Curator: Lauren Hinkson, Associate Curator of Collections at the Guggenheim Museum in New York
Organised by The Solomon R. Guggenheim Foundation, New York
Josef Albers (American born Germany, 1888-1976) Study for Homage to the Square, Closing
1964
Acrylic on Masonite
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996
It is fascinating to see “the influence and connectivity between the work of Josef Albers and the abstracted geometric vocabulary of pre-Columbian art, architecture and material culture” … and the press release might add, between Albers, architecture and the flattened, geometric vocabulary of his photographs.
The lesser-known photographs and collages are “a visual conversation Albers created in response to his frequent visits to Mexico to view archaeological sites as early as the 1930s, illustrating the nuanced relationship between the geometry and design elements of pre-Columbian monuments and the artist’s iconic abstract canvases and works on paper.”
But these photographic collages stand as works of art in their own right, for they are music not just notation. Just look at the elegance and tension between the lower images in Mitla (1956, below). You don’t group photographs together like this so that they sing, so that the ‘ice-fire’ as Minor White would say (that space between each image that acts as tension between two or more images), enacts powerful attractors of light, form and energy (or spirit, if you like) … without knowing what you are doing, without feeling the presence of what you are photographing.
While artists have used photographs as “models” for other forms of art for years (for example Atget’s “documents for artists”), and we acknowledge that purpose, these images stand on their own two feet as visually nuanced, cerebral and finished works of art.
Dr Marcus Bunyan
Many thankx to the Heard Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Josef Albers (American born Germany, 1888-1976) Study for Sanctuary 1941-1942
Ink on paper
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American born Germany, 1888-1976) Ballcourt at Monte Alban, Mexico
c. 1936-1937
Gelatin silver print
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American born Germany, 1888-1976) Tenayuca I
1942
Oil on Masonite
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American born Germany, 1888-1976) The Pyramid of the Magician, Uxmal
1950
Gelatin silver print
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996
Josef Albers (American born Germany, 1888-1976) Governor’s Palace, Uxmal
1952
Gelatin silver print
Solomon R. Guggenheim Museum, New York, Gift, The Josef Albers Foundation, Inc., 1996
Josef Albers (American born Germany, 1888-1976) Luminous Day
1947-1952
Oil on Masonite
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American born Germany, 1888-1976) Platform of the Eagles, Chichen Itza
1952
Gelatin silver print
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
The Heard Museum is presenting Josef Albers in Mexico. The exhibition demonstrates the influence and connectivity between the work of Josef Albers (German, 1888-1976) and the abstracted geometric vocabulary of pre-Columbian art, architecture and material culture. The Heard Museum is the third and final stop of the exhibition which opened in New York in 2017 then traveled to the Peggy Guggenheim Collection in Venice in 2018.
Josef Albers in Mexico is organised by the Solomon R. Guggenheim Foundation, and curated by Lauren Hinkson, Associate Curator of Collections at the Guggenheim Museum in New York. Drawing from the collections of the Solomon R. Guggenheim Museum and the Josef and Anni Albers Foundation, Josef Albers in Mexico presents an opportunity to learn about a little-known aspect of the artist’s practice and the influences he absorbed in his travels.
“Through his close attention to ancient architecture, Josef Albers developed new modes of seeing the modern world,” says Lauren Hinkson. “This exhibition of his celebrated paintings, along with lesser-known photographs and collages, reveals the complex and often surprising roles of place, time, and spirituality in Albers’s body of work.”
Included in the exhibition are rarely seen early paintings by Albers, including Homage to the Square and Variant / Adobe series, works on paper, and a rich selection of photographs and photocollages, many of which have never before been on view. The photographic works reveal a visual conversation Albers created in response to his frequent visits to Mexico to view archaeological sites as early as the 1930s, illustrating the nuanced relationship between the geometry and design elements of pre-Columbian monuments and the artist’s iconic abstract canvases and works on paper. Accompanying the artworks are a series of letters, personal photographs, studies and other ephemera.
Josef Albers was born in Bottrop, Germany in 1888 and was a fixture at the pioneering school of art, architecture, and design, the Bauhaus, until its forced closure by the Nazis. Albers and his wife, Anni Albers (1899-1994), an accomplished artist and textile designer, relocated to the United States in 1933, where he first accepted a position as head of the department of art at Black Mountain College outside of Asheville, North Carolina, a position he held until 1949. He then went on to be the head of the design department at Yale University in New Haven, Connecticut. Josef and Anni Albers traveled often to Latin America with particular interest in Mexico – visiting the country more than a dozen times from the 1930s to the 1960s. Albers’ fascination with the visual culture of Mexico left an indelible mark on his own artistic production and methodology, with sites like Teotihuacán, Chichén Itza, Monte Albán, and Mitla resonating within his paintings and stimulating new experiments in his photography.
The Heard also produced a series of public programs co-curated by the Heard Museum’s Fine Arts Curator, Erin Joyce. Topics include explorations of colour theory with some of todays’ leading artists, designers, and architects; the influence of Indigenous art and aesthetics on broader visual art, the role it has on informing artistic production and investigations into formalism and politics. Josef Albers in Mexico runs through Monday, May 27, 2019 at the Heard Museum.
Press release from the Heard Museum website [Online] Cited 25/02/2019
Josef Albers (American born Germany, 1888-1976) Mitla
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American born Germany, 1888-1976) Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American born Germany, 1888-1976) Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American born Germany, 1888-1976) Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Josef Albers (American born Germany, 1888-1976) Mitla (detail)
1956
Gelatin silver prints and postcards, mounted to paperboard
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Anni Albers (American born Germany, 1899-1994) Josef Albers, Mitla
1935-1939
The Josef and Anni Albers Foundation, Bethany, Connecticut, 1976
Heard Museum
2301 N. Central Avenue
Phoenix, Arizona 85004
There are some beautiful photographs in this posting, mainly by British photographers evidencing the colonial gaze.
This is how the British saw their subjects “Under Indian Skies” not how the Indians would have seen themselves. The only Indian photographer in this posting is Lala Deen Dayal (Indian, 1844-1905). His photograph The Char Minar, Hyderabad (1880s, below) is a much more fluid, street photography representation of Indian life (long time exposure, blurred figures) than the other grandiose representations of Indian palaces and architecture.
The portraits are also instructive, aping as they do the classical aspirations of contemporary European carte de visite and cabinet cards. Even though the photograph Portrait of a young Indian woman by an unknown photographer (1870s, below) portrays her in Indian dress, she is accompanied to the left by a reproduction of a classical Greek statue. Of course, the aspersion is that while she may be beautiful and different, the Orient is always reliant on Europe and Greece as the birthplace of civilisation, for its existence.
I have included extra information about locations and photographers were possible.
Dr Marcus Bunyan
Many thankx to The David Collection for allowing me to publish the photographs in the posting. Please click on the photograph for a larger version of the image.
The invention of photography in 1839 revolutionised the way in which the world was documented and interpreted, not only in Europe, but also in Asia. As early as the beginning of the 1850s, the British authorities in India launched an impressive photographic survey of architecture. Enthusiastic amateur photographers soon followed suit with atmospheric images of life in the period, including that of maharajas, snake charmers, and elephants bathing in the Ganges.
Through a selection of pictures from a private British collection, this photo exhibition focuses on some of the challenges and subjects that preoccupied the earliest European and Indian photographers. It also displays the distinctive beauty of vintage photos created with difficult to handle apparatuses, big glass negatives, long exposure times, and complex chemical processes.
The exhibition consists of over 80 photographs and photo albums from around 1850 to the beginning of the 20th century. The catalogue was written by the British photo historian John Falconer, who for many years was responsible for the photograph collections in the British Library’s Indian and Oriental departments. The catalogue costs DKK 200 and can be purchased in the museum shop, which also sells the lovely exhibition poster for DKK 40.
Text from The David Collection website [Online] Cited 24/03/2019
Sir Donald Horne Macfarlane (July 1830 – 2 June 1904) was a Scottish merchant who entered politics and became a Member of Parliament (MP), firstly as a Home Rule League MP in Ireland and then as Liberal and Crofters Party MP in Scotland. Macfarlane was born in Scotland, the youngest son of Allan Macfarlane, J.P., of Caithness and his wife Margaret Horne. He became an East Indies merchant as a tea trader and indigo plantation owner. While in India he was a passionate amateur photographer. He experimented freely and produced semi-abstract images
View of one of the Chattar Manzil [Umbrella Palaces] showing the King’s boat called The Royal Boat of Oude on the Gomti River, Lucknow, India.
The Chattar Manzil (Urdu: چھتر منزل, Hindi: छतर मंज़िल), or Umbrella Palace is a building in Lucknow in Uttar Pradesh which served as a palace for the rulers of Awadh and their wives. It was constructed by order of NawabGhazi Uddin Haider and completed after his death by his successor, Nawab Nasir Uddin Haider.
The Chattar Manzil stand on the banks of the River Gomti. The Chattar Manzil consisted of a Bari (larger) Chattar Manzil and Chhoti (smaller) Chattar Manzil, however only the larger one still exists. These two buildings were examples of the Indo-European-Nawabi architectural style, even though the Bari Chattar Manzil has been altered over the years. The palaces were named after the chattris (umbrella-shaped domes) on the octagonal pavilions, which crown the buildings. The imposing building has large underground rooms and a dome surmounted by a gilt umbrella.
Felice Beato (1832 – 29 January 1909), also known as Felix Beato, was an Italian-British photographer. He was one of the first people to take photographs in East Asia and one of the first war photographers. He is noted for his genre works, portraits, and views and panoramas of the architecture and landscapes of Asia and the Mediterranean region. Beato’s travels gave him the opportunity to create images of countries, people, and events that were unfamiliar and remote to most people in Europe and North America. His work provides images of such events as the Indian Rebellion of 1857 and the Second Opium War, and represents the first substantial body of photojournalism. He influenced other photographers, and his influence in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting. …
In February 1858 Beato arrived in Calcutta and began travelling throughout Northern India to document the aftermath of the Indian Rebellion of 1857. During this time he produced possibly the first-ever photographic images of corpses. It is believed that for at least one of his photographs taken at the palace of Sikandar Bagh in Lucknow he had the skeletal remains of Indian rebels disinterred or rearranged to heighten the photograph’s dramatic impact17. He was also in the cities of Delhi, Cawnpore, Meerut, Benares, Amritsar, Agra, Simla, and Lahore. Beato was joined in July 1858 by his brother Antonio, who later left India, probably for health reasons, in December 1859. Antonio ended up in Egypt in 1860, setting up a photographic studio in Thebes in 1862.
Interior of the Secundra Bagh after the Slaughter of 2,000 Rebels by the 93rd Highlanders and 4th Punjab Regiment. First Attack of Sir Colin Campbell in November 1857, Lucknow. Albumen silver print, by Felice Beato, 1858. Located on the outskirts of Lucknow, it was the scene of intense fighting in November, 1857. Following the action, the British dead were buried in a deep trench but the Indian corpses were left to rot. Later, the city had to be evacuated and was not recaptured until March 1858 and it was shortly afterwards that Beato probably took this photograph. As one contemporary commentator described it: “A few of their [rebel] bones and skulls are to be seen in front of the picture, but when I saw them every one was being regularly buried, so I presume the dogs dug them up.” A British officer, Sir George Campbell, noted in his memoirs Beato’s presence in Lucknow and stated that he probably had the bones uncovered to be photographed. However, William Howard Russell of The Times recorded seeing many skeletons still lying around in April 1858. Photographic views of Lucknow taken after the Indian Mutiny, Albumen silver print 26.2 x 29.8 cm. The image was taken by Felice Beato, a Corfiote by birth, who visited India during the period of the Indian Mutiny or First War of Indian Independence; possibly on a commissioned by the War Office in London he made documentary photographs showing the damage to the buildings in Lucknow following the two sieges. It is known that he was in Lucknow in March and April of 1858 within a few weeks of the capture of that city by British forces under Sir Colin Campbell. His equipment was a large box camera using 10″ x 12″ plates which needed a long exposure, and he made over 60 photographs of places in the city connected with the military events. Beato also visited Delhi, Cawnpore and other ‘Mutiny’ sites where he took photographs.
View of the front facade of the Alai Darwaza gatehouse at the Qutb complex in Delhi. The building is almost entirely covered with intricately carved geometric and floral patterns, which also adorn the pierced latticework screens that cover the arched windows flanking the archway over the entrance.
This photograph shows a gateway into the extended Quwwat-ul-Islam mosque. Known as the Alai Darwaza, it was built in 1311 by the Afgan ruler Alauddin Khalji. He had grand plans to extend the original mosque. Most of them were abandoned after his death in 1315, but this gateway is the most notable addition he made. It is 17.2 metres square.
The mosque and gateway are made out of rubble. It is the first of many Indian Islamic monuments to use a combination of white marble and red sandstone for the façade. Its distinctive features are the use of symmetry and the finely carved calligraphic and arabesque decoration on the southern façade of the gateway. This is also the first monument in which a true arch, using the radiating voussoirs shown here, is fully integrated into the design. The design is influenced by the architectural traditions of the empire of the Saljugs from western Asia.
The British photographer Samuel Bourne lived and worked in India between 1862 and 1869. During this time he toured the Himalayas and travelled through the subcontinent, photographing its landscape, architecture and historical sites. He set up a studio in Simla with Charles Shepherd and sold his prints sold to an eager public both in India and Britain.
The Qutb complex are monuments and buildings from the Delhi Sultanate at Mehrauli in Delhi in India. The Qutub Minar in the complex, named after Qutbuddin Bakhtiar Kaki, was built by Qutb-ud-din Aibak, who later became the first Sultan of Delhi of the Mamluk dynasty. The Minar was added upon by his successor Iltutmish (a.k.a. Altamash), and much later by Firoz Shah Tughlaq, a Sultan of Delhi from the Tughlaq dynasty in 1368 AD. The Qubbat-ul-Islam Mosque (Dome of Islam), later corrupted into Quwwat-ul Islam, stands next to the Qutb Minar.
Many subsequent rulers, including the Tughlaqs, Alauddin Khalji and the British added structures to the complex. Apart from the Qutb Minar and the Quwwat ul-Islam Mosque, other structures in the complex include the Alai Gate, the Alai Minar, the Iron pillar, the ruins of several earlier Jain temples, and the tombs of Iltutmish, Alauddin Khalji and Imam Zamin.
Akbar’s tomb is the tomb of the Mughal emperor, Akbar and an important Mughal architectural masterpiece. It was built in 1604-1613 and is situated in 119 acres of grounds in Sikandra, a sub of Agra, Uttar Pradesh, India.
The first photographs from India
The David Collection’s new special exhibition provides a hitherto unknown first-hand impression of 19th-century India, primarily – but not exclusively – seen with the eyes of western photographers. Through original vintage photographs, the viewer is taken back to photography’s birth and earliest childhood and up to around 1900.
Photography had made a breakthrough in British-dominated India in the early 1850s. With its magnificent architecture, exotic landscapes, and many different peoples and cultures, India offered fantastic motifs: splendid Islamic palaces, mosques, and sepulchral monuments. Princes, maharajas, ministers, and warriors in all their glory. But also an abundance of life among the common people, with everyone from stonemasons to snake charmers as well as elephants bathing in the Ganges.
Motifs of a completely different type that can be seen in the exhibition are those of the shattered palaces and dead warriors that spoke admonishingly of the rebellion against British rule in 1857-1858. The rebellion broke out after Muslim and Hindu soldiers had been forced by the British to use cartridges supposedly greased with fat from pigs and cows. These are some of history’s earliest war photographs, which in Europe served as the basis for newspaper illustrations.
The photographs were often taken under difficult working conditions. The heavy photo equipment had to be transported to distant regions along impassible roads, and its chemicals dried out in the tropical heat. The exposure time could be very long, and processing the negatives and the positives was often arduous.
Experiments were made with the new media by both visiting and local photo pioneers. The exhibition bears witness to the exchanges and competition between amateurs and the professional photographers whose studios popped up in innumerable places in India in the years up to 1900. The photographs also show how the new medium developed in the tension field between documentation and creative art form.
The over 80 works in the exhibition comprise photographs and photo albums, all of which were lent by the same private collection. The exhibition catalogue was written by the British photo historian John Falconer, who for many years was responsible for the photograph collections in the British Library’s Indian and Oriental departments. The author is one of the world’s leading specialists in this field and his catalogue provides a detailed and lively account of the photographers’ India in the 19th century and their photographic techniques.
Book
Under Indian Skies is the book behind the forthcoming exhibition of the same name, which opens at The David Collection on 23 November 2018. The book – and the exhibition – offer a previously unknown, first-hand impression of 19th-century India, as seen through the eyes of primarily Western photographers. At the beginning of the 1850s photography made its breakthrough in colonial India. With its impressive architecture, exotic landscapes and many different ethnic groups and cultures, the country offered fantastic motifs. The Indian architecture with its magnificent Islamic palaces and mausolea. Princes, maharajas, ministers and soldiers in all of their splendour. But also ordinary people and daily life: stone-cutters and woodcarvers, carpenters and dyers, daily life with the elephants that bathe in the Ganges, cotton harvesters and gardeners, acrobats, snake charmers, dancers, musicians and religious processions.
In the book we are led all the way back to the conception and early years of photography, just before 1850, and right up until around 1900, when the medium was long established. What is more, the book includes what may well be the first examples of war photography – the ruins and corpses left behind after a large, bloody uprising in the end of the 1850s, triggered when the British forced local Hindu and Muslim troops to use cartridges greased with the fat of cows and pigs.
