us.

Photography can bring foreign places and people closer to home, or collect together images of places and structures that are located in different places. It can also attempt to give a picture to experiences that are otherwise difficult to grasp or represent, such as complex weather events or transcendental phenomena.

Against the odds, there are photographers who make images that are about what cannot be seen. Faraway is often used as a metaphor for thinking about the ineffable and the inexplicable. Science and spirit go hand-in-hand. ‘The most beautiful thing we can experience is the mysterious’, Albert Einstein believed. Photographers can take us to new worlds. (Text from the National Gallery of Australia website)

 

Ansel Adams. 'Moonrise, Hernandez, New Mexico' 1941

 

Ansel Adams (San Francisco, California, United States of America 1902 – Carmel, California, United States of America 1984)
Moonrise, Hernandez, New Mexico
1941
Ansel Adams Museum Set
Gelatin silver photograph
Image 38.6 h x 49.0 w cm mount 55.6 h x 71.0 w cm
National Gallery of Australia, Canberra, purchased 1980

 

 

Adams became the most famous landscape photographer in the world on the back of his images of America’s West. While mass tourism was invading these wilderness areas, Adams’s photographs show only untouched natural splendour. His landscapes are remarkable for their deep, clear space, distinguishable by an uncanny stillness and clarity. The story of Moonrise is legendary: driving through the Chama River Valley toward Española, Adams just managed by a few seconds to catch this fleeting moment before the dying sunlight stopped illuminating the crosses in the graveyard. Through hours of darkroom manipulation and wizardry, Adams created an image of almost mystical unworldliness. (Text © National Gallery of Australia, Canberra)

 

Tracey Moffatt (Brisbane, Queensland, Australia born 1960) 'Up in the sky' 1997

 

Tracey Moffatt (Brisbane, Queensland, Australia born 1960)
Up in the sky [Up in the sky – a set of 25 photolithographs]
1997
No. 8 in a series of 25
Photolithograph
Image 61.0 h x 76.0 w cm sheet 72.0 h x 102.0 w cm
KODAK (Australasia) PTY LTD Fund 1997
National Gallery of Australia, Canberra

 

 

Up in the sky is unusual in Moffatt’s oeuvre for being shot out of doors on location. Her photomedia practice is informed by an upbringing watching television, fascinated by film and pop culture. This series takes many of its visual cues from Pier Paolo Pasolini’s Accattone of 1961 as well as the Mad Max series – the references, twisted and re-imagined, are like half-forgotten memories. She addresses race and violence, presenting a loose narrative set against the backdrop of an outback town. The sense of unease is palpable: Moffatt here is a masterful manipulator of mood. (Text © National Gallery of Australia, Canberra)

 

Laurence Aberhart (Aotearoa New Zealand born 1949) 'Taranaki, from Oeo Road, under moonlight, 27-28 September 1999' 1999

 

Laurence Aberhart (Aotearoa New Zealand born 1949)
Taranaki, from Oeo Road, under moonlight, 27-28 September 1999
1999
Gelatin silver photograph
19.4 h x 24.3 w cm
Gift of Peter Fay 2005
National Gallery of Australia, Canberra

 

 

For four decades, Aberhart has photographed the Taranaki region of New Zealand’s North Island, including its settled landscape and its most distinctive feature, the sacred TeMounga (Mount) Taranaki. Using an 8 x 10-inch view camera, Aberhart has over time built up an important archive documenting the social geography and landscape of the Taranaki. Aberhart describes the conical mountain as a ‘great physical and spiritual entity’ and sees his photographs of it as a counterbalance to the countless images of the mountain that circulate on tea towels and postcards. (Text © National Gallery of Australia, Canberra)

 

 

National Gallery of Australia
Parkes Place, Canberra
Australian Capital Territory 2600
Tel: (02) 6240 6411

Opening hours:
Open daily 10.00 am – 5.00 pm
(closed Christmas day)

National Gallery of Australia website

LIKE ART BLART ON FACEBOOK

Back to top

30
Nov
11

Exhibition: ‘In Focus: The Sky’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 26th July 26 – 4th December 2011

 

Many thankx to Melissa Abraham for her help and to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

With its immensity, immateriality, and variability, the sky has been an enduring subject in art history, fascinating and challenging generations of artists. As soon as the medium of photography was introduced in 1839, photographers attempted to represent the sky and its natural phenomena.