The photographers travelling to India to undertake ‘reportage’ photography were akin to explorers and their journeys were difficult expeditions, during which with great effort – and an army of helpers – they surveyed the remotest regions. The photographs of the first decades were composed in much the same way as paintings from the same period. The technical challenges were immense and exposure times, for instance, were extremely long, so everything had to be planned to the smallest detail.
Under Indian Skies presents a riveting, kaleidoscopic picture of an India that for the most part has disappeared today. Some monuments are still standing and one might still see similar scenes there, but the present infrastructure and political circumstances are completely different to that time.
In addition to the presentation of eighty-three selected photographs, the book contains two essays, on the history of photography in India and early photographic processes respectively.
About the Author
John Falconer is a British historian of photography, who for many years was responsible for the photography collection at the British Library’s Indian and Oriental departments. He has written many books on early Indian photography and is one of the world’s leading specialists in this area.
Press release from The David Collection website [Online] Cited 24/03/2019
Installation view of the exhibition Under Indian Skies – 19th-Century Photographs from a Private Collection at The David Collection, Copenhagen, Denmark
Although Robert Tytler and his wife Harriet only took up photography after the Uprising of 1857-58, they managed to produce over 500 photographs of the sites of conflict in less than six months. Their use of very large paper negatives such as this, with the associated technical difficulties, was an ambitious choice for photographers new to the medium. The production of negatives of this size needed extremely large and unwieldy cameras, with consequently long exposures: a note on the back of this negative states that it required an exposure of twenty-five minutes. This decision probably owed much to the tuition the Tytlers received from the established photographer John Murray, who used a similar-sized camera and whose processing procedures they also adopted. This view (laterally reversed in the negative), is taken from outside the Taj Mahal complex from a position in front of the west gate (Fatehpuri Darwaza), looking north along the outer western wall towards the tomb of Fatehpuri Begum in the distance.
Text from the book Under Indian Skies
Harriet Christina Tytler (née Earle; 3 October 1828 – 24 November 1907) was a British artist, writer, and a pioneer photographer. With her husband Robert Christopher Tytler, she created over 300 photographs. She is well known for the documentation of monuments and Siege of Delhi from mughals. …
Photography and artwork
Harriet’s photographic work is mixed with those of her husband. Some pictures bear the “S.C.T.” which have been identified as standing for her son Stanley. Many of her photographs are included in the collection of the National Gallery of Canada and the Harrison D. Horblit Collection of Early Photography. Although never having painted before she began work on a large canvas of 6×18 feet, to depict from memory the palace of the Emperor of Delhi as a cyclorama. She completed this work in 1872, following the death of Robert.Harriet kept a diary and her memoirs were published in 1986 as An Englishwoman in India. Her son Stanley grew up in Australia and became an artist of repute. He moved to British Columbia where he was a founding member of the B.C. Society of Fine Arts in 1909.
Lala Deen Dayal was trained as an engineer but took up photography around 1864. He entered government service in 1866, founded the firm “Lala Deen Dayal & Sons” in 1868, and was commissioned to photograph temples and palaces of India. In 1886, Dayal retired from government service and became a professional photographer, moving to Hyderabad, India to work for the Nizam of Hyderabad, who conferred the honorary title of “raja” upon him.
Text from the J. Paul Getty Museum website
The Charminar (“Four Minarets”), constructed in 1591, is a monument and mosque located in Hyderabad, Telangana, India. The landmark has become a global icon of Hyderabad, listed among the most recognised structures of India. Charminar has been a historical place with Mosque on the top floor for over 400 years and also known for its surrounding markets. It is one of the tourist attractions in Hyderabad. It is where many famous festivals are celebrated, such as Eid-ul-adha and Eid-ul-fitr.
Meadows Taylor (British, 1808-76) and James Fergusson (British, 1808-1886) Architecture at Beejapoor, London
1866
Album
Architecture at Beejapoor, an ancient Mahometan capital in the Bombay Presidency / photographed from drawings by Capt. P.D. Hart … ; with an historical and descriptive memoir by Captain Meadows Taylor ; and … notes by James Fergusson. 1866.
Meadows Taylor (British, 1808-76) and James Fergusson (British, 1808-1886)
“Malik-I-Mydan” – “The Master of the Plain.” Architecture at Beejapoor, London (detail)
1866
Album
This gun was brought back from Ahmadnagar in the 17th century as a trophy of war and is thought to be the largest medieval cannon in the world.
The title of Sirdar (or Sardar), from the Persian for a commander, could apply to a wide variety of senior positions, either military or administrative. The precise role of this figure in the Maharajah of Gwalior’s administration has not been established: the term was also often used by the British in a more general sense in the nineteenth century to denote a nobleman.
This delicately hand-coloured image depicts a Rajput ruler wearing an elaborate eighteenth-century armour known as Chahelta Hazah (Coat of a Thousand Nails). The inscription (in a Rajasthani form of Hindi, written in Devanagari script) identifies the sitter as Maharaj Shri Savan (or Sovan) Singhji. While the photographer is not named, it states that ‘Shivlal the painter coloured it’ and supplies a date of late September 1866.
Bikaner is a city in the north Indian state of Rajasthan, east of the border with Pakistan. It’s surrounded by the Thar Desert. The city is known for the 16th-century Junagarh Fort, a huge complex of ornate buildings and halls. Within the fort, the Prachina Museum displays traditional textiles and royal portraits. Nearby, the Karni Mata Temple is home to many rats considered sacred by Hindu devotees.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA Photo: Eugene Hyland
Brave New World: Australia 1930s at NGV Australia, Melbourne is a small but stylishly designed exhibition that presents well in the gallery spaces. The look and feel of the exhibition is superb, and it was a joy to see so many works in so many disparate medium brought together to represent a decade in the history of Australia: photography, sculpture, painting, drawing, ceramic art, magazine art, travel posters, Art Deco radios, film, couture, culture, Aboriginal art, and furniture making, to name but a few.
The strong exhibition addresses most of the concerns of the 1930s – The Great Depression, beach and body culture, style, fashion, identity, culture, prelude to WW2, dystopian and utopian cities etc., – but it all felt a little cramped and truncated. Such a challenging time period needed a more expansive investigation. What there is was excellent but one display case on slums or magazine art was not substantive enough. The same can be said for most of the exhibition.
There needed to a lot more about the impact of the Great Depression and people living in poverty, for you get the feeling from this exhibition that everyone was living the Modernist high-life, wearing fashionable frocks and smoking cigarettes sitting around beautifully designed furniture surrounded by geometric textiles. The reality is that this paradigm was the exception rather than the rule. Many people struggled to even feed themselves due to The Great Depression, and it was a time of extreme hardship for people in Australia. Life for many, many people in Australia during the 1930s was a life of disenfranchisement, assimilation, oppression, social struggle, poverty, hunger and a hand to mouth existence.
“After the crash unemployment in Australia more than doubled to twenty-one per cent in mid-1930, and reached its peak in mid-1932 when almost thirty-two per cent of Australians were out of work… The Great Depression’s impact on Australian society was devastating. Without work and a steady income many people lost their homes and were forced to live in makeshift dwellings with poor heating and sanitation.” (Text from “The Great Depression,” on the Australian Government website [Online] Cited 06/10/2017. No longer available online)
New artists and designers may have been emerging, new skyscrapers being built and the new ‘Modern Woman’ may have made her appearance but the changes only affected white, middle and upper social classes. Migrants, particularly those from Italy and southern Europe, were resented because they worked for less wages than others; and only brief mention is made of the White Australia policy in the exhibition but not by name (see text under Indigenous art and culture below). This section was more interested in how white artists appropriated Aboriginal design during this period for their own ends.
With this in mind, it is instructive to read sections of the illustrated handbook (see cover below, handbook not in the exhibition) produced by the National Museum of Victoria (in part, the forerunner of the NGV) to accompany a special exhibition of objects illustrating Australian Aboriginal Art in 1929:
“The subject of aboriginal Art – in this case the Art of the Australian Aboriginal – has to be approached with the utmost caution, for, though it comes directly within the domain of anthropology, it is in an indirect way a very important question in psychology and pedagogies. We possess some knowledge of our own mentality through the kind of offices of psychology; but though we have some – many in certain classes – material relics of our primitive and prehistoric ancestor, the only evidence of evolution of thought and the development of his powers of abstract conception must be derived from his art…
Still it appears possible that the study of primitive man, as represented by our Australian black, will throw some new light on the subject, and even if not more important than the old world pictographs themselves, his art work will enable the efforts of the Aurignacian and Magdalenian artists [cultures of the Upper Paleolithic in western Europe] to be better comprehended, and their import understood. But, for that study to achieve even a modicum of success, it is essential that the inquiring psychologist divest his mind of all civilized conceptions and mentality and assume those of the prehistoric man – or of the infant of the present day.”1
This is the attitude towards Aboriginal art that pervaded major art institutions right across Australia well into the 1950s. That the white has to “divest his mind of all civilised conceptions and mentality and assume those of the prehistoric man” – in other words, he has to become a savage – in order to understand Aboriginal art. It says a lot that the Trustees of the National Museum of Victoria then decided to reprint the illustrated handbook in 1952 without amendment, reprinting the publication originally used for the Exhibition in 1929. Nothing had changed in 22 years!
Other small things in the exhibition rankle. The preponderance of the work of photographer Max Dupain is so overwhelming that from this exhibition, it would seem that he was the only photographer of note working in Australia throughout the decade. While Dupain was the first Modernist photographer in Australia, and a superb artist, Modernist photography was very much on the outer during most of the 1930s… the main art form of photography being that of Pictorialism. None of this under appreciated style of photography makes an appearance in this exhibition because it does not fit the theme of “Brave New World”. This dismisses the work of such people as Cecil Bostock, Harold Cazneaux, Henri Mallard, John Eaton et al as not producing “brave”, or valuable, portraits of a country during this time frame. This is a perspective that needs to be corrected.
Highlights in this exhibition included an earthenware vase by Ethel Blundell; a painting by that most incredible of atmospheric painters, Clarice Beckett (how I long to own one of her paintings!); a wonderful portrait by the underrated Cybil Craig; two stunning Keast Burke photographs; two beautiful stained glass windows of a male and female lifesaver; the slum photographs of F. Oswald Barnett (more please!); and the graphic covers of mostly short-lived radical magazines.
These highlights are worth the price of admission alone. A must see before the exhibition closes.
Dr Marcus Bunyan
Footnotes
1/ A. S. Kenyon. “The Art of the Australian Aboriginal.” in Australian Aboriginal Art. Melbourne: Trustees of the National Museum of Victoria, (1929) reprinted 1952, p. 15.
National Museum of Victoria Australian Aboriginal Art (cover)
1952 (reprint of 1929 illustrated handbook)
Brown, Prior, Anderson Pty. Ltd., Melbourne (publishers)
Trustees of the National Museum of Victoria
39 pages
The 1930s was a turbulent time in Australia’s history. During this decade major world events, including the Depression and the rise of totalitarian regimes in Europe, shaped our nation’s evolving sense of identity. In the arts, progressive ideas jostled with reactionary positions, and artists brought substantial creative efforts to bear in articulating the pressing concerns of the period. Brave New World: Australia 1930s encompasses the multitude of artistic styles, both advanced and conservative, which were practised during the 1930s. Included are commercial art, architecture, fashion, industrial design, film and dance to present a complete picture of this dynamic time.
The exhibition charts the themes of celebrating technological progress and its antithesis in the nostalgia for pastoralism; the emergence of the ‘New Woman’ and consumerism; nationalism and the body culture movement; the increasing interest in Indigenous art against a backdrop of the government policy of assimilation and mounting calls for Indigenous rights; the devastating effects of the Depression and the rise of radical politics; and the arrival of European refugees and the increasing anxiety at the impending threat of the Second World War. Brave New World: Australia 1930s presents a fresh perspective on the extraordinary 1930s, revealing some of the social and political concerns that were pertinent then and remain so today.
Text from the NGV website
Harold Cazneaux (New Zealand 1878 – Australia 1953, Australia from 1886) No title (Powerlines and chute)
c. 1935
Gelatin silver photograph
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of the H. J. Heinz II Charitable and Family Trust, Governor, 1993
In 1934 BHP (Broken Hill Proprietary Company Limited) commissioned leading pictorialist photographer Harold Cazneaux to record their mining and steel operations for a special publication to mark their fiftieth anniversary in 1935. Cazneaux’s dramatic industrial images blended a soft, atmospheric focus with a modernist sense of space, form and geometry. In 1935-36 Australia exported close to 300,000 tonnes of iron ore to Japan; however, after Japan’s invasion of China in 1937 fear of its expansionist aims in the Pacific increased and soon afterwards the federal government announced a ban on the export of all iron ore to Japan.
Fred Ward (designer) (Australian, 1900-1990) E. M. Vary, Fitzroy, Melbourne (attributed to) (manufacturer) active 1920s-1940s
Sideboard
c. 1932
Mountain ash (Eucalyptus sp.), painted wood, painted plywood, steel
(a-e) 84.0 x 119.7 x 48.7cm (overall)
Proposed acquisition
Side table
c. 1932
Mountain ash (Eucalyptus sp.), jarrah (Eucalyptus marginata), steel
55.7 x 66.0 x 49.2cm
Proposed acquisition
Tray table
c. 1932
Mountain ash (Eucalyptus sp.), blackwood (Acacia melanoxylon), steel
(a-b) 52.0 x 60.9 x 42.5cm (overall)
Proposed acquisition
A new generation of artists and designers
While modern art was a source of debate and controversy throughout the 1930s, modernism in architecture, interior design, industrial design and advertising became highly fashionable. In Melbourne a small group of designers pioneered modern design in Australia. Furniture designer Fred Ward first designed and made furniture for his home in Eaglemont, where he had established a studio workshop. It was admired by friends and he was encouraged to produce furniture for sale. In 1932 Ward opened a shop in Collins Street, Melbourne. There he offered his furniture, as well as linens and Scandinavian glass. The fabrics for curtains and upholstery were printed by Australian designer Michael O’Connell with bold designs that shocked some but were favoured by a new generation looking to create modern interiors.
More than in most periods, in the 1930s art, design and architecture were closely integrated with the changing realities of contemporary life. It was a time when the last vestiges of the conservative art establishment were swept away by a new generation of artists and designers who were to drive Australian art in the second half of the twentieth century.
Installation views of the exhibition Brave New World: Australia 1930s at NGVA with Max Dupain’s Illustration for Kelvinator advertisement at left and Ethel Blundell’s Vase centre on sideboard Photos: Courtesy NGV Photographic Services
Fred Ward was one of the first and most important designers of modern furniture in Australia. He began making furniture around 1930, and in 1932 opened a shop in Collins Street selling his furniture, as well as textiles by Michael O’Connell and other modern design pieces. In 1934 Ward went into partnership with Myer Emporium and established the Myer Design Unit, for which he designed a line of modular ‘unit’ furniture for commercial production. Ward’s simple, functional aesthetic and use of local timbers with a natural waxed finish was in contrast to the luxurious materials and decorative motifs of the contemporary Art Deco style.
The armchair, sideboard and occasional tables were designed by Fred Ward and purchased by Maie Casey in the early 1930s. The wife of R. G. Casey, federal treasurer in the Lyons Government, Maie was a prominent supporter of modern art and design. Moving to Canberra in 1932, she furnished her house at Duntroon in a modern style with furniture by Ward and textiles by Michael O’Connell. The design of Ward’s armchair closely resembles a 1920s armchair by German Bauhaus furniture designer Erich Dieckmann, who was known for his standardised wooden furniture based on geometric designs.
Michael O’Connell designer (England 1898-1976, Australia 1920-1937) Textile
c. 1933
Block printed linen
National Gallery of Victoria, Melbourne Purchased, 1988
Michael O’Connell pioneered modernist textiles in Melbourne and was an influential advocate of modern design. Working with his wife Ella from his studio in Beaumaris, O’Connell used woodblocks and linocuts to hand print onto raw linens and silks, which were used for fashion garments and home furnishing. O’Connell’s boldly patterned and highly stylised designs were considered startlingly modern. Some of his early fabrics featured ‘jazz age’ scenes of nightclubs and dancing, while later motifs were based on Australian flora and fauna, or derived from Oceanic and Aboriginal art.
Sam Atyeo (Australian, 1910-1990) Album of designs: tables
c. 1933 – c. 1936
Album: watercolour, brush and coloured inks, coloured pencils, 14 designs tipped into an album of 16 grey pages, card covers, tape and stapled binding
30.0 x 19.2 cm (page) 30.0 x 20.8 x 0.8cm (closed)
National Gallery of Victoria, Melbourne
Gift of the artist, 1988
Sam Atyeo was a leading figure in Melbourne’s emerging modernist circles in the early 1930s, the partner of artist Moya Dyring and lover of Sunday Reed. He had studied at the National Gallery School, where he was a brilliant and rebellious student. Around 1932 Atyeo became friendly with Cynthia Reed, who managed Fred Ward’s furniture shop and interior design consultancy on Collins Street. After she opened Cynthia Reed Modern Furnishings in Little Collins Street, Atyeo designed furniture for Reed, that was strongly influenced by Ward’s designs.
Max Dupain (Australia 1911-1992) Illustration for Kelvinator advertisement
1936
Gelatin silver photograph
32.8 x 25.3cm
Art Gallery of New South Wales, Sydney
Purchased with funds provided by the Photography Collection Benefactors’ Program 2000
Modernity reflected what was new and progressive in Australian urban life. The image of the city became an allegory for this in art, and efficiency and speed became watchwords for modernity. Many artists celebrated the city and technological advancements in works utilising a modern style of hard-edged forms, flat colours and dynamic compositions. The engineering marvel of the Sydney Harbour Bridge, which opened in 1932, was an ongoing source of fascination for artists, as were images of building the city, industry and modern modes of transport.
The skyscraper was also a powerful symbol of modern prosperity, especially when the Great Depression cast doubt on the inevitability of progress; hence the advent of tall buildings in Australian cities was hailed with relief and optimism. In 1932, at the peak of the Depression, the tallest building in Melbourne was opened: the Manchester Unity Building at the corner of Swanston and Collins streets. With its ornamental tower and spire taking its overall height to 64 metres, the building was welcomed by The Age newspaper as ‘a new symbol of enterprise and confidence, undaunted by the “temporary eclipse” of the country’s economic fortune’.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Seventh city of the Empire – Melbourne, Victoria at left; and Evening dress at right Photo: Eugene Hyland
Percy Trompf (Australian, 1902-1964) Seventh city of the Empire – Melbourne, Victoria
1930s
Colour lithograph printed by J. E. Hackett, Melbourne
State Library Victoria, Melbourne
Gift of Mr Grant Lee, 2007
Percy Trompf’s poster celebrates Melbourne’s first skyscraper, the iconic Manchester Unity Building on the corner of Swanston and Collins streets. Designed by architect Marcus Barlow in the Art Deco ‘Gothic’ style, it was built at high speed between 1930 and 1932, and provided much needed employment during the Depression. At twelve storeys high and topped with a decorative tower it was Melbourne’s tallest building and contained the city’s first escalators. A powerful symbol of the city’s modernity, it was often featured in images of Melbourne.
Unknown, Australia Evening dress
c. 1935
Silk
144cm (centre back), 36cm (waist, flat)
National Gallery of Victoria, Melbourne
Gift of Miss Irene Mitchell, 1975
Ethel Spowers (Australia 1890-1947, England and France 1921-1924) The works, Yallourn
1933
Colour linocut, ed. 3/50
National Gallery of Victoria, Melbourne
The Joseph Brown Collection
Presented through the NGV Foundation by Dr Joseph Brown AO OBE, Honorary Life Benefactor, 2004
Ethel Spowers and Eveline Syme were leading figures in modern art in Melbourne. In the 1920s they studied with modernist Claude Flight at the Grosvenor School in London, where they learnt to make colour linocuts that followed Flight’s principles of rhythmic design combined with flat colour. In April 1933 Spowers and Syme visited the Yallourn Power Station in Gippsland, which had been opened in 1928 and was the largest supplier of electricity to the state.
Clarice Beckett (Australian, 1887-1935) Taxi rank
c. 1931
Oil on canvas on board
Kerry Stokes Collection, Perth
Installation view of Herbert Badham’s George Street, Sydney (1934) from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
After serving in the Royal Australian Navy during the First World War, Herbert Badham studied at the Sydney Art School and began exhibiting in 1927. In his paintings he was a keen observer of everyday urban life: streets with shoppers, city workers on their lunch break and drinkers in the pub were painted in a contemporary, hard-edged realist style.
Max Dupain (Australian, 1911-1992) Rush hour in King’s Cross
1938, printed c. 1986
Gelatin silver photograph
41.2 x 40.3cm
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of Mr A.C. Goode, Fellow, 1987
During the 1930s the city provided a rich source of imagery for artists working in modern styles, who celebrated the speed and efficiency of modern transport technology and expanding road and rail networks. Yet as car ownership increased during the 1930s, larger cities began to suffer congestion and the rush hour became part of urban life. Throughout the decade the pace and stress of modern life became a topic of public debate, with conservative commentators decrying this transformation of the Australian lifestyle.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Max Dupain’s Rush hour in King’s Cross at right Photo: Courtesy NGV Photographic Services
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Grace Cossington Smith’s The Bridge in-curve at right Photo: Courtesy NGV Photographic Services
The slow rise of the Sydney Harbour Bridge above the city was recorded by numerous painters, printmakers and photographers, including Sydney modernist Grace Cossington Smith. Her iconic The Bridge-in-curve depicts the bridge just before its two arches were joined in August 1930, and conveys the sense of wonder, achievement and hope that was inspired by this engineering marvel. By painting the emerging, rather than the complete bridge, Cossington Smith also focuses our attention on the energy and ambition required to create it.
Installation view of Frank Hinder’s Trains passing (1940) from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
Frank Hinder (Australian, 1906-1992, United States 1927-1934) Trains passing
1940
Oil on composition board
National Gallery of Australia, Canberra
Purchased 1974
Frank Hinder was one of the first abstract artists in Australia. After living and studying in the United States, Hinder and his wife, the American sculptor Margel, returned to Sydney in 1934. There they became part of a small avant-garde group that included Grace Crowley, Rah Fizelle, Ralph Balson and the German sculptor and art historian Eleanore Lange, all of whom were interested in Cubist, Constructivist and Futurist art. Hinder later said that this work was inspired by seeing Lange, sitting next to him on a train, reflected in the windows of a passing train.
Frank Hinder (Australia 1906-1992, United States 1927-1934) Commuters
1938
Tempera on paper on board
Private collection
Victorian Railways, Melbourne (publisher) (Australia, 1856-1976) The Victorian Railways present The Spirit of Progress 1937
Booklet: colour photolithographs and letterpress,
12 pages, cardboard cover
printed by Queen City Printers, Melbourne
20.8 x 26.8cm (closed)
State Library Victoria, Melbourne
Launched in November 1937, The Spirit of Progress express passenger train was a source of immense pride to Victorians. Built in Newport, Victoria, the train featured many innovations, including all-steel carriages and full air-conditioning. Designed in the Art Deco, streamlined style by architectural firm Stephenson & Turner, the passenger carriages were fitted out to a level of comfort not previously seen in Australia, and included a full dining carriage. The train ran between Melbourne and the New South Wales state border at Albury, the longest non-stop train journey in Australia at that time, at an average speed of 84 kilometres per hour.
Installation view of Ivor Francis’ Speed! from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
Ivor Francis (England 1906 – Australia 1993, Australia from 1924) Speed!
1931
Colour process block print
Art Gallery of South Australia
Adelaide South Australian Government Grant 1986
Randille, Melbourne (maker) active 1930s Night gown
c. 1938
Silk (a) 166cm (centre back) 38.9cm (waist, flat) (dress) (b) 121cm (centre back) 38cm (waist, flat) (slip)
National Gallery of Victoria, Melbourne
Presented by Mrs A. G. Pringle, 1982
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Max Dupain’s Rush hour in King’s Cross left and Frank Hinder’s Jackhammer third from right and Margel Hinder’s Man with jackhammer second right Photo: Courtesy NGV Photographic Services
Margel Hinder (United States 1906 – Australia 1995, Australia from 1934) Man with jackhammer
1939
Cedar
National Gallery of Victoria, Melbourne
Purchased through the NGV Foundation with the assistance of J. B. Were & Son, Governor, 2001
American-born Margel Hinder was one of Australia’s leading modernist sculptors. She had studied art in Boston, where she met and married Sydney artist Frank Hinder. In 1934 they moved to Australia and became an important part of Sydney’s small modern art scene. In Man with jackhammer Hinder has simplified and contained the figure within a square frame, the strong diagonal form of the jackhammer creating a sense of compressed energy and force. Man and machine have fused in this celebration of industry and progress.
In the 1930s the new ‘Modern Woman’ made her appearance as a more serious and emancipated version of the giddy 1920s ‘flapper’. A woman who worked, she often lived alone in one of the new city apartment buildings, visited nightclubs and showed less interest in traditional marriage and child rearing. A lean body type became fashionable and was enhanced by the lengthened hemlines and defined waists introduced by French couturier Jean Patou in 1929. This slender silhouette was supported by form-fitting foundation garments by manufacturers such as Berlei.
The Modern Woman became one of the most potent images of contemporary life, being celebrated in women’s magazines such as the ultra-stylish Home and the Australian Women’s Weekly, launched in 1933. While such magazines were congratulating her and promoting new consumer goods to the Modern Woman, at the same time she was criticised by conservative commentators. In 1937 photographer Max Dupain wrote: ‘There must be a great shattering of modern values if woman is to continue to perpetuate the race… In her shred of a dress and little helmet of a hat, her cropped hair, and stark bearing, the modern woman is a sort of a soldier… It is not her fault it is her doom’.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Peter Purves Smith’s Maisie left, Cybil Craig’s Peggy second left and Peter Purves Smith’s Lucile at top right Photo: Eugene Hyland
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Cybil Craig’s Peggy second left and Lina Bryans The babe is wise at right Photo: Courtesy NGV Photographic Services
Peter Purves Smith (Australia 1912-1949, England 1935-1936, England and France 1938-1940) Maisie
1938-1939
Gouache
National Portrait Gallery, Canberra
Bequest of Lady Maisie Drysdale 2001
In 1937 the striking, auburn-haired Maisie Newbold was a student at the George Bell School in Melbourne, where she met fellow student Peter Purves Smith and his best friend Russell Drysdale. Maisie and Purves Smith were married in 1946, only three years before latter’s premature death from tuberculosis. Purves Smith painted this portrait at the start of their relationship. It depicts Maisie as a stylish woman wearing the latest fashion, the angularity of her features contrasted by the soft fur of her collar and feathers of her hat. Many years later Maisie married Drysdale.
Installation view of Sybil Craig’s work Peggy c. 1932 Photo: Dr Marcus Bunyan
Lina Bryans (Germany (of Australian parents) 1909 – Australia 2000, Australia from 1910) The babe is wise
1940
Oil on cardboard
National Gallery of Victoria, Melbourne
Gift of Miss Jean Campbell, 1962
Lina Bryans’s portrait of author Jean Campbell is titled after Campbell’s 1939 novel The Babe is Wise, a contemporary story set in Melbourne and in which the main protagonists are European migrants. A well-known figure in Melbourne’s literary circles, Campbell was noted for her ‘quick and slightly audacious wit’. Bryans had begun painting in 1937 with the support of William Frater. In the late 1930s she lived at Darebin Bridge House, which became an informal artists’ colony and meeting place for writers associated with the journal Meanjin.
Peter Purves Smith (Australian, 1912-1949, England 1935-1936, England and France 1938-1940) Lucile
1937
Oil on board
Queensland Art Gallery, Brisbane
Purchased 2011 with funds raised through the Queensland Art Gallery Foundation Appeal
Nora Heysen (Australian, 1911-2003, England and Italy 1934-1937) Self-portrait
1932
Oil on canvas
National Gallery of Australia, Canberra
Acquired with the assistance of the Masterpieces for the Nation Fund 2011
During the first decade of her life as a professional artist, Nora Heysen completed numerous self-portraits. In many of these she depicts herself in the act of drawing or painting, holding a palette and brush or with other accoutrements of the artist, and thereby asserting her professional identity. Yet these are also highly charged works in which Heysen scrutinises herself (and the viewer) with an unflinching and unsmiling gaze.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Arthur Challen’s Miss Moira Madden above chair Photo: Eugene Hyland
The terrible physical losses and psychological traumas of the First World War changed Australian society and prompted anxious concerns about the direction of the nation. For some this meant an inward-looking isolationism, a desire that Australian culture should develop independently and untouched by the ‘degenerate’ influences of Europe.
The search for rejuvenation frequently involved explorations of the capabilities and vulnerabilities of the human body. In the hands of artists, corporeal forms came to symbolise nationhood, most often expressed through references to the art of Classical Greece and mythological subjects. The evolution of a new Australian ‘type’ was also proposed in the 1930s – a white Australian drawn from British stock, but with an athletic and streamlined shape honed by time spent swimming and surfing on local beaches.
This art often has a distinctive quality to it, which in the light of history can sometimes make for disquieting viewing. With the terrible knowledge of how the Nazi Party in Germany subsequently used eugenics in its systematic slaughter of those with so-called ‘bad blood’, the Australian enthusiasm for ‘body culture’ can now seem problematic. Images of muscular nationalism soon lost their cache in Australia following the Second World War, tainted by undesirable fascistic overtones.
Keast Burke (New Zealand 1896 – Australia 1974, Australia from 1904) Harvest
c. 1940
Gelatin silver photograph (25.6 x 30.5cm)
National Gallery of Victoria, Melbourne
Gerstl Bequest, 2000
Keast Burke (New Zealand 1896 – Australia 1974, Australia from 1904) Husbandry 1
c. 1940
Gelatin silver photograph
Art Gallery of New South Wales, Sydney
Gift of Iris Burke 1989
Max Dupain (Australian, 1911-1992) Discus thrower
1937, printed (c. 1939)
Gelatin silver photograph
38.5 x 37.5cm
National Gallery of Victoria, Melbourne
Purchased, 2003
Max Dupain (Australian, 1911-1992) Souvenir of Cronulla
1937
Gelatin silver photograph
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of National Australia Bank Limited, Honorary Life Benefactor, 1992
In the 1930s Max Dupain responded to Henri Bergson’s book Creative Evolution (1907) in which he considered creativity and intuition as central to the renewed development of society, and the artist as prime possessor of these powers. Vitalism, as this philosophy was termed, was believed to be expressed through polarised sexual energies. In this work Dupain focuses on the sexually differentiated ‘energies’ of men and women, associating women with the forces of nature.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Daphne Mayo’s A young Australian in foreground Photo: Eugene Hyland
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Dorothy Thornhill’s Neo-classical nudes and Resting Diana at left; Tom Purvis’ Australia’s 150th Anniversary Celebrations (wall print) at centre rear; and Jean Broome-Norton’s Abundance on plinth at right Photo: Courtesy NGV Photographic Services
Tom Purvis (England, 1888-1959) Australia’s 150th Anniversary Celebrations
c. 1938
Colour lithograph
Courtesy of Josef Lebovic Gallery, Sydney
Installation view of Dorothy Thornhill’s Neo-classical nudes from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
Dorothy Thornhill (England 1910 – Australia 1987, New Zealand 1920-1929, Australia from 1929) Resting Diana
1931
Oil on canvas
National Gallery of Australia, Canberra
Purchased 1977
The invocation of the Classical body as a modern prototype was a powerful idea in the 1930s. The Graeco- Roman goddess Diana, the virgin patron goddess of the hunt, was popularly invoked as an ideal of female perfection, and represented with a slender and athletic physique. Dorothy Thornhill’s Diana is a remarkable visualisation of such a ‘modern Diana’, her angular body and defined musculature reflecting the masculinisation of female bodies at this time. She is a formidable presence, the quiver of arrows slung nonchalantly across her shoulders a trophy of her victory over the male gender.
Jean Broome-Norton (Australian, 1911-2002) Abundance
1934
Plaster, bronze patination
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of ICI Australia Limited, Fellow, 1994
“High-rise buildings, fast trains and engineering feats such as the Sydney Harbour Bridge jostled against the Great Depression, conservatism and a looming Second World War during the 1930s, one of the most turbulent decades in Australian history. The major exhibition at the NGV, Brave New World: Australia 1930s, will explore the way artists and designers engaged with these major issues providing a fresh look at a period characterised by both optimism and despair. The exhibition will present a broad-ranging collection of more than 200 works spanning photography, painting, printmaking, sculpture and decorative arts as well as design, architecture, fashion, graphics, film and dance.
Tony Ellwood, Director, NGV, commented, “Brave New World explores an important period of Australian art history during which Abstraction, Surrealism and Expressionism first emerged, and women artists arose as trailblazers of the modern art movement. It will offer an immersive look at the full spectrum of visual and creative culture of the period, from Max Dupain’s iconic depictions of the Australian body and beach culture to a vast display of nearly 40 Art Deco radios, which were an indispensable item for the Australian home during the 1930s.”
Presented thematically, Brave New World will show how artists and designers responded to major social and political concerns of the 1930s. The Great Depression, which saw Australia’s unemployment rate rise to 32% by 1932, is seen through the eyes of photographer F. Oswald Barnett in his powerful images of poverty-stricken inner Melbourne suburbs such as Fitzroy, Collingwood and Carlton, and in the works of Danila Vassilieff, Yosl Bergner, Arthur Boyd and Albert Tucker who were among the first artists to depict Australia’s working class and destitute.
In contrast, many other artists at the time chose to focus upon the vibrant city streets, cafes and buildings of contemporary Australian cities, such as renowned modernist Grace Cossington Smith with her energetic canvasses of flat colours and abstracted forms. Other artists featured in Brave New World including Hilda Rix Nicholas and Elioth Gruner concentrated on more traditional scenes of the Australian bush, which was seen as a place of respite from the frenetic pace of modern city life.
The exhibition will explore artists’ responses to the growing calls for Indigenous rights during the 1930s, which was accompanied by a rising interest in Aboriginal art and particularly the work of Albert Namatjira, the first Indigenous artist of renown in Australia; and the rise of the ‘modern woman’, a female who favoured urban living, freedom and equality over marriage and child rearing.
The 1930s also saw the idea of the ‘Australian body’, a tanned, muscular archetype shaped by sand and surf, come to the fore of the Australian identity. Artists who engaged with this idea, including Max Dupain, Charles Meere and Olive Cotton, will be presented in Brave New World. The exhibition will be accompanied by a fully-illustrated, 212-page hardback publication, featuring essays by leading writers on each of the exhibition themes. A series of public programs will also be offered including a major symposium, an Art Deco walking tour of Melbourne and a dance performance, recreating Demon machine (1924) by the Bodenweiser company that toured Australia in the late 1930s as well as an original solo by the choreographer, Carol Brown (NZ).