Atmospheric light and its constant mutability have always been hard to capture, but by the 1850s the greater light sensitivity of collodion negatives (compared to the daguerreotype and calotype processes) allowed the spectacles of the sky to be more easily transposed to photography.

With further technical improvements such as the development of instantaneous processes in the 1880s and the advent of Kodachrome colour film around 1935, photographers have continued to explore this theme in diverse and imaginative ways.

 

John Divola. 'Untitled', Zuma Series, 1977

 

John Divola (American, b. 1949)
Untitled
Zuma Series
1977
Chromogenic print
24.8 x 30.4 cm (9 3/4 x 11 15/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Michael and Jane Wilson
© John Divola

 

 

Skies in Color

In the fall of 1977, after discovering an abandoned lifeguard headquarters at Zuma Beach, California, John Divola began visiting the site to photograph. Painting the walls, incorporating props, using flash, and depending on the Pacific Ocean and the sky for a dramatic backdrop, he created a series of makeshift scenes.

Discussing his work in 1980, Divola said, “These photographs are the product of my involvement with an evolving situation. The house evolving in a primarily linear way toward its ultimate disintegration, the ocean and light evolving and changing in a cyclical and regenerative manner.”

Text from the J. Paul Getty website

 

John Divola (American, b. 1949) 'Untitled' 1977

 

John Divola (American, b. 1949)
Untitled
Zuma Series
1977
Chromogenic print
24.6 × 30.5 cm (9 11/16 × 12 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Michael and Jane Wilson
© John Divola

 

Col. Henry Stuart Wortley. 'The Day is Done, and the Darkness Falls from the Wings of Night.' about 1862

 

Col. Henry Stuart Wortley (British, 1832-1890)
The Day is Done, and the Darkness Falls from the Wings of Night.,
about 1862
Albumen silver print
29.5 x 35.2 cm (11 5/8 x 13 7/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Gustave Le Gray (French, 1820-1884) 'Cloudy Sky – Mediterranean Sea' 1857

 

Gustave Le Gray (French, 1820-1884)
Cloudy Sky – Mediterranean Sea
1857
Albumen silver print
12 1/4 x 16 7/16 in.
The J. Paul Getty Museum, Los Angeles

 

 

Clouds

The collodion process (in which a syrupy, light–sensitive mixture was applied to glass–plate negatives) was advantageous for its short exposure time and sharpness, but its sensitivity to blue light could also pose a challenge. By the time the camera captured detail in the foreground, the sky was often overexposed and thus printed as blank space.

To create his sweeping seascape, Cloudy Sky – Mediterranean Sea, Gustave Le Gray combined two slightly overlapping negatives: one for the sky and one for the sea.

Text from the J. Paul Getty website

 

Carleton Watkins (American, 1829-1916) '[Solar Eclipse]' January 1, 1889

 

Carleton Watkins (American, 1829-1916)
[Solar Eclipse]
January 1, 1889
Albumen silver print
16.5 × 21.6 cm (6 1/2 × 8 1/2 in.)
The J. Paul Getty Museum, Los Angeles

 

 

Standing atop Mount Santa Lucia in northern California at approximately 3:50 p.m. on January 1, 1889, Carleton Watkins was able to make only one exposure during the instant of complete eclipse. Accompanied by professors from the newly created University of California and the United States Naval Observatory, Watkins waited slightly more than an hour for the moon to begin its movement and assume its temporary position directly in front of the sun. The radiating sun, its brilliance hidden by the black moon, lies suspended over a sea of clouds whose rippling waves dominate the sky. Only the inclusion of the treetops in the foreground serves to ground the image in a familiar reality.

Text from the J. Paul Getty website

 

Dorothea Lange. 'Full Moon, Southwestern Utah' 1953

 

Dorothea Lange (American, 1895-1965)
Full Moon, Southwestern Utah
1953
Gelatin silver print
15.6 x 15.3 cm (6 1/8 x 6 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the John Dixon Collection
© Oakland Museum of California, the City of Oakland

 

 

Dorothea Lange suffered health problems in the late 1940s, but she wanted to travel again and be part of the current documentary effort. Since the federal government was no longer funding such projects, this meant working for the thriving picture magazines. Lange proposed to Life that she and Ansel Adams do a project in Utah. They would travel with her son Daniel, who would write text for the article, and her husband, who had a continuing interest in the survival of utopian communities. Their purpose was to record the landscape, built environment and inhabitants of three towns in southwestern Utah settled in the mid-nineteenth century by Mormons. The grandchildren of some of these pioneers were Lange’s subjects during her visit to Gunlock, Toquerville, and St. George in 1953.

Adapted from Judith Keller, Dorothea Lange, In Focus: Photographs from the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 2002), p. 64. © 2002 J. Paul Getty Trust.

 

 

The J. Paul Getty Museum presents In Focus: The Sky, a thematically-installed exhibition of permanent collection photographs, on view at the Getty Center from July 26 – December 4, 2011.

“The sky has fascinated and challenged photographers since the invention of the medium,” said Anne Lyden, associate curator, Department of Photographs, the J. Paul Getty Museum, and curator of the exhibition. “This exhibition showcases a wide range of approaches to capturing the many moods and effects of the sky – things we usually take for granted.”

The selection of 22 artworks provides visitors with an opportunity to explore the Getty Museum’s world-renowned photographs collection through the pictorial subject of the sky, with the works loosely organised under four different themes: urban skies, clouds, dark skies, and colourful skies.

The exhibition features photographs by artists such as: Ansel Adams, John Divola, André Kertész, Joel Meyerowitz, Alfred Stieglitz, and Carleton Watkins, among others. The Getty’s collection includes exemplary objects that demonstrate both technological and aesthetic innovations in photography. Among the different processes highlighted are daguerreotypes, albumen silver prints, palladium prints, platinum prints, and more contemporary inkjet prints.

One of the most well-known works in the exhibition is Ansel Adams’ Moonrise, Hernandez, New Mexico, (negative made November 1, 1941; printed December 16, 1948). Traveling by car through New Mexico, Adams was inspired by light from the setting sun illuminating crosses in the graveyard at the side of the road. By carefully considering the composition, visualising the printed image before creating the photograph, understanding the required exposure needed in response to the available light, and exerting a certain degree of control in the printing process so that detail and shadows were retained, Adams succeeded in capturing the fleeting moment when the sun was setting and the bright moon appeared in the darkening sky.

The summer sky of Cape Cod features in Meyerowitz’s photograph Fence, Truro, negative 1976; printed 1992. Having recently acquired a large view camera, Meyerowitz spent two summers recording the structures and light of the coastal area that ultimately resulted in the 1978 book, Cape Light. Noting the shifting shadows as they played across the picket fence, his use of colour aptly describes the very subject of light itself.

Included in the exhibition is a selection from John Divola’s Zuma Beach series. In the fall of 1977, after discovering an abandoned lifeguard headquarters at Zuma Beach, California, Divola began visiting the site mornings and evenings to photograph. Bringing paints, using flash, and depending on the Pacific Ocean and the ever-changing sky for a dramatic backdrop, he created spontaneous scenes in this seaside theatre.

Also on view is a small group of three photographs by Alfred Stieglitz. From 1922 to 1934, Stieglitz photographed clouds and created a series of abstract configurations which reflected the fluctuation of his subjective state. By simply titling each piece Equivalent, he invited an open reading of the images and their content.

In Focus: The Sky is the ninth installation of the ongoing In Focus series of exhibitions, thematic presentations of photographs from the Getty’s permanent collection.