Press release from the NGV
Nanette Kuehn (Germany 1911 – Australia 1980, Australia from 1937) Borislav Runanine and Tamara Grigorieva in Jeux D’Enfants, original Ballets Russes, Australian tour
1939-1940
Gelatin silver photograph
Performing Arts Collection, Arts Centre, Melbourne
The Australian Ballet Collection. Gift of The Australian Ballet, 1998
The expressive body: dance in Australia
If modern art encapsulated the ideals and conflicting forces of the early twentieth century, then modern dance embodied its restless vitality and the quest for a different kind of subjectivity and expression. To many, modern dance is the pivotal art form for a mid twentieth century concerned with plasticity, the expressive body and tensions between the individual and its collective formation.
The decade of the 1930s is framed by the 1928-1929 tour of Anna Pavlova’s dance company and the three tours of the remnant Ballets Russes companies (1936-1937, 1938-1939,1939-1940) that excited many aspiring modernist artists. These tours sowed the seeds for subsequent ballet narratives in Australia, because the eruption of war in 1939 meant that Ballets Russes dancers, including Helene Kirsova and Edouard Borovansky, stayed in the country and established ballet companies. While trained in Russian dance technique, these artists were also influenced by the aesthetics of change in European art and dance that included new bodily techniques, dynamic movement patterns and modern technologies. It was the individual dancers of modern dance, however, including Louise Lightfoot and Sonia Revid, who produced the expressive intensity of a more autonomous art of movement.
Installation views of the exhibition Brave New World: Australia 1930s at NGVA featuring a wall print of Sonia Revid dancing on Brighton beach c. 1935 by an unknown Australian photographer Photos: Courtesy NGV Photographic Services
Australia, Unknown photographer Sonia Revid dancing on Brighton beach
c. 1935
Courtesy of State Library Victoria, Melbourne
Sonia Revid was one of the leading proponents of modern interpretative dance in Melbourne. Born in Latvia, she studied with the great dancer Mary Wigman in Germany before coming to Australia in 1932. Revid is credited with introducing the ‘German Dance’ to Australian audiences, and in the mid 1930s established the Sonia Revid School of Art and Body Culture in Collins Street. She composed her own dances, one of the best known being Bushfire drama (1940), based on the 1939 Victoria Bushfires.
Max Dupain (Australian, 1911-1992) Ballet (Emmy Towsey and Evelyn Ippen, Bodenwieser Dancers performing Waterlilies)
1937, printed (c. 1939)
Gelatin silver photograph
44.5 x 33.5cm
National Gallery of Victoria, Melbourne
Purchased, 2003
Jack Cato (Australia 1889-1971, England 1909-1914, South Africa 1914-1920) Helene Kirsova and Igor Youskevitch in Les Presages, Monte Carlo Russian Ballet
1936-1937
Gelatin silver photograph
24.8 x 19.4cm
Performing Arts Collection, Arts Centre, Melbourne
The Australian Ballet Collection
Gift of The Australian Ballet, 1998
Choreographed by Léonide Massine in 1933, Les Presages (Destiny) was a popular and avant-garde work during the Ballets Russes tours to Australia in 1936-1937. It was one of the first contemporary ballets to be choreographed to an existing musical score, Tchaikovsky’s Fifth Symphony. Portrayed in this picture are two principal dancers from the Monte Carlo Ballets Russes: Hélène Kirsova, who remained in Australia and formed her own ballet company in Sydney in the early 1940s, and Igor Youskevitch, who became a leading American ballet dancer, appearing here in the role of the Hero.
Evelyn Ippen designer and maker active in Australia 1930s Dress for Slavonic Dances
1939
Cotton, silk (velvet) (appliqué), elastic, metal (zip) for a production of the Bodenwieser Ballet, choreographed by Gertrud Bodenwieser
Performing Arts Collection, Arts Centre, Melbourne
Bodenwieser Collection. Gift of Barbara Cuckson, 2000
The Slavonic Dances were choreographed by Gertrud Bodenwieser to represent what she described as the ‘vigour and passionate feelings of the Slavonic people’, and toured with her first company in Australia in 1939. Loosely using folk-dance motifs, this ensemble work would have been a stylish crowd-pleaser in contrast to more serious dances. The appliqué and colourful flower motifs on this dress are similar to designs by Natalia Goncharova for the Ballets Russes, although the simplified appeal of its ‘red bodice, long, swirling skirt, and gathered white sleeves’ were probably designed by one of the company dancers, Evelyn Ippen.
Max Dupain (Australian, 1911-1992) Tamara Tchinarova in Presages
Published in Art in Australia, February 15, 1937
National Gallery of Victoria
Melbourne Shaw Research Library
Australia Tunes Into The World
These radios comprise a selection of Australian designed and manufactured tabletop models from the 1930s at a time when this new method of communication became an integral part of every home. They reflect the rapid spread of the streamlined style to Australia from the United States, England and Europe, where industrial designers applied machine-age styling to everyday household appliances. The use of new synthetic plastics (Bakelite) and mass production helped to make radios affordable for ordinary people, even in the depths of the Depression, and radio transmission brought the world into every Australian home. As cheap alternatives to the expensive wooden console in the lounge room, these small, portable radios allowed individual family members to listen to serials, quizzes and popular music in other rooms such as the kitchen, bedroom and verandah, as well as in the workplace.
Radios of the 1930s are now appreciated as quintessential examples of Art Deco styling, and one of the first expressions of art meeting industry. These colourful and elegant radio sets were one of the first pieces of modern styling in the Australian home. They were also a symbol of modern technology and a new future.
Installation view of Australian Art Deco radios from the exhibition Brave New World: Australia 1930s at NGVA Photo: Eugene Hyland
Airzone (1931) Ltd, Sydney (manufacturer) Mullard (white)
1938
Collection of Peter Sheridan and Jan Hatch
Airzone (1931) Ltd, Sydney (manufacturer) Mullard (speckled green)
1938
Collection of Peter Sheridan and Jan Hatch
Installation views of Australian Art Deco radios from the exhibition Brave New World: Australia 1930s at NGVA Photos: Courtesy NGV Photographic Services
Sun and surf
The beach was a complex location in the Australian creative imagination. It was a democratic site in which the trappings of wealth and position were abandoned as people stripped down to their bathers. It was a place of hedonistic pleasures that offered sensuous engagement with sun and surf, and a primitive landscape where natural forces restored the bodies of those depleted by modern life. It was a playground for the tourist that was considered distinctively Australian. As war loomed again in the late 1930s, it was also a pseudo-militaristic zone in which the lifesaver was honed for ‘battle’ in the surf.
The lifesavers that helped protect the beach-going public were regularly praised as physical exemplars who could build the eugenic stock of the nation. As the Second World War approached, the connection of these trained lifesavers to military servicemen also became painfully apparent.
Male lifesavers were used by artists in promoting Australia to tourists: a poster commemorating the opening of the Sydney Harbour Bridge in 1932 positioned the lifesaver as the quintessential representative of Australian manhood. Douglas Annand and Arthur Whitmore’s virile lifesaver proudly gestures towards the new bridge, his muscles as strong and protective as the steel girders that span the harbour.
Max Dupain (Australian, 1911-1992) On the beach. Man, woman, boy
1938
Gelatin silver photograph
39.2 x 47.2cm
National Gallery of Australia, Canberra
Purchased 1982
Showing a naked family on the beach, Max Dupain’s work is a perfect illustration of social concerns of the times. As Australia moved closer to engagement in another world war, fears about the poor physical fitness of the population were debated, with a ‘national fitness’ campaign instituted by the government in 1938. Dupain’s father, George, was one of the country’s first physical educationalists, opening the Dupain Institute of Physical Education and Medical Gymnastics in 1900 and writing extensively on the subject of health and fitness. Max Dupain attended the gym and was well versed in contemporary concerns about fitness.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA Photo: Eugene Hyland
Installation view of Male lifesaver, window and Female lifesaver, window (both c. 1935) from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
Unknown, Melbourne Male lifesaver, window
c. 1935
Stained glass, lead
47.5 x 40.8cm
Williamstown Swimming and Life Saving Club, Williamstown
Donated by C. J Dennis
‘On golden and milky sands, bodily excellence is displayed the year round, clearly defined by the sun in an atmosphere as viewless and benign as the air of Hellas as described by Euripides.’
J. S. Macdonald, 1931
Unknown, Melbourne Female lifesaver, window
c. 1935
Stained glass, lead
47.0 x 40.9cm
Williamstown Swimming and Life Saving Club, Williamstown
Donated by Councillor R. T. Bell
Although much was made of the ‘gods of the golden sand’, as one poet glowingly described lifesavers, lifesaving clubs were not entirely male in membership. Women lifesavers also made their mark, albeit in more limited numbers and with much less recognition. At the Williamstown Lifesaving Club in Melbourne a woman lifesaver was included in this fine and very rare stained glass window that, along with its counterpart featuring a male lifesaver, graced the newly established clubhouse around 1935.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with the male and female lifesavers (centre); Max Dupain’s The carnival at Bondi (fourth from right); Sydney Bridge celebrations (second right); and Douglas Annand and Max Dupain’s Australia (right) Photo: Courtesy NGV Photographic Services
Max Dupain (Australian 1911-1992) Sunbaker
(1938), dated 1937, printed c. 1975
Gelatin silver photograph
38.0 x 43.1cm
National Gallery of Victoria, Melbourne
Purchased with the assistance of the Visual Arts Board, 1976
Taken on a camping trip near Culburra, on the Shoalhaven River in New South Wales, in January 1938, Max Dupain’s original version of the Sunbaker was a much darker image that existed at the time only in an album gifted to his friend Chris Van Dyke. Dupain lost the original negative and printed this variant version in 1975 for an exhibition. It is an image that is now considered an icon in Australian photography, and has come to represent key values of the interest in ‘body culture’, celebrating health and fitness in the context of the beach.
Max Dupain (Australian, 1911-1992) The carnival at Bondi
1938
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1982
‘The lifesaving teams … are splendid examples of the physique, resourcefulness and vitality of our youth and manhood. They are typical of the outdoor life which Australians lead and they are living testimonies to the value of surfing and the vigour and stamina of our race.’
DAILY EXAMINER, July 1935
Max Dupain (Australian, 1911-1992) Manly
1938, printed c. 1986
Gelatin silver photograph
National Gallery of Victoria, Melbourne
Purchased from funds donated by Hallmark Cards Australia Pty Ltd, 1987
Gert Sellheim (Russia (of German parents) 1901 – Australia 1970, Australia from 1926) The seaside calls – go by train – take a Kodak
1930s
Colour lithograph
Printed by F. W. Niven, Melbourne
State Library Victoria, Melbourne
Gift of Mr Grant Lee
Gert Sellheim was born to German parents in Estonia, at that time part of the Russian Empire. After studying architecture in Europe he travelled to Western Australia in 1926, before settling in Melbourne in 1931, where he began working as an industrial and commercial designer. Working for the Australian National Travel Association, Sellheim created a series of posters promoting beach holidays, which incorporated Art Deco motifs and typography. His most famous design is the flying kangaroo logo for Qantas, which he created in 1947.
Douglas Annand (attributed to) (Australian, 1903-1976) Follow the sun – Australia’s 150th Anniversary celebrations
1938
Colour lithograph and photolithograph
Courtesy of Josef Lebovic Gallery, Sydney
The 1930s were the heyday of the travel poster. Posters were commissioned by railway and tourism groups or shipping companies and airlines to promote Australian holiday destinations, both at home and overseas. The Australian National Travel Association was formed in 1929 to promote Australia to overseas markets. As part of its strategy it commissioned posters from leading graphic artists, such as Percy Trompf, James Northfield and Douglas Annand. From the late 1920s Australia began to actively promote itself to the world by using the beach, sun and surf as motifs.
Installation views of the exhibition Brave New World: Australia 1930s at NGVA with the work of John Rowell, Hilda Rix Nicholas, Gert Sellheim and Percy Trompf on the far wall, and Robert E. Coates Photographs of Australian Pavilion at New York World’s Fair (1939) on the projector screen at left Photos: Courtesy NGV Photographic Services
The Australian Pavilion at the New York World’s Fair projected an image of Australia as a young and healthy nation, a place of industry, sport and tourism. Designed by John Oldham of Sydney architectural firm Stephenson & Turner, the modern design of the building was complemented by Douglas Annand’s interior displays featuring the latest graphic design, and audio-visual and photomontage techniques. These photographs of the Australian Pavilion at the New York World’s Fair were taken by commercial photographer Robert E. Coates.
Installation views of Robert E. Coates’ Photographs of Australian Pavilion at New York World’s Fair (1939) (digital images, looped) Photos: Dr Marcus Bunyan
Pastoral landscapes
Along with the beach, another national myth evolved around the Australian bush. Although most Australians lived in cities, in the years following the First World War the nation became increasingly informed by a mythology centred on the bush and the landscape. For those who considered the modern city a profoundly depleting force, the bush was a touchstone of traditional ‘values’. It was nostalgically conceived of as an idyllic natural realm whose soil, literally and metaphorically, sustained its people. Both the classical Pastoral ideal of a land in which only sheep and cattle roam, and the Georgic tradition, which celebrated the achievements of agriculture, became dominant themes in landscape art.
Pastoral landscapes were admired above all as representing the antithesis of ‘decadent’ modern life. As art critic and gallery director J. S. Macdonald wrote, such art would ‘point the way in which life should be lived in Australia, with the maximum of flocks and the minimum of factories’. With their emphasis on farming and pastoral industries, such works affirmed white landownership, with Indigenous people largely absent.
John Rowell (Australian, 1894-1973) Blue hills
c. 1936
Oil on canvas
National Gallery of Victoria, Melbourne Felton Bequest, 1936
Gert Sellheim (Russia (of German parents) 1901 – Australia 1970, Australia from 1926) Spring in the Grampians
1930s
Colour photolithograph
State Library Victoria, Melbourne
Purchased 2000
Hilda Rix Nicholas (Australian, 1884-1961, Europe 1911-1918) The fair musterer
c. 1935
Oil on canvas
Queensland Art Gallery, Brisbane
Purchased 1971
As a young artist Hilda Rix Nicholas had a successful career in France before returning to Australia after the First World War. In 1934, several years after the birth of her son, Rix Nicholas returned to painting and depicted her new life living on the family property Knockalong, on the Monaro Plains in New South Wales. Depicting the governess of her young son holding the reins of her horse, dog at her feet, and sheep in the distance, in The fair musterer Rix Nicholas claims for women an active role in the masculine world of pastoral Australia.
Hilda Rix Nicholas (Australian, 1884-1961, Europe 1911-1918) The shepherd of Knockalong
1933
Oil on canvas
Collection of Peter Rix, Sydney
Courtesy of Deutscher & Hackett
Depicting the artist’s husband and young son, The shepherd of Knockalong is a reminder of the traditional importance of the wool industry to the nation’s economy. With his legs firmly connected to the ground and pictured as a large figure dominating the landscape setting, the farmer is the benign owner and ‘shepherd’ of the land spreading out behind him, the presence of his young son ensuring dynastic succession. At a time when Aboriginal people were confined to reservations and denied citizenship, Hilda Rix Nicholas’s painting can also be considered as an assertion of the British colonisers’ right to ownership of Australia.
Percy Trompf (Australian, 1902-1964) Western Australia
c. 1936
Colour lithograph
Courtesy of Josef Lebovic Gallery, Sydney
Indigenous art and culture
During the 1930s Aboriginal people were often pejoratively referred to as a ‘dying race’. The Australian Government continued to enforce a ‘divide and rule’ assimilationist policy. Determined by eugenics, this entailed removing Aboriginal people of mixed descent from their families and reserves, and absorbing them into the dominant society, with consequent loss of their own language and customary ritual practices. Increasingly during this period, Aboriginal people formed their own organisations and agitated for full citizenship rights.
This was also a decade that saw increasing awareness of, and interest in, Indigenous art. Albert Namatjira astonished Melbourne audiences at his first solo exhibition at the Athenaeum Gallery in 1938. Comprising forty-one watercolour paintings, all of his works sold within three days of the opening. The following year the Art Gallery of South Australia purchased one of Namatjira’s works. Indigenous art also inspired non-Indigenous artists, including Margaret Preston and Frances Derham who appropriated design elements in their works. The idea of ‘Aboriginalism’, in which settlers sought an Australian identity in the context of Britishness and the Empire, saw artists travelling to the outback to paint and sketch subjects they believed connected them to Indigenous history.
Best known as a progressive educator and advocate of children’s art, Frances Derham was also an active member of the Arts and Crafts Society of Victoria, and with potter Allan Lowe shared Margaret Preston’s interest in the appropriation of Indigenous art. From the mid 1920s Derham began to incorporate Aboriginal motifs into her linocuts and in 1929, synchronous with the exhibition Australian Aboriginal Art at the Museum of Victoria, Derham presented a lecture to the Arts and Crafts Society, entitled ‘The Interest of Aboriginal Art to the Modern Designer’.
Frances Derham (Australian, 1894-1987, New Zealand and Ireland 1902-1908) Kangaroo (at the zoo)
c. 1931
Linocut printed in brown ink on Chinese paper
National Gallery of Victoria, Melbourne
Gift of Mr Richard Hodgson Derham, 1988
Frances Derham (Australia 1894-1987, New Zealand and Ireland 1902-1908) The Aboriginal artist
1931
Colour linocut on Japanese paper
National Gallery of Victoria, Melbourne
Gift of Mr Richard Hodgson Derham, 1988
During the 1920s Margaret Preston considered Aboriginal art a source of good design in the decoration of household items. In the 1930s her study of Aboriginal culture intensified, as she developed a greater interest in its anthropological and cosmological elements. In 1940 Preston travelled to the Northern Territory to study Aboriginal art. On her return she developed a more explicit Aboriginal style in paintings featuring earthy tones, strong black outlines and patterns of dots and lines.