Press release from the J. Paul Getty Museum website

 

André Kertész. 'The Lost Cloud, New York' negative 1937; print 1970s

 

André Kertész (American, born Hungary, 1894-1985)
The Lost Cloud, New York
Negative 1937; print 1970s
Gelatin silver print
24.8 x 16.5 cm
The J. Paul Getty Museum, Los Angeles
© Estate of André Kertész

 

 

Urban Skies

Soon after arriving in New York in October 1936, André Kertész spent time searching the city streets for fresh material, just as he had done in Paris for a decade. One afternoon he observed a solitary white cloud in a vast blue sky, dwarfed by the monolithic presence of the Rockefeller Center. Kertész later recounted that he was “very touched when he saw the cloud, as it “didn’t know which way to go” (Bela Ugrin, Dialogues with Kertész, ” 1978-85, the Getty Research Institute) – a sentiment he strongly identified with as a new immigrant.

From the lyrical to the abstract, photography has often been an apt medium with which to capture the fleeting nature of skies.

Text from the J. Paul Getty website

 

The impenetrable façade of Rockefeller Center in New York dominates the frame of this photograph, filling the lower and right sides of the image with its cold, hard, modern lines. The other third of the composition belongs to the sky, in which a lone puff of white cloud hangs isolated like a cotton ball, holding sway against the force of the skyscraper. The brilliant white form is “lost” in this scene that is otherwise devoid of natural, spirited shapes. The cloud possesses an innate impermanence; it will be gone with the next gust of wind, blown along on its path to some other expanse of sky. Andre Kertész’s juxtaposition of the whimsical cloud and unforgiving architecture seems to emphasise his own sense of isolation; the photograph was made soon after he had emigrated from Europe.

Text from the J. Paul Getty website

 

Alfred Stieglitz. 'Songs of the Sky' 1924

 

Alfred Stieglitz (American, 1864-1946)
Songs of the Sky
1924
Gelatin silver print
11.7 x 9.2 cm (4 5/8 x 3 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© J. Paul Getty Trust

 

Edward Weston (American, 1886-1958) 'Cloud, Mexico' 1926

 

Edward Weston (American, 1886-1958)
Cloud, Mexico
1926
Palladium print
14.9 × 24 cm (5 7/8 × 9 7/16 in.)
© 1981 Arizona Board of Regents, Center for Creative Photography

 

 

The first image with artistic intention that Edward Weston made in Mexico was of a cloud. Stopped in the port of Mazatlan on his way to Mexico City in 1923, Weston, for the first time in his career, was moved to photograph the sky, a theme that would occupy him intermittently throughout his entire sojourn in Mexico. Working with his Graflex, which allowed for greater flexibility than his tripod-mounted eight-by-ten-inch camera, he shot clouds spontaneously and maintained a personal collection of prints that he referred to as his “cloud series.” He noted in his daybook, “Next to the recording of a fugitive expression, or revealing the pathology of some human being, is there anything more elusive to capture than cloud forms! And the Mexican clouds are so swift and ephemeral, one can hardly allow the thought, ‘Is this worth doing?’ or, ‘ls this placed well?’ – for an instant of delay and what was, is not!”

The economy of form achieved in this 1926 image through the isolation of a single strip of stratus clouds oriented diagonally within the frame was not new to Weston’s aesthetic; his 1924 picture of Tina Modotti (1896-1942) nude on the roof of their home (see 86.XM.710.8) employs a remarkably similar composition. If Mexico provided Weston the inspiration to explore and expand the range of his oeuvre, adding clouds, still lifes, and landscapes to his repertoire of portraits and nudes, it simultaneously served as the place where his visual approach to the world was honed. His time in Mexico came to an end the same year he made this picture, but many of the principles he developed there would last him throughout his career.

Brett Abbott. Edward Weston, In Focus: Photographs from the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 2005), 48. ©2005, J. Paul Getty Trust.

 

Bernice Abbott. 'Night View, New York City' 1932

 

Berenice Abbott (American, 1898-1991)
[The West Side, Looking North from the Upper 30s / Nightview]
1932
Gelatin silver print
33.8 × 26.8 cm (13 5/16 × 10 9/16 in.)
© Estate of Berenice Abbott

 

 

If [photography] is to be utterly honest and direct, it should be related to the pulse of the times – the pulse of today.