Unknown
Walamangu active (1930s) Dhukurra dhaawu (Sacred clan story)
c. 1935
Earth pigments on Stringybark (Eucalyptus sp.), resin
128.3 x 63.9cm
The Donald Thomson Collection
Donated by Mrs Dorita Thomson to the University of Melbourne and on loan to Museums Victoria, Melbourne
During the late nineteenth and early twentieth centuries, segregation was the main government policy regarding Aboriginal people. It was re-enforced by the 1909 Aborigines Protection Act, which gave the Aborigines Protection Board the power to control where Aboriginal people lived in New South Wales. In 1937 the Commonwealth Government adopted a policy of assimilation, whereby Aboriginal people of mixed descent were henceforth to be assimilated into white society, while others were confined to reserves. In 1931 Arnhem Land was declared an Aboriginal Reserve by the government and non-Indigenous entry into the region was restricted.
Tjam Yilkari Katani
Liyagalawumirr active 1930s Wagilag dhaawu (Wagilag Sisters story) (installation view)
1937
Earth pigments on Stringybark (Eucalyptus sp.)
The Donald Thomson Collection Donated by Mrs Dorita Thomson to the University of Melbourne and on loan to Museums Victoria, Melbourne Photo: Dr Marcus Bunyan
For Yolgnu people, painting on bark or objects is intimately connected with painting on the body, and the Yolgnu term barrawan means both ‘skin’ and ‘bark’. These paintings are transcriptions of the sacred designs that were painted onto men’s bodies and convey the power of the Yolgnu ancestors whose actions created their world. The Wagilag Sisters Dreaming story chronicles the creative acts of the sisters as they travelled across Arnhem Land. Such stories pass on important knowledge, cultural values and belief systems to later generations.
Arthur Murch (Australian, 1902-1989, Europe 1936-1940) Walila, Pintupi tribe
1934
Pencil
National Gallery of Victoria, Melbourne
Purchased, 1934
In 1933, on the invitation of Professor H. Whitridge Davies, Sydney artist Arthur Murch accompanied a research team from Sydney University to Hermannsburg Lutheran Mission, south-west of Alice Springs. Murch remained there for six weeks painting the landscapes and making portraits of Indigenous people. These were exhibited in Sydney soon after his return.
Percy Leason (Australia 1888 – United States 1959, United States from 1938) Thomas Foster (installation view)
1934
Oil on canvas
State Library Victoria, Melbourne
Gift of Mrs Isabelle Leason, 1969 Photo: Dr Marcus Bunyan
Thomas Foster was born at Coranderrk Station in 1882, the son of Edward Foster and Betsy Benfield. Foster’s was one of the last portraits painted by Leason as part of the unfortunately titled exhibition The Last of the Victorian Aborigines. These portraits were debuted on 11 September at the Athenaeum Gallery in Collins Street, Melbourne, to great public acclaim. Foster, like most of Leason’s subjects, appears shirtless, his arms folded behind his back, pushing forward his chest and clearly showing his scarification marks.
Gert Sellheim (Russia (of German parents) 1901 – Australia 1970, Australia from 1926) Corroboree Australia
1934
Colour lithograph printed by F. W. Niven, Melbourne
State Library Victoria, Melbourne
Gift of the Australian National Travel Association, 1934
Dystopian cities
Australia was hit hard by the Great Depression. The worst year was 1932, when unemployment reached nearly thirty-two per cent, and by the following year almost a third of all unemployed men had been without work for three years. With wages cut and unemployment rising, many families were left struggling to survive and this poverty was most evident in run-down, inner-city areas. Two émigrés, Danila Vassilieff and Yosl Bergner, were the first Australian artists to turn their attention to the plight of the urban poor and the disposed. Their powerful, expressive style was influential upon young artists, including Arthur Boyd and Albert Tucker.
Economic hardship fostered bitterness and political unrest, and membership of radical groups on both the left and right increased. Boundaries between political agendas and art production became porous in this decade, and many artists believed, like Bergner, ‘that by painting we would change the world’. The complex enmeshment of the creative and political became a defining feature of the decade, and art in Australia became increasingly political, with the political realm involving itself with art.
By the end of the decade the worsening political situation overseas and a sense that another world war was inevitable contributed to a growing sense of unease. Many artists expressed this anxiety and foreboding in their works.
Laurence Le Guay (Australian, 1917-1990) No title (War montage with globe)
c. 1939
Gelatin silver photograph
30.4 x 24.9cm
National Gallery of Victoria, Melbourne
Purchased through the NGV Foundation with the assistance of Mrs Mem Kirby, Fellow, 2001
Max Dupain (Australian, 1911-1992) Hot rhythm!
1936
Silver gelatin photograph
24.7 x 17.8cm
National Gallery of Victoria, Melbourne
William Kimpton Bequest, 2016
In this work, Max Dupain has the shadow of a slide trombone seemingly bisect the naked body of a woman in a photograph that, in the context of his known views, is less an erotic celebration of modern jazz culture and nightlife than a comment on the disruptive nature of modernity.
Max Dupain (Australian, 1911-1992) Doom of youth
1937
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1982
In Doom of youth – a title taken from Wyndham Lewis’s 1932 polemical book of the same name – Max Dupain creates an allegorical photograph in which a naked male body represents his vision of modern Australia. Using symbols that suggest disempowerment, Dupain implies that the flywheel of mechanisation has doomed youth (the representatives of a nation’s future) to a bleak fate.
Max Dupain (Australian, 1911-1992) Night with her train of stars and her gift of sleep
1936-1937
Gelatin silver photograph
National Gallery of Victoria, Melbourne
William Kimpton Bequest, 2016
Referring to Edward Hughes’s 1912 Symbolist work of the same name, Max Dupain has replaced the painter’s dark-winged goddess of the night, who tries to calm the putti (or ‘stars’) that cling to her, with an updated modern version in which city lights replace starlight. The symbolism of the giant breast that towers over the electric lights of the urban landscape suggests an inversion of the natural for the man-made. The personification of night refers to the Greek goddess Nyx, a powerful force born of Chaos, and the mother of children including Sleep, Death and Pain. Given his often gloomy assessment of modernity, Dupain’s invocation of Nyx seems appropriate in the context.
Installation views of the exhibition Brave New World: Australia 1930s at NGVA with Herbert Badham’s Paint and morning tea second left and Albert Tucker’s Self-portrait third from right Photos: Courtesy NGV Photographic Services
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Albert Tucker’s Self-portrait (1937) at left Photo: Eugene Hyland
Installation view of Albert Tucker’s Self-portrait (1937)from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
In the late 1930s Albert Tucker’s contact with émigré artists Yosl Bergner and Danila Vassilieff was to provide important encouragement for him to pursue his artistic vocation and to make art that was responsive to the issues of his time. In 1938 Tucker was a founding member of the Contemporary Art Society, and he became one of the most articulate voices in the often bitter debates between modernists and conservatives. In the 1940s, together with his partner Joy Hester, Tucker was a key member of the group of artists and writers that formed around John and Sunday Reed at Heide.
From 1936 until the early 1940s Albert Tucker chronicled himself with numerous painted and drawn self-portraits. In these works we witness a harrowing disintegration of his physical self, which mirrored the artist’s overwrought emotional state. He recalled: ‘It was a period when the whole world, and all the people I knew, seemed to be seething with ideas and energies and experiences; and my own mind was a seething mess … The highly emotional, overwrought expressionist paintings suited my state at the time’.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with work by Danila Vassilieff on the centre black wall including Street scene with graffiti (left), Truth, Woolloomooloo (second left) and Young girl (Shirley) the large painting at right; and F. Oswald Barnett’s photographs of Melbourne slums in the display cabinet Photos: Courtesy NGV Photographic Services
Installation view of Danila Vassilieff ‘s Street scene with graffiti (1938) from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
Danila Vassilieff (Russia 1897 – Australia 1958, Australia from 1923, Central and South America, Europe, England 1929-1934) Truth, Woolloomooloo
1936
Oil on canvas
Private collection
It is notable that the first artists to depict the poverty of inner-city slums were two recently arrived émigrés, Danila Vassilieff and Yosl Bergner. Russian-born Vassilieff, who had fought with the white Russian army, first arrived in Australia in 1923 before leaving again in 1929. On his return in 1935 he painted a series of dark streetscapes, depicting the inner suburban areas of Woolloomooloo and Surry Hills in Sydney. Moving to Melbourne, Vassilieff’s expressionist style influenced many young artists, including Lina Bryans, Albert Tucker, Arthur Boyd and Sidney Nolan.
Danila Vassilieff (Russia 1897 – Australia 1958, Australia from 1923, Central and South America, Europe, England 1929-1934) Young girl (Shirley)
1937
Oil on canvas on composition board
National Gallery of Victoria, Melbourne
National Gallery Society of Victoria Century Fund, 1984
F. Oswald Barnett (Australian, 1883-1972)
Fitzroy. View from the Brotherhood of St Lawrence
Fitzroy. Rear view of house
North Melbourne. Group of children in Erskine Place
West Melbourne. A Dudley Mansion
Carlton. Wash-house and bath-room, 48 Palmerston Street
North Melbourne. No. 19 Byron Street
West Melbourne rubbish tip
c. 1930 – c. 1935
Gelatin silver photograph and typewriting on card
State Library Victoria, Melbourne
F. Oswald Barnett Collection
Gift of Department of Human Services, Victoria 2001
One of the most visible and lasting effects of the Great Depression was the housing crisis in the poor working class areas of Melbourne and Sydney. Many of the nineteenth-century houses had fallen into disrepair, overcrowding was endemic and a great number of families lived in squalid and unhealthy conditions. Throughout the decade ‘slum’ abolition movements in Melbourne and Sydney ran public campaigns to place public housing on the political agenda, leading to the creation of the first state Housing Commissions.
In Melbourne, Methodist layman F. Oswald Barnett led a campaign calling for slum demolition and the rehousing of residents in government-financed housing. He took hundreds of photographs that were used in public lectures and to illustrate the 1937 report of the Housing Investigation and Slum Abolition Board. This led to the creation of the Housing Commission of Victoria in 1938, with its first major project being the Garden City estate at Fishermans Bend. In Sydney a similar campaign led to the Housing Improvement Act of 1936 and the construction of the first fifty-six home units at Erskineville. (NGV)
The photographs in the F. Oswald Barnett Collection were taken by Barnett and other unidentified photographers in the 1930s. Many of them were used to illustrate a government report on slum housing and/or made into lantern slides for lectures in a public campaign. F. Oswald Barnett was born in Brunswick, Victoria. A committed Methodist and housing reformer, he led a crusade against Melbourne’s inner city slums. In 1936 he was appointed to the Slum Abolition Board and from 1938-1948 he was the vice-chair of the Housing Commission. In this position he attempted to shape compassionate public housing policy. He later protested vigorously against proposed high-rise housing (Monash Biographical Dictionary of 20th century Australia).
Scenes from Melbourne during the depression (extract)
c. 1935
Black and white film transferred to media player
1 min. 51 sec. silent (looped)
Courtesy of National Film and Sound Archive of Australia, Canberra Video: Dr Marcus Bunyan
While there is an abundance of newspaper and documentary photographs which document the 1930s shanty towns, slums, relief and charity works, there is very little moving image recordings available. Instead, the moving image medium at the time was primarily focused on providing entertainment that would allow the audience temporary relief from the Depression. This rare footage depicts slum areas of inner Melbourne, and provides great insight into the horrible living conditions that many Australian families experienced.
Ola Cohn (Australian, 1892-1964, England 1926-1930) The sundowner
1932
Painted plaster
National Gallery of Victoria, Melbourne
Gift of Jack and Zena Cohn, 2016
Ola Cohn studied sculpture with Henry Moore at the Royal College of Art in London in the 1920s. She returned to Melbourne in 1930, where the following year her solo exhibition established her as a leading proponent of modern sculpture. During the Depression the sight of ‘swagmen’ or ‘sundowners’ became commonplace as unemployed men travelled across the country in order to find work. In 1932 Cohn submitted this maquette of a sundowner to a competition for a full-scale sculpture to be erected in Fitzroy Gardens in Melbourne: unsurprisingly it was not chosen as the winning entry.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Bernard Smith’s The advance of Lot and his Brethren at centre and Albert Tucker’s The futile city at right Photo: Eugene Hyland
Installation view of Bernard Smith’s The advance of Lot and his Brethren from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
Bernard Smith (Australian, 1916-2011, England and Europe 1948-1951) The advance of Lot and his Brethren
1940
Oil on canvas
National Gallery of Australia, Canberra
Gift of the artist, 2008
In the early 1930s, artists depicted the city as a modern utopia, a place of triumphant progress and aspiration later in the decades, a new radical iconography of the city as a place of moral decay and corruption appeared. Painted at the start of the Second World War, Lot and his brethren expresses Bernard Smith’s despair at the conflagration that the world had been plunged into. Based on the biblical story of Lot, who fled from God’s destruction of Sodom, Smith depicts Karl Marx as the saviour who leads his people from the burning city.
Albert Tucker (Australian, 1914-1999, Europe and United States 1947-1960) The futile city
1940
Oil on cardboard
Heide Museum of Modern Art, Bulleen, Melbourne
Purchased from John and Sunday Reed, 1980
At the start of the Second World War Surrealism was an important influence upon Albert Tucker, as were the writings of T. S. Eliot. The futile city was inspired by Eliot’s epic poem The Waste Land (1922): ‘I came on T. S. Eliot, and instantly I recognised a twin soul because here was horror, outrage, despair, futility, and all the images that went with them. He confirmed my own feelings and also became a source … because of the images that would involuntarily form while I was reading the poetry’.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Yosl Bergner’s Citizen (c. 1940) at left Photo: Eugene Hyland
Installation view of Yosl Bergner’s Citizen (c. 1940) from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
Yosl Bergner was one of approximately 7000-8000 Jewish people, mainly from Germany, Austria and Czechoslovakia, who arrived in Australia between 1933 and 1939 fleeing Nazi persecution. This number included many artists, musicians, architects, writers and intellectuals who were to contribute greatly to Australia’s cultural life. However, government policy remained opposed to large-scale intake of Jewish refugees, and some were met with anti-Semitic sentiments upon their arrival.
Installation view of Yvonne Atkinson The tram stop (1937) from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
Max Dupain (Australian, 1911-1992) Brave New World
1938
Gelatin silver photograph
29 x 20cm
National Gallery of Victoria, Melbourne
William Kimpton Bequest, 2017
In 1935 Max Dupain referred to Aldous Huxley’s book Brave New World (1932) in his photograph of a woman trapped by technology. Dupain was attracted to this biting satire on the ethical dilemmas of social engineering because it appeared to endorse his own fervently held ideas of how modernity was affecting the individual and national body. At the time his choice to directly reference this book was surprisingly provocative: Brave New World had been banned by the Australian customs department, with existing copies rounded up and burned. Dupain returned again to the theme in 1938, producing this variant version.
Installation view of the exhibition Brave New World: Australia 1930s at NGVA with Max Dupain’s Brave New World (wall print) at centre rear with Sideboard and Chest of drawers at right Photo: Eugene Hyland
Installation view of Sideboard and Chest of drawers from the exhibition Brave New World: Australia 1930s at NGVA Photo: Eugene Hyland
Unknown, Australia Sideboard
1920s-1940s
Painted wood, wood, tin
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013
Unknown, Australia Chest of drawers
1920s-1940s
Painted wood, wood, tin
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013
Unknown, Australia Sideboard
1920s-1940s
Painted wood, wood, tin
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013
Unknown, Australia Chest of drawers
1920s-1940s
Painted wood, wood, tin
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013
Working-class people were the most affected by the high levels of unemployment during the Depression. By 1932 more than 60,000 men, women and children were dependent on the susso, a state-based sustenance payment that enabled families to buy only the bare minimum of food. Many families unable to pay their rent were evicted from their homes. For those suffering economic hardship, ‘making do’ became a way of life, and furniture would be constructed from found items such as kerosene tins and packing crates.
J. M. Harcourt (writer) (Australian, 1902-1971) John Long (publisher) Upsurge
1934
London, March 1934
State Library Victoria, Melbourne
Censorship of books was vigorously pursued by federal and state governments during the 1930s. Australia was one of only two countries in the world to ban Aldous Huxley’s Brave New World when it was first published in 1932. Australian author J. M. Harcourt’s novel Upsurge (1934) was the first book to be banned following a recommendation by the newly established Book Censorship Board in 1934. Portraying the lives of Western Australia’s working class during the Depression, it was described by one customs official as ‘thinly disguised propaganda on behalf of Communism and social revolution’.
Activism
During the 1930s a small number of artists became active in the militant working-class struggle through their involvement in social and cultural organisations affiliated with the Communist Party, such as the Friends of the Soviet Union, the Workers’ Art Club and the Workers’ Theatre Group, which were formed in Sydney, Melbourne and other metropolitan centres. A number of these artists were also involved with a variety of mostly short-lived radical magazines, helping with their production, as well as providing covers and illustrations. Linocuts were a preferred medium for these artists, as the materials were inexpensive and the images reproduced well.
Jack Maughan (illustrator) (Australia 1897-1980) Masses
Cover illustration for Masses, vol. 1, no. 1, printed by Bright Printing Services, published by the Workers’ Art Club, Melbourne, November 1932
1932
Linocut printed in red and black ink
State Library Victoria, Melbourne
Installation view of Herbert McClintock’s cover illustration for Strife, vol. 1, no. 1 (1930) from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
Edited by eighteen-year-old communist Judah Waten, with Herbert McClintock as art editor, Strife declared itself ‘an organ of the new culture, destructive and constructive’. The first issue was due for release in October 1930; however, a blasphemous poem by Brian Fitzpatrick published in the magazine prompted a police raid on the Strife office and the editor’s hasty destruction of (most) copies of the issue.
Installation view of cover illustration for Proletariat, vol. 2, no. 1 (1933) by an unknown illustrator from the exhibition Brave New World: Australia 1930s at NGVA Photo: Dr Marcus Bunyan
The Ian Potter Centre: NGV Australia Federation Square
Corner of Russell and Flinders Streets, Melbourne
The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor
Mario Gandelsonas (American born Argentina, b. 1938) Marta Minujín (Argentine, b. 1943) Project for Transformador de cuerpos, Buenos Aires
1966
Pencil and ink on paper
28 1/2 × 42″ (72.4 × 106.7cm)
The Museum of Modern Art, New York. Gift of the architects
Dynamic. Evocative. Essential. Surreal. Modern. Beautiful. Intelligent. Futuristic. Transitional. Vernacular (as in architecture concerned with domestic and functional rather than public or monumental buildings). Elitist. Monumental.
Cities in Transition. Urban Laboratories. Utopia. Here’s a posting as visual spectacle.
Marcus
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Many thankx to MoMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
The unprecedented urbanisation of Latin America after World War II became the catalyst for exceptional architectural innovation. Countries in the region dealt with the challenges of modernisation – from housing rapidly growing city populations to increasing production in the inland territories – even as many were rocked by struggles between democratic and authoritarian regimes. Whole cities, from Brasilia, the new capital of Latin America’s largest country, to Ciudad Guayana, in the Venezuelan interior, were realised with breathtaking speed and became showcases for modernist architectural design. As the Cold War divided the globe into hotly contested zones of influence and the idea of a “third world” emerged, the region became key to the concept of the developing world.
As early as the 1940s, spectacular architectural designs in Brazil had captured attention worldwide. From the mid-1950s on, experimental architectural cultures appeared in a broad range of countries, from Argentina and Chile in the south to Venezuela and Mexico in the north. After the revolution in 1959, Cuba offered a countermodel to capitalist development. New attitudes toward public space, the relationship of building to landscape, and the role of the nation-state led to bold new architectural forms and solutions. Throughout the period architects in Latin America were deeply entwined with developmentalism, the doctrine that the state should promote modernisation and industrialisation in all aspects of life.
Latin America in Construction is itself a construction site of histories of modern architecture in Latin America. Over the last four years the curatorial team has culled archives and architectural offices throughout the region to gather original documents – design and construction drawings, models, photographs, and films – to open for reconsideration the achievements and legacy of this era. New materials have been created for the show: anthologies of period documentary films researched and edited by filmmaker Joey Forsyte, photographs by Leonardo Finotti, and large-scale interpretive models made by student teams at the University of Miami and, under the direction of the group Constructo, at the Pontificia Universidad Católica in Santiago, Chile. The exhibition is intended to challenge the notion of Latin America as a testing ground for ideas and methods devised in Europe and the United States. It brings to light the radical originality of architecture and urban planning in the vast region during a complex quarter century.
Brasilia under construction, 1957. Geofoto. Arquivo Publico do Distrito Federal
Amancio Williams (Argentine, 1913-1989) Hall for visual spectacle and sound in space Buenos Aires, Argentina
1942-1953
Photomontage Unframed: 9 7/16 × 7 1/16″ (24 × 18cm)
Amancio Williams Archive
On the 60th anniversary of its last major survey of modern architecture in Latin America, The Museum of Modern Art returns its focus to the region with Latin America in Construction: Architecture 1955-1980, a complex overview of the positions, debates, and architectural creativity from the Rio Grande to Tierra del Fuego, from Mexico to Cuba to the Southern Cone, between 1955 and 1980. On view March 29 through July 19, 2015, Latin America in Construction is organised by Barry Bergdoll, Curator, and Patricio del Real, Curatorial Assistant, Department of Architecture and Design, MoMA; Jorge Francisco Liernur, Universidad Torcuato di Tella, Buenos Aires, Argentina; and Carlos Eduardo Comas, Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil; with the assistance of an advisory committee from across Latin America.
In 1955 MoMA staged Latin American Architecture since 1945, a landmark exhibition highlighting a decade of architectural achievements across Latin America. Latin America in Construction focuses on the subsequent quarter-century, a period of self-questioning, exploration, and complex political shifts in all the countries included: Chile, Argentina, Uruguay, Brazil, Peru, Colombia, Venezuela, Mexico, Cuba, the Dominican Republic, and Puerto Rico. During these years Latin American countries created startling works that have never been fully granted their place in accounts of the history of modern architecture. Latin America in Construction brings together, for the first time, more than 500 original works that have largely never been exhibited, even in their home countries. These include architectural drawings and models, vintage photographs, and films from the period collected from architecture and film archives, universities, and architecture offices throughout the region. Highlighting the extent to which the exhibition contributes to new interpretations of Latin American architecture of the period, several research teams – in addition to the invited curators – have worked over the last five years to develop analytical models and compilations of rarely seen film footage. These historical materials will be displayed alongside newly commissioned models intended to highlight the spatial invention of some of the period’s masterworks of architecture, and to underscore the exploration of new forms of public space. Large-scale models of key structures have been commissioned for this exhibition from Constructo, a cultural organisation working with the workshops of the Catholic University of Chile, along with models of buildings and their landscapes fabricated by the University of Miami, and both the exhibition and the catalogue feature a group of new photographs by the Brazilian photographer Leonardo Finotti.
Latin America in Construction begins with some of the most telling architectural projects of the years leading up to 1955 in drawings, models, and photographs, as well as an evocation in period films of the rapidly changing rhythm and physiognomy of urban life in major cities such as Montevideo, Buenos Aires, São Paulo, Rio de Janeiro, Caracas, Mexico City, and Havana. These attest to the region’s breathtaking pace of change, modernisation, and shift toward the metropolis. The exhibition is bookended by these historical films in the first gallery and, in the final gallery, a dynamic display of present-day snapshots of sites in the exhibition, submitted by Instagram users.
Urban Laboratories
Beginning in the late 1940s, planning for new campuses for the national universities of Mexico and Venezuela announced radical new thinking in which a modernist campus became not only a laboratory for new educational ideals, but also a fragment of an ideal future city that would explore themes related to local traditions and climate. The term “Cuidad Universitaria” was born, changing the relationship between university and city. Projects in Latin America in Construction range from the universities at Concepción, in Chile, and Tucámen, in Argentina, to Rio de Janeiro, Brasília, and the National University in Bogotá. From the campus laboratory to the fully realised new city, a section of the exhibition is devoted to one seminal example of modern urban planning in Latin America: Brasília. From 1956 to 1960, Oscar Niemeyer led the newly created Companhia de Urbanização da Nova Capital (NOVACAP) to move the Brazilian capital from Rio de Janeiro to the savanna of the central plateau. In a national competition to plan a city for a half-million inhabitants, the jury selected Lucio Costa’s plan, which is exhibited in Latin America in Construction alongside very different visions from Brazilian architects Villanova Artigas and Rino Levi. Costa’s design was structured around two main axes: one of civic representation, focused on the Plaza of the Three Powers, which would come to feature Niemeyer’s Congress building; the other a bowed axis centered on a complex transportation spine connecting the horizontal spread of the superquadras (urban residential superblocks). The bus terminal was placed at the intersection of the two axes, to be surrounded by the commercial, recreational, and cultural sectors, realising a long-held modernist dream of a city centred on infrastructure and movement.
Cities in Transition
While the spectacular development of Brasília was heralded, transformations of older cities were just as dramatic. The exhibition looks at examples such as Rio de Janeiro, where new relations between monumental public buildings, landscape design, and natural settings were forged in a spectacular redesign recasting the image of the city and its fabled landscape; the creation of a new civic centre at Santa Rosa de la Pampa in Argentina, where architecture helped restructure the administration and the experience of the country’s vast interior; and the recasting of portions of the Chilean coastline at Valparaíso to accommodate an expanded Naval Academy.
Also surveyed are buildings in the late 1950s and early 1960s that created a new permeability between interior and exterior space, eroding traditional boundaries of the public realm. Many of these buildings also have complex incorporation of diverse functions within a great urban block, notably Lucio Costa’s Jockey Club in Rio de Janeiro and the Teatro San Martín in Buenos Aires, which grew to pierce through a block in the city’s grid and incorporate a range of cultural functions. Clorindo Testa’s great Bank of London in Buenos Aires, one of the masterpieces of the period, created an entirely new type of urban building block with its theatrical linking of interior spaces to the public realm of the street and sidewalk. Compelling new ideas for cultural buildings as complex structures – not set apart from the city, but interwoven within it – are also featured, from Lina Bo Bardi’s art museum in São Paulo and Clorindo Testa and Francisco Bullrich’s National Library in Buenos Aires, to Abraham Zabludovsky and Teodoro González de León’s Tamayo Museum in Mexico City.
A look at innovations in architecture for schools throughout Latin America includes Juan O’Gorman’s projects for radically modern elementary schools across Mexico in the early 1930s, new educational buildings and programs built in the early years of the Cuban Revolution, the great open hall of João Batista Vilanova Artigas’s Architectural Faculty in São Paulo, and the intertwining of classroom spaces and a great protected playground in the Belgrano school in Córdoba, Argentina. Latin America in Construction also explores the inventive flourishing of new models of church architecture in many Latin American countries, notably those of Uruguay’s Eladio Dieste; public investment in major stadiums, leading to some of the most impressive structural achievements of advanced engineering; and the development of the coastline of every country in this exhibition, particularly as the rapid expansion of airplane travel transformed spatial relations among and within countries and fuelled the development of tourism.
Housing
After World War II, Latin America emerged as one of the most sustained and innovative regions in terms of state investment and new thinking in housing design. One wall of the exhibition comprises a timeline of important housing initiatives intermixing state sponsored (public) housing with middle-class housing built by the private market. A major example is the United Nations-supported Proyecto Experimental de Vivienda (PREVI; Experimental Housing Project) in Lima, Peru, a neighbourhood of low-cost experimental housing conceived in 1966 by the British architect and planner Peter Land. In contrast to the superblock model, PREVI proposed the development of projects that could be partially built at the outset and then extended over time by the inhabitants as they gained greater resources or changed needs. Rather than a single master plan, Land chose an array of projects, resulting in a neighbourhood with units designed by emerging international talents in middle-income housing, including Christopher Alexander (USA), Kikutaki, Kurokawa, Maki (Japan), Oskar Hansen (Poland), Candilis, Josic, Woods (France), and many others. Land’s original slides are included in the exhibition.
The growing prosperity of the middle class in many Latin American countries ushered in a golden period of design for the individual family house, often combined with innovative garden design. While the emphasis of the exhibition is on public architecture and collective housing, it also includes an array of some of the most innovative and accomplished of the countless examples of architects designing houses for themselves or their family members, with examples by Agustín Hernández Navarro, Paulo Mendes da Rocha, Juan O’Gorman, and Amancio Williams.
Export
While Latin American architectural history has largely been written in terms of the importation of styles and techniques developed in Europe and the United States, Latin America in Construction seeks to bring attention to the internationalisation of many Latin American practices. Beginning with the New York World’s Fair of 1939, exhibitions have played a major role in showcasing the innovative forms and attitudes embodied in much Latin American work. Several examples of Latin American pavilions are featured in the exhibition, including Carlos Raúl Villanueva’s Venezuelan Pavilion for the 1967 Montreal Expo and Eduardo Terrazas’s Mexican Pavilion for the 1968 Triennale di Milano. More permanent and sustained exportations of Latin American architectural expertise are also examined. As countries studied new trade relationships in the realms of economy and politics, architecture in Latin America developed a more international set of practices. Seen as part of the Third World after World War II, Latin America was also an exporter of aid in the form of expertise, buildings, and plans, from Mexico providing schools to countries throughout the world (including Yugoslavia, India, and Indonesia) to Lucio Costa’s design for a new city in Nigeria.
Utopia
As in the rest of the world, in Latin America 20th-century utopian thinking often involved a radical embrace or rejection of the accelerating pace of industrialisation and the national embrace of technology. For some, technologies offered the possibility of conceiving entirely new spatial relations – even the occupation of Antarctica, as seen in a 1981 perspective for Amancio Williams’s Project for La primera ciudad en la Antarida (The first city in Antarctica). For others, technology contained an intrinsic dystopian failure, to be addressed with sharp criticism – as seen in eight collages from the series Collages Sobre la Cuidad, (1966-1970) by the Venezuelan architect Jorge Rigamonti, which reflect on the dark underside of his country’s obsession with the development of its oil economy. A number of archival photographs and materials from the School of Architecture at Valparaíso are also on view, illustrating the school’s radical refusal of the prevailing values of a technological future in the search for an architecture of poetics.
Jorge Rigamonti (Venezuelan, 1940-2008) Caracas Transfer Node 2
1970
Photocollage
9 1/4 × 15″ (23.5 × 38.1cm)
The Museum of Modern Art, New York. Latin American and Caribbean Fund
Augusto H. Álvarez (Mexican, 1914-1995) Banco del Valle de Mexico, Mexico City, Mexico
1958
Gelatin silver photograph Unframed: 8 1/4 × 11 11/16″ (21 × 29.7cm)
Archivo de Arquitectos Mexicanos, Facultad de Arquitectura, Universidad Nil Ató d Méi
Enrique de la Mora (Mexican, 1907-1978) Elite Building Office and Commercial Building Mexico City, Mexico
Nd
Drawing, pencil and sanguine on sketch paper Unframed: 18 × 24″ (45.7 × 61cm)
Archivo de Arquitectos Mexicanos, Fondo: Enrique de la Mora y Palomar, Ftd d Aitt Uiidd Nil Ató d Méi
Lucio Costa (Brazilian born France, 1902-1998) Oscar Niemeyer (Brazilian, 1907-2012) Joaquim Cardozo (Brazilian, 1897-1978) Project Brasilia, Brasilia, Brazil
1958-1961
c. 1958
Gelatin silver photograph Unframed: 39 3/8 × 39 3/8″ (100 × 100cm)
Marcel Gautherot / Instituto Moreira Salles Collection
Marcel André Félix Gautherot (Brazilian, 1910-1996) Ministries under construction Brasilia, Brazil
c. 1958
Gelatin silver photograph Unframed: 39 3/8 × 39 3/8″ (100 × 100cm)
Marcel Gautherot / Instituto Moreira Salles Collection
Unknown photographer Oscar Niemeyer. Cathedral Under Construction, Brasilia, Brazil
Nd
Gelatin silver photograph
Marcel André Félix Gautherot (Brazilian, 1910-1996) Congresso Nacional, Brasília National Congress Building
1958-1960
View of the inverted dome structure during construction c. 1958
Gelatin silver photograph Unframed: 39 3/8 × 39 3/8″ (100 × 100cm)
Marcel Gautherot / Instituto Moreira Salles Collection
Brasília
The idea of moving Brazil’s capital from Rio de Janeiro to the central plateau was born in colonial times and a federal district was declared shortly after independence in 1889, but a site for the new city was chosen only in 1955. The following year the newly elected president, Juscelino Kubitschek, declared his intent to have Brazil advance fifty years in five. Oscar Niemeyer was named director of architecture and urbanism for the new city. He built the presidential palace and announced a national competition for an urban plan for a city of half a million inhabitants. From twenty-six entries, the international jury selected Lucio Costa’s plan. Costa’s design was structured around two main axes, one of civic symbolism, terminating in the Praça dos Três Poderes (Plaza of the three powers), the other – with a gentle curve to it – an axis of the daily functions of the city, a highway spine flanked by housing organised in verdant neighbourhood blocks (superquadras). The main bus terminal was placed at the intersection of the two axes, to be surrounded by the commercial, recreational, and cultural sectors, realising a long-held modernist dream of a city centred on infrastructure and movement. Niemeyer’s designs developed along the lines set out by Costa – a great esplanade lined with nearly identical buildings for the ministries and exceptionally sculptural designs for a cathedral, museum, and library. Although far from complete, Brasília was an irreversible reality at its inauguration in 1960.
Emilio Duhart (Chilean, 1917-2006) The United Nations Economic Commission for Latin America and the Caribbean (CEPAL), Santiago, Chile
1962-1966
Courtesy PUC Archivo de Originales
Juan Sordo Madaleno (Mexican, 1916-1985) Edificio Palmas 555, Mexico City, Mexico
1975
Gelatin silver photograph Photograph: Guillermo Zamora
Museum of Modern Art, New York. Gift of Sordo Madaleno Arquitectos
Max Dupain (Australian, 1911-1992) Embassy of Australia, Paris, France
1978
Silver gelatin print
A good friend of mine, who should know what she is talking about, observed that you cannot look at Dupain’s photographs of Paris without first looking at his commissioned photographs of the then new Embassy of Australia. Unfortunately, I could only find one photograph online to show to you, Embassy of Australia, Paris, France (1978, below), but you get the idea. Dupain’s The Paris ‘private’ series were taken during a couple of days off that he had from the commissioned job. Basically they are tourist photographs, a record of things Dupain wanted to see in Paris on one of his few overseas trips. Most of them are disappointing images, serviceable but disappointing.