Nowhere is Berenice Abbott’s statement better demonstrated than in this photograph of the pulsating vibrancy of New York City, alive at night with thousands of glittering lights. The flashes of illumination perforate the frame, reflecting the dynamism of the world’s fastest-changing city. Abbott set about documenting New York when she returned there in 1929 after nine years spent in Europe. Abbott made this photograph from a high vantage point in the Empire State Building on Fifth Avenue looking north.

Text from the J. Paul Getty website

 

Alfred Stieglitz (American, 1864-1946) 'Equivalent' 1926

 

Alfred Stieglitz (American, 1864-1946)
Equivalent
1926
Gelatin silver print
11.6 × 9.1 cm (4 9/16 × 3 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© Georgia O’Keeffe Museum

 

Alfred Stieglitz (American, 1864-1946) 'Equivalent' 1926

 

Alfred Stieglitz (American, 1864-1946)
Equivalent
1926
Gelatin silver print
11.7 × 9.2 cm (4 5/8 × 3 5/8 in.)
The J. Paul Getty Museum, Los Angeles

 

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

 

Ansel Adams (American, 1902-1984)
Moonrise, Hernandez, New Mexico
Negative November 1, 1941; print December 16, 1948
Gelatin silver print
34.9 × 44 cm (13 3/4 × 17 5/16 in.)
© The Ansel Adams Publishing Rights Trust

 

 

Arguably Ansel Adams’s most famous image, this photograph is titled Moonrise rather than Sunset, even though the moon technically does not rise in the sky. As a scholar noted: The factuality and, moreover, the meaning of the setting sun were rejected by him in favour of the expressive symbolism of the rising moon; of the shining luminescence ablaze with greatness in its primal mystery, dramatically isolated in the infinity of darkness.

Instead of making an unmanipulated print from the negative, Adams selectively printed the sky black and the foreground dark in order to achieve a particular illumination and spiritual transcendence. The photographer’s skill and vision transformed the tiny town of Hernandez, dotted with glowing white cemetery and church crosses, into a spectral landscape.

Text from the J. Paul Getty website

 

Paul Strand (American, 1890-1976) 'Sangre de Cristo, New Mexico' 1930

 

Paul Strand (American, 1890-1976)
Sangre de Cristo, New Mexico
1930
Platinum print
9.2 × 11.9 cm (3 5/8 × 4 11/16 in.)
© Aperture Foundation

 

William A. Garnett (American, 1916-2006) 'Smog, Los Angeles' 1949

 

William A. Garnett (American, 1916-2006)
Smog, Los Angeles
1949
Gelatin silver print
25.2 × 34 cm (9 15/16 × 13 3/8 in.)
© Estate of William A. Garnett

 

 

An ardent conservationist, Garnett became concerned about land use and air pollution in the early 1940s. He made this photograph in an attempt to raise public awareness. Over the years Garnett came to believe that he was more likely to inspire positive change by pointing out nature’s enduring beauty than by showing the ugliness caused by poor choices.

Text from the J. Paul Getty website

 

Robert Weingarten (American, born 1941) '6:30 A.M. 10/06/03, #98, Malibu, CA' 2003

 

Robert Weingarten (American, born 1941)
6:30 A.M. 10/06/03, #98, Malibu, CA
2003
Inkjet print
76.4 × 76.4 cm (30 1/16 × 30 1/16 in.)
© Robert Weingarten
Gift of Alvin and Heidi Toffler

 

The horizon at dawn, looking southeast over Santa Monica Bay, from the artist’s home in Malibu.

 

Joel Meyerowitz. 'Fence, Truro' negative 1976; print 1992

 

Joel Meyerowitz (American, b. 1938)
Fence, Truro
negative 1976; print 1992
Chromogenic print
59.7 x 47.3 cm (23 1/2 x 18 5/8 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Nancy and Bruce Berman
© Joel Meyerowitz, courtesy Edwynn Houk Gallery, NY

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 – 5.30pm
Saturday 10 – 9pm
Sunday 10 – 9pm
Monday closed

The J. Paul Getty Museum 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, 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: ‘Dogs, chickens, cattle’ 1994-95

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 2,695 other followers

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

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

October 2020
M T W T F S S
 1234
567891011
12131415161718
19202122232425
262728293031  

Archives

Categories