Having studied Eugène Atget I expected more from Dupain. In these photographs he tends to shoot obliquely into the object of his attention, directing the lead in and vanishing point(s) within the image. For example, in Untitled (the balustrade of Pont Alexandre III) and Untitled (Pont Alexandre III with sculptural balustrade) (both 1978, below), Dupain allows the bridge parapet to lead the eye into the image, while the vanishing point is positioned at far right. Neither are very successful as formal compositions. The same can be said of Untitled (statue of Maréchal Joffre, Place Joffre, Champ-de-Mars) (1978, below) with the vanishing point this time at the left of the image. More successul is Dupains’s Untitled (staircase to the park, looking toward Bassin des Serruriers, Domaine de Chantilly) (1978, below) with its foreshortened out of focus entrance, geometric planes and multiple exit points – but then he goes and spoils it with the simplistic Untitled (staircase and statue of Anne de Montmorency 1886 by Paul Dubois, Domaine de Chantilly) (1978, below) taken at the same location. The best image from the series is undoubtedly Untitled (the statue of Christ at the portal of La Sainte-Chapelle) (1978, below) with its restrained and refined aesthetic. A beautiful image and a wondrous space. The photograph of the people at the Eiffel Tower is also a cracker.
As I said at the beginning, these are tourist art photographs of Paris, but they could have been so much more.
Dr Marcus Bunyan
.
Many thankx to The Art Gallery of New South Wales for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Max Dupain (Australian, 1911-1992) is one of the leading figures of 20th-century Australian photography. The group of 21 photographs in his Paris ‘private’ series was taken when he travelled to Paris in 1978 with architect Harry Seidler to photograph the Australian Embassy, designed by Seidler. The series consists of transcendent photographs of Paris. Dupain had studied the work of Eugène Atget, and there is a similar enigmatic atmosphere to be found in Dupain’s examination of the city. Primarily depicting 18th- to 19th-century landmarks such as the ornate Alexandre III bridge, the Grand Palais and Chantilly, this compilation offers a view of the city and its environs shaped by layers of history, mythology and art.
Given to the Gallery by Penelope Seidler in memory of her husband and the photographer, this portfolio is shown alongside other photographs of made and natural structures by Dupain from the 1930s to the 1980s.
“I like to involve myself in, maybe, a small area geographically and work it out, as simple as that” said Max Dupain in a 1991 interview.1 During his lifetime the photographer visited only three countries outside of Australia. His 1978 trip to Paris was made together with architect Harry Seidler, whose newly built Australian embassy building Dupain was commissioned to document. The long professional association between the architect and the photographer stretched back to the early 1950s, soon after Seidler’s arrival in Australia. Dupain, through his expressive architectural photographs, was closely involved in popularising the modernist aesthetic espoused by Seidler’s starkly functional buildings.
Conversely, the set of 21 photographs of Paris which Dupain compiled and presented to Seidler as a personal gift, does not contain any images of modern architecture. Primarily depicting 18-19th century landmarks such as the ornate Alexandre III bridge, the Grand Palais and Versailles this compilation offers a view of the city and its environs shaped by layers of history, mythology and art. Dupain was nonetheless well read in modern French culture and aware of photographers such as Eugène Atget and Henri Cartier-Bresson.
The Parisian images vary from pure architectural studies to compositions with an almost literary scope. They demonstrate Dupain’s signature trait of combining the formal and social aspects of photography. In some of the works, Dupain gives classical architecture the same reductive treatment he brought to modern buildings. Stripped of embellishments, these photographs bring to the fore the essence of order, logic and harmony which lies at the core of classicism. The presence of human figures in photographs such as that of Napoleon’s statue on the balcony of Les Invalides adds a dramatic element to the compositions. Dupain wanted “to extract every ounce of content from any exciting form and I want to give life to the inanimate.”2 Time and the built environment converge in this personal ode to Paris, manifesting the incessant flow of life and the connectedness of past with the present.
1. Max Dupain interviewed by Helen Ennis in Max Dupain: Photographs, National Gallery of Australia, Canberra, 1991, p. 13
2. Max Dupain, “Max Dupain – modernist”, exhibition catalogue, State library of NSW, Sydney, 2007, p. 9
Text from the Art Gallery of New South Wales website
An exhibition of 36 photographs – 21 of which were taken in Paris in 1978 by one of Australia’s most well-known photographers, Max Dupain (1911-92) – will go on display at the Art Gallery of New South Wales. Donated to the Gallery by Penelope Seidler in 2012, this will be the first time the Paris ‘private’ series portfolio will have ever been seen publicly. Max Dupain had gifted these works to renowned architect Harry Seidler and in a handwritten note he wrote:
I owe you so much. For nearly twenty five years I have dwelt on your philosophy of architecture. We register alike about clear thinking, logic of application, poetry of form etc etc. [sic] I have tremendous regard for architecture as a stabilising force in this turbulent society and I think my best work will ultimately show the significance of this by virtue of the photographed form thrown up by architecture and by engineering.
.
Dupain made the trip to Paris, his second outside Australia and his first to Europe, to accompany his long-time colleague and friend, Harry Seidler (1923-2006). Dupain’s task was to photograph the Australian Embassy there, which Seidler had designed (completed 1977). The pair were not only friends but shared a deep appreciation for form and light, for the modernist curves in space that can be created both architecturally and photographically.
Dupain explored many monuments around Paris. These impressions of a place he was seeing for the first time reveal his exploration of a new city and its sites, varying from formal compositions of photographic space, such as the image of Napoleon’s statue on the balcony of Les Invalides, to more personal or candid moments, as with the group of people captured beneath the Eiffel Tower. Many photographs depict 18th- and 19th-century landmarks such as the ornate Alexandre III bridge, the Grand Palais and Chantilly; the compilation offers a view of Paris and its environs shaped by layers of history, mythology and art.
Despite the diversity of subject matter across the 21 images, Dupain always maintained his signature poise and rigour, appreciation of the way light interacts with the objects it touches, and attention to the composition of photographic space through a play of scale.
In addition to the Paris ‘private’ series, 15 of Dupain’s photographs of architectural and botanical forms will be on display. Almost all are taken in and around Sydney; some of the flowers are from Dupain’s Castlecrag garden and iconic Sydney buildings such as the Opera House are included. These images cover 50 years of the photographer’s practice from 1933 to 1983, and indicate his enduring appreciation for the order, logic and harmony which lie at the core of classicism, the movement that produced many of the iconic Parisian monuments he saw, and for the modernism which Seidler endorsed through his work.
Press release from the AGNSW website
Max Dupain (Born Australia 1911, died 1992) Pyrmont silos 1933, printed later
Gelatin silver photograph
Purchased 1976
Pyrmont silos is one of a number of photographs that Dupain took of these constructions in the 1930s. In all cases Dupain examined the silos from a modernist perspective, emphasising their monumentality from low viewpoints under a bright cloudless sky. Additionally, his use of strong shadows to emphasise the forms of the silos and the lack of human figures celebrates the built structure as well as providing no sense of scale. Another photograph by Dupain in the AGNSW collection was taken through a car windscreen so that the machinery of transport merges explicitly with industrialisation into a complex hard-edge image of views and mirror reflections. There were no skyscrapers in Sydney until the late 1930s so the silos, Walter Burley Griffin’s incinerators and the Sydney Harbour Bridge were the major points of reference for those interested in depicting modern expressions of engineering and industrial power.
Dupain was the first Australian photographer to embrace modernism. One of his photographs of the silos was roundly criticised when shown to the New South Wales Photographic Society but Dupain forged on regardless with his reading, thinking and experimentation. Some Australian painting and writing had embraced modernist principles in the 1920s, but as late as 1938 Dupain was writing to the Sydney Morning Herald:
“Great art has always been contemporary in spirit. Today we feel the surge of aesthetic exploration along abstract lines, the social economic order impinging itself on art, the repudiation of the ‘truth to nature criterion’ … We sadly need the creative courage of Man Ray, the original thought of Moholy-Nagy, and the dynamic realism of Edouard [sic] Steichen.”1
Knud Lonberg-Holm (Danish, 1895-1972) The New – The Coming, Detroit, Streetcars
1924
Reproduced in Erich Mendelsohn’s Amerika, p. 73
Vintage gelatin silver print
3 1/4 x 4 1/4 inches (8.3 x 10.8cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
I am so excited by this monster two-part posting about the work of architect Knud Lonberg-Holm. Not only are his drawings and models incredible but his photographs of industry and skyscrapers, taken mainly between 1924-26, are a revelation. The textures and inky blackness of his Dazzlescapes and the New Photography images of skyscrapers (both in Part 2) mark these images as the greatest collection of photographs of skyscrapers that I have ever seen. More comment tomorrow but for now just look at the dark Gotham-esque photograph The New – The Coming, Detroit, Streetcars (1924, below). The streetcar reminds me of the armoured trains so popular during the inter-war years and during World War II. And what a title: The New – The Coming…
Dr Marcus Bunyan
.
Many thankx to Ubu Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Lonberg-Holm was the first architect in my knowledge ever to talk about the ultimately invisible architecture. In 1929, when I first met him, he said the greatest architect in history would be the one who finally developed the capability to give humanity completely effective environmental control without any visible structure and machinery.”
.
Buckminster Fuller
Knud Lonberg-Holm (Danish, 1895-1972) View from the roof Detroit, 1924
Vintage gelatin silver print
2 3/4 x 4 1/2 inches (7 x 11.4cm) approx.
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Knud Lonberg-Holm (Danish, 1895-1972) Detroit
1924
reproduced in Erich Mendelsohn’s Amerika, p. 71 (top)
Vintage gelatin silver print
3 3/8 x 4 3/8 inches (8.6 x 11.1cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Knud Lonberg-Holm (Danish, 1895-1972) Detroit, A New Street
1924
reproduced in Erich Mendelsohn’s Amerika, p. 71 (bottom)
Vintage gelatin silver print
3 3/8 x 4 3/8 inches (8.6 x 11.1cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Ubu Gallery is pleased to present Knud Lonberg-Holm: The Invisible Architect, a debut exhibition devoted to this overlooked, yet highly influential, 20th Century modernist. Never-before-seen photographs, architectural drawings, letters, graphic design, and ephemera from Lonberg-Holm’s remarkably diverse career will be on view through August 1, 2014. The exhibition, which consists of selections from the extensive archive assembled by architectural historian Marc Dessauce, will solidify the importance of this emblematic figure in early 20th Century cultural and architectural history. Metropolis Magazine, the national publication of architecture and design, will publish an article on Knud Lonberg-Holm to coincide with this groundbreaking exhibition.
Born in Denmark, Knud Lonberg-Holm (January 15, 1895 – January 2, 1972), was an architect, photographer, author, designer, researcher, and teacher. Lonberg-Holm’s early work in Denmark and Germany initially associated him with the Berlin Constructivist and Dutch De Stijl groups. An émigré to America in 1923, Lonberg-Holm was a fundamental correspondent with prominent European architects and their modernist counterparts in the U.S. The exhibition will feature a selection of letters to Lonberg-Holm from a pantheon of the European avant-garde including László Moholy-Nagy, Walter Gropius, Theo Van Doesburg, Buckminster Fuller, Hannes Meyer, J.J.P. Oud, El Lissitzky, and Richard Neutra.
From 1924–1925, Lonberg-Holm was a colleague of Eliel Saarinen at the University of Michigan at Ann Arbor, where he taught a course in basic design modeled on the famed Bauhaus Vorkurs, the first-ever introduced in U.S. design schools. An agent of inter-continental communication, his reports on the state of American architecture appeared abroad. Lonberg-Holm’s 1928 article, Amerika: Reflections, featured buildings on the University of Michigan campus and appeared in the Dutch avant-garde publication i10, which employed Moholy-Nagy as its photo editor. The article not only contributed to international discourse on the building industry, but also touched on the “time-space convention,” a subject Lonberg-Holm would explore throughout his career. This publication, among others, will be on display.
Lonberg-Holm’s interest in American industry is best viewed in his collection of photographs taken between 1924-1926. These works document his pioneering views of industry and technology in burgeoning, jazz-age New York, Detroit, and Chicago; they would appear later, un-credited, in Erich Mendelsohn’s seminal 1926 publication Amerika, the first book on the ‘International Style’ in American architecture. Thirteen vintage photographs reproduced in Amerika will be on exhibit, as well as additional early photographs depicting technological advancements, such as cable cars and radio antennae, American culture in mass crowds and billboards, and the commercial architecture of skyscrapers and factories. Backside-views of buildings and fire escapes, rather than historicist ornamental facades, are presented in their “unselfconscious beauty” in opposition to traditional, pictorialist architectural photography. The content of the works coupled with progressive view points, like worm’s eye perspectives and extreme close-ups, align them squarely within the then emerging ‘New Photography’. El Lissitzky wrote that the dynamic photos “grip us like a dramatic film.”1 Mendelsohn’s publication, featuring Lonberg-Holm’s dynamic photography, received immediate acclaim, domestically and abroad.
While still in Germany, Lonberg-Holm created a submission for the Chicago Tribune Tower competition of 1922. Although never officially submitted, the project was published widely in magazines and newspapers, alongside other prominent architects’ designs. From his office in the historically designed Donner Schloss in Altona, Germany, Lonberg-Holm envisioned a modern construction for Chicago that incorporated references to American mass culture, specifically the automobile. The West elevations on view show the Chicago Tribune sign, which includes circular signage reminiscent of headlights. The Side elevation exhibited clearly demonstrates how the printing plant function of the ground floors of the building, rendered in black, are visually distinct from the offices of the higher floors, rendered in white with black accents for visual continuity throughout the building. Lonberg-Holm’s proposed construction, whose outward visual design distinguished its internal functions, was reproduced in L’Architecture vivante, La Cite, Le Courbusier’s Almanach d’architecture in France and Walter Gropius’ Internationale Architektur in Munich; the Berliner Illustrirte Zeitung displayed his building next to that of Mies van der Rohe and a full spread devoted to the skyscraper, featuring Lonberg-Holm’s Chicago design adjacent to plans by Walter Gropius, Saarinen and van der Rohe, appeared in H. Th. Wijdeveld’s November / December 1923 issue of the innovative publication Wendingen.
The drawings Lonberg-Holm created during this first decade as an émigré are striking for their early use of European modernist, particularly Neo-plastic, influences. He was close with the DeStijl movement in Holland, and corresponded with both Theo van Doesburg and J.J.P. Oud, with whom he would continue to work within CIAM, the Congrès Internationaux d’Architecture Modern. Early renderings done by Lonberg-Holm in the U.S. demonstrate an affinity for DeStijl principles. His plans for the 1926 MacBride residence in Ann Arbor are dynamic and asymmetrical, with intersecting planes in simple primary colors. Surely the first American allusion to Gerrit Rietvel’s iconic 1924 Schröder House in Utrecht, Holland, the MacBride residence is one of the first ‘International Style’ modernist houses designed in the Western hemisphere.
Lonberg-Holm’s importance to and knowledge of European architectural trends resulted in an invitation by Jane Heap to participate in the 1927 landmark New York exhibition, Machine Age, which was heralded as “the first international exposition of architecture held in America.” This exhibition, held at the New York Scientific American Building, May 16-28, stressed the new mechanical world and its key player, the Engineer. Lonberg-Holm’s 1925 Detroit project, Radio Broadcasting Station, was featured. The New York’s review of the exhibition explicitly referenced Lonberg-Holm’s project, noting its “delicacy and exquisite technique of execution.”
Lonberg-Holm worked with the F.W. Dodge corporation for 30 years, first in the division responsible for The Architectural Record (1930-1932), and then as head of the research department of Sweet’s Catalog Service (1932-1960.) At The Architectural Record, Lonberg-Holm acted as research editor and wrote technical news, a precursor to his lifelong interest in data-driven analytics. During his New York based employment, Lonberg-Holm’s involvement with international architectural trends did not diminish. In addition to prolonged correspondence with the various directors of the Bauhaus, including Hannes Meyer, he and his wife Ethel would visit the Bauhaus at Dessau in 1931. In 1946, Lonberg-Holm was also ultimately a candidate to replace Moholy-Nagy as director of the Institute of Design in Chicago.
At the same time, Lonberg-Holm was involved in domestic architecture and building theory. Richard Neutra would reach out to Lonberg-Holm in 1928 for illustrations and photographs to include in his account of the modern architecture movement in the US; he would approach him again in 1932 to lecture on the West Coast. Lonberg-Holm and Neutra were the “American” representatives to CIAM. It was Lonberg-Holm who nominated Buckminster Fuller and Theodore Larson for membership into CIAM in 1932.
What little scholarship exists about Knud Lonberg-Holm briefly examines his nearly twenty-year relationship with the Czech pioneering graphic designer Ladislav Sutnar, with whom Lonberg-Holm worked at Sweet’s Catalog Service. From 1942 through 1960 at the research department of Sweet’s, the bible for all the building trades, Lonberg-Holm and Sutnar revolutionized the catalog by standardizing information techniques. They presented systemised communication through a simple, modern, and intelligible visual language that influenced all areas of architectural and graphic design. Together, Lonberg-Holm and Sutnar co-authored Catalog Design (1944), Designing Information (1947), and Catalog Design Progress (1950).
The vital roles and communication between city planning, architecture, and civil productivity where important to Lonberg-Holm and would be explored throughout his career. In A. Lawerence Kocher’s letter to Lonberg-Holm, the article “Architecture-or organized space” is referenced. This 1929 essay, published in Detroit, addressed the “building problem” in the US – the “an-organic structure of its cities” – and proposed “a new conception of city-planning based on a clearer understanding of the organic functions of a community.” Lonberg-Holm would be an important participant in the city planning survey of Detroit, one of CIAM’s analytical initiatives in 1932-1933. Field Patterns and Fields of Activity, a visual diagram further illustrating the interconnectivity of intelligence, welfare, production, and control in a community, graphically illustrates these early principles.
Collaboration was critical to Lonberg-Holm, who would work with Theodore Larson to improve information indexing and the production cycle. Field Patterns, as well as the visuals for Planning for Productivity (1940), were components of Lonberg-Holm’s collaboration with Theodore Larson. Lonberg-Holm sought to apply some of the theories set forth in Development Index. This collaborative project with Larson was published by the University of Michigan in 1953 and focused on the relationship between community, industry, and education, analytical theories that were proposed by Lonberg-Holm during the formation of the University’s Laboratory of Architectural Research. Lonberg-Holm’s 1949 visual diagram of the relationship between the university, the building industry, and the community, is on view, as well as the Sutnar-designed steps of Planning for Productivity. Lonberg-Holm had returned to the University as a guest lecturer and professor in the late 1940s and early 1950s. At the suggestion of Lonberg-Holm, Theordore Larson was among the new faculty hired at the University in 1948, along with Walter Sanders and William Muschenheim, whom Lonberg-Holm had worked with in the Detroit survey.
In 1949, Lonberg-Holm was issued a Dymaxion License and became a trustee to the Fuller Institute/Research Foundation; among the trustees are his contemporaries George Nelson and Charles Eames. Initially meeting Buckminster Fuller in c. 1929, he and Fuller would correspond throughout Lonberg-Holm’s life. Lonberg-Holm was a member of the Structural Studies Associates (SSA), a short-lived group of architects in the 1930s surrounding Fuller and his briefly published architectural magazine Shelter. A number of Shelter issues are on view, many of which have contributions by Lonberg-Holm; the cover of the May 1932 issue was designed by Lonberg-Holm. Planning for Productivity and Development Index were later data-driven projects that furthered the SSA’s and Fuller’s principles – that the evolution of science and technology would influence social progress and could be beneficial to the community only through research, analysis and macroapplication.
Arriving to the US a decade before his European contemporaries, Lonberg-Holm occupied a unique position as a cultural bridge, communicating between the US and Europe in a period when the state of art and architecture was radically changing. He exposed his students and colleagues to European protagonists of avant-garde architecture theory while enthusiastically exploring American industry and building. Exclusively through collaboration, Lonberg-Holm worked to modernise both architecture and design. Integral to Lonberg-Holm’s principles was that technology alone could not suffice as the sole perpetuator of architecture – advancements in building and new designs needed to promote human culture in an ever-evolving manner where new information was continuously integrated into design theory. Throughout his career, Lonberg-Holm embodied the antithesis of the stereotype architect, egocentric and insulated from the community in which his designs were to exist. From his beginnings at The Architectural Record to his final project, Plan for Europe 2000: Role of the Mass Media in Information and Communication, Lonberg-Holm held to the belief that a collective approach, with applied research, could form a generative knowledge base that could be cultivated for altruistic means.
Text from the Ubu Gallery website
Beaumont Newhall, The History of Photography from 1839 to the Present, London, Seeker & Warburg, 1982, p. 1.
Portrait of Knud Lonberg-Holm
New York, 1950s (prior to 1960)
Vintage gelatin silver print
6 7/8 x 10 inches (17.5 x 25.4cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Portrait of Knud Lonberg-Holm
New York, 1950s (prior to 1960)
Vintage gelatin silver print
7 7/8 x 9 1/2 inches (20 x 24.1cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Knud Lonberg-Holm (Danish, 1895-1972) Le Corbusier at CIAM Conference c. 1954-1964
Vintage gelatin silver print
5 5/8 x 8 3/8 inches (14.3 x 21.3cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Knud Lonberg-Holm (Danish, 1895-1972) Buckminster Fuller, Lonberg-Holm and other Bayside, New York
Nd
Vintage gelatin silver print
3 x 4 1/4 inches (7.6 x 10.8cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Knud Lonberg-Holm (Danish, 1895-1972) Photograph of the Dymaxion Car Bridgeport, Connecticut, July 21, 1933
Vintage gelatin silver print
7 5/8 x 9 3/4 inches (19.4 x 24.8cm)
Stamped on verso
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
In July of 1933, the Dymaxion car was introduced in Bridgeport, Connecticut, where it caused a great stir. Lonberg-Holm can be seen holding the car door open while the artist Diego Rivera (who was in attendance with his wife and artist Frida Kahlo) looks on, coat on his arm.
Knud Lonberg-Holm (Danish, 1895-1972) Diego Rivera and Frida Kahlo
Bridgeport, Connecticut, July 21, 1933
Vintage gelatin silver print
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Knud Lonberg-Holm (Danish, 1895-1972) Radio Broadcasting Station
Photograph of Model
Detroit, 1925
Vintage gelatin silver print
4 7/8 x 6 7/8 inches (12.4 x 17.5cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Knud Lonberg-Holm (Danish, 1895-1972)
Radio Broadcasting Station
Photograph of Model
Detroit, 1925
Vintage gelatin silver print
5 3/8 x 7 1/2 inches (13.7 x 19.1cm)
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Knud Lonberg-Holm (Danish, 1895-1972) Photograph of Chicago’s new skyline
North of Randolph Street
All new since 1926 except Wrigley and Tribune buildings May 1929
Vintage gelatin silver print
2 1/4 x 4 1/2 inches (5.7 x 11.4cm)
Titled on verso
The Knud Lonberg-Holm Archive from the Marc Dessauce Collection; Courtesy Ubu Gallery, New York
Ubu Gallery
416 East 59th Street
New York 10022 Phone: 212 753 4444
Artists: Laurence Aberhart (NZ), Jananne al-Ani (IRQ/UK), Kader Attia (DEU/DZA), Saskia Doherty (AUS), Fabien Giraud & Raphaël Siboni (FRA), Igor Grubić (CRO), Carlos Irijalba (ESP), Nicholas Mangan (AUS), Rä di Martino (ITY), Ricky Maynard (AUS), Callum Morton (AUS), Tom Nicholson (AUS), Jamie North (AUS), Justin Trendall (AUS) and James Tylor (AUS)
Igor Grubic (Croatia, b. 1969) Monument
2014
Video still
Courtesy of the artist
While not as strong as previous exhibitions such as NETWORKS (cells & silos)(2011) and Reinventing the Wheel: the Readymade Century(2013), this exhilarating show at the Monash University Museum of Art (MUMA) confirms that this is the premier public gallery in Melbourne staging intellectually stimulating group exhibitions on specific ideas, concepts and themes.
There are some really interesting works here and I easily spent an hour and a half on each visit pondering, looking, thinking and inquiring. Some of the work is a little overexposed, such as Tom Nicholson’s Comparative monument (Palestine) (2012) – seen in Melbourne Now; Nicholas Mangan’s Some kinds of duration (2011), Ricky Maynard’s photographs and even more Callum Morton after his appearance in the Reinventing the Wheel exhibition. It’s about time some other local artists were given a go.
Justin Trendall’s white Lego buildings are stunning; Laurence Aberhart’s war memorials are printed too dark and seemed to be neither a record nor a feeling (they looked so much better in the recently published book); James Tylor’s photographs are adaptive as they seek to place traditional Indigenous dwellings back into the landscape but the base photographs from which he is working are not up to much; Rä di Martino’s Star Wars ruins are just too cute; and Carlos Irijalba’s drilling/tides are fascinating, but only if you know the context from which the work emanates. Video art was the highlight of the exhibition, and I don’t get to make that statement too often. Igor Grubic’s film Monument (2014, below) was mesmerising, as was Jananne al-Ani’sShadow sites II (2011, below) – two of the best pieces of video art I have seen in a long time.
Monument features a series of meditative ‘portraits’ of the massive concrete memorials called ‘Spomenik’ built by the former Yugoslav communist state. Grubic abstracts these huge, cathedral-like memorials to various battles (usually of the Second World War) and events, instead focusing on textures, environments and seasons. He photographs the monuments in mist and accompanies the images with ambient soundscapes that are haunting and evocative. The film holds the viewer in the palm of its hand and you are unable to look away, as the artist’s camera scours the surface of concrete and steel, intercut with branches and leaves, angles and vistas, pulling back and pushing forward. Usually video art doesn’t hold my attention for all but a few minutes but this film you can’t take your eyes from. The screen flickers and crackles, fades to orange and back again – its almost like a failure of transmission, as though the signal is not strong enough to support these interstitial spaces.
In Jananne al-Ani’s immersive film Shadow sites II, the viewer sits in a darkened room and the screen is full width of the space. Here, we are constantly moving forward and the camera never pulls back from the image. The film offers a sequence of aerial views in sepia tones; second by second our perspective nears the ground – but we never arrive. Accompanied by a David Sylvian style ambient soundtrack, the images are absolutely beautiful and intriguing as they morph one to another. Are you looking at the earth, the ground or a closeup of the surface of concrete, such as the patterns in Man Ray’s Dust Breeding (1920), which documents Duchamp’s The Large Glass after it had collected a year’s worth of dust while he was in New York? You are never quite sure…
The other thing to note with this exhibition is that, like many contemporary exhibitions, there are no wall notes or even a hand-out at the beginning that would enable the casual visitor to gain insight into the nature and meaning of the works. If I had not read the press release and done my own research I would have had no idea about the origins of some of the concepts for the work. This really is not good enough for the casual visitor to the gallery, any gallery. Are visitors expected to spend hours before they arrive, researching what the work is about so that they might actually understand what is going on? I took a friend to the gallery and luckily I was on hand to explain to her the ‘how’ and ‘why’ of the works concepts and origins. For example, if you read the wall label for Monuments you would have no idea that these were in Yugoslavia and that they had mostly been built to honour the dead from World War II; similarly, if you read the wall label to Carlos Irijalba’s High Tides (drilling) (2012) you would gain only the vaguest idea that the soil drilling sample was taken from under the tarmac of a former weapons factory in the Urdaibai or Guernica Estuary, Basque Country. Guernica – that place of horror bombed in the Spanish Civil War and most notably memorialised in the painting by Picasso of the same name. We, the viewer, need to know these things… not as an addendum after hours of reading, or on getting home and reading the catalogue essay – but while we are at the gallery!
While artists hint at the meaning of a work, leaving interpretation open ended and up to the viewer’s imagination and what life history they bring to the work, it may be useful and indeed I think desirable to provide the viewer with some tangible clues. Not much, just a paragraph that they can take with them to help with interpretation. It’s not much to ask, is it?
Dr Marcus Bunyan
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Many thankx to MUMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Concrete is an interesting metaphor in the sense that it’s an aggregate that’s then bonded together. In some ways, that might represent this positive idea of pluralism, or it could be this completely hideous idea of homogeneity. Many of the works deal with samples of time and cycles violence and trauma and how we go about representing that history.”
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Geraldine Kirrihi Barlow
Igor Grubic (Croatia, b. 1969) Monument
2014
Video still
Courtesy of the artist
Igor Grubic (Croatia, b. 1969) Monument (work in progress) installation view, Monash University Museum of Art,2014
2014
Video projection, colour, sound
53 minutes Photo: Christian Capurro
Born in Zagreb, Croatia, 1969. Lives and works in Zagreb
In the film Monument Zagreb-based artist Igor Grubic offers a series of meditative ‘portraits’ of the massive concrete memorials built by the former Yugoslav state. With the rise of neo-fascism these mysterious sentinel forms, originally intended to honour World War II victims of fascism, are increasingly subject to neglect, even attack.
Emphasising the unexpected fragility of these monumental structures, Grubic sets human attempts to fix meaning, memory and the experience of loss against a backdrop of seasonal change. In a landscape which has witnessed so many cycles of trauma and upheaval, this work mirrors the rise and fall of many monuments built to preserve the memory of events which might otherwise be forgotten. Can such forms ever communicate a stable message through time?
“The work is void of explanation or commentary, instead concentrating on the surfaces of the monuments, their surrounding environments and the shifting seasons. We are left with little but their looming presence. “When we were filming, I was trying to read them without ideological background or context, but at the same time I couldn’t help but feel the fact that lots of people died and suffered at these sites – I could feel a real sense of spirituality. I began seeing them as new cathedrals in a way.””
Text from the Sydney Morning Herald website
Jananne al-Ani (Iraq, b. 1966) Shadow sites II
2011
Video still
Courtesy of the artist
Born in Kirkuk, Iraq, 1966. Lives and works in London
Jananne al-Ani’s film Shadow sites II offers a sequence of aerial views in sepia tones; second by second our perspective nears the ground. Our appreciation of the formal beauty of these images co-exists with our unease as we try to determine what it is we are looking at. Are these archaeological sites, or housing compounds damaged by missile or drone strikes? Iraqi-born al-Ani notes as inspiration the ‘strange beauty’ of Edward Steichen’s 1918 photographs of the Western Front taken whilst he was a member of the US Aerial Expeditionary Force.
“UK-based Iraqi artist Jananne al-Ani’s striking video work saw her film archaeological sites in the Middle East from high up in a fixed-wing airplane, the shadows of the early morning and late evening revealing former buildings, structures and sites of significance in extraordinary resolution. While al-Ani’s work evokes the nightmarish recent histories of drone strikes and bombing campaigns, it also digs deep into the past.”
Text from the Sydney Morning Herald website
Extracts from Jananne al-Ani’s filmShadow sites II 2011
James Tylor (Australia, b. 1986) (Deleted scenes) From an untouched landscape #3 2013
Inkjet print on Hahemuhle paper with hole removed to a black velvet void, ed. 4/5 Photo: Christian Capurro
James Tylor (Australia, b. 1986) (Deleted scenes) From an untouched landscape #1 2013
Inkjet print on Hahemuhle paper with hole removed to a black velvet void, ed. 4/5 Photo: Christian Capurro
James Tylor (Australia, b. 1986) Un-resettling (stone footing for dome hut)
2013
Hand coloured archival inkjet prints
Courtesy of the artist
Born in Mildura, Victoria. Lives and works in Adelaide, South Australia
Australian cities and communities feature a wide array of memorials, however the long history of Indigenous Australia is almost entirely absent from such solid forms of public acknowledgement. In Un-resettling James Tylor presents the beginnings of a formal typology of Indigenous dwellings, a number of which relate to his own personal heritage. Tylor states, “Un-resettling seeks to place traditional Indigenous dwellings back into the landscape as a public reminder that they once appeared throughout the area.” Tylor’s photographs remind us of the invisible histories of this land, for instance the fertile volcanic plains west of Melbourne with remnants of stone dwellings and larger ceremonial sites of which there is little public knowledge.
Kader Attia (French Algerian, b. 1970) Rochers carrés [Square rocks]
2008
Courtesy of the artist and Galerie Nagel Draxler, Berlin and Cologne
Concrete installation view, Monash University Museum of Art, 2014
Justin Trendall (at right), Tom Nicholson (on floor, see below), James Tylor (back wall middle, see above), Kader Attia (back wall left, see above) Photo: Christian Capurro
Concrete installation view, Monash University Museum of Art, 2014
Justin Trendall (back left), Tom Nicholson (on floor, see below), Rä di Martino (back wall right, see below) Photo: Marcus Bunyan
Rä di Martino (Italian, b. 1975) No More Stars (Abandoned Movie Set, Star Wars) 33°50’34 N 7°46’44 E Chot El-Gharsa, Tunisia 01 September 2010 (detail) 2010
Series of 9 photographs, unique edition, lambda prints, wooden frame
30cm x 30cm each
No More Stars (Abandoned Movie Set, Star Wars) 33°50’34 N 7°46’44 E Chot El-Gharsa, Tunisia 01 September 2010 is a series of photographs taken in the abandoned movie sets of the film saga Star Wars, filmed through the years in different locations in the south of Tunisia. Unexpectedly those sets have been left on the locations so after years have now mostly become ruins, almost as some sort strange archeological sites. The particular hot and dry climate has helped maintain intact many parts of the sets, or buried under the sand just sections of it. (Artist statement)
In September 2010, New York-based visual artist and filmmaker Rä di Martino set out on a quest to photograph and document old abandoned film sets in the North African deserts of Tunisia. The project had started when she discovered that it was common practice to abandon these sets without tearing them down, leaving them fully intact and crumbling over time, like archeological ruins. Martino spent that month traveling around Chott el Djerid in Tunisia, finding and photographing three Star Wars sets in all for her photo series No More Stars and Every World’s a Stage.
“I think is very interesting the amazing poetic potential of those ruins, being ruins of something that was the future in our imagination,” Martino explained in an email to The Huffington Post. “It’s bewildering to see the biological decay of those cheap materials, which once built perfect images of our past and future.”
Tom Nicholson (Australian, b. 1973) Comparative monument (Palestine) 2012
9 stacks of 1000 two-sided off-set printed posters
50 x 50cm each
Proposition for a monument, articulated as 9 stacks of 1000 two-sided off-set printed posters, each 50x50cm, for visitors to take away, and also pasted up around Ramallah.
Comparative monument (Palestine) is a proposition for a future monument, which takes the form of nine stacks of posters, from which the audience is free to take a poster. The project began with a search for war monuments bearing the name ‘Palestine’ erected in and around Melbourne in the early 1920s to commemorate the presence of Australian troops in Palestine during WW1. This project rethinks possibilities for the monument and suggests new forms of connection between different parts of the world and their histories.
Throughout Australia, war monuments bear the name “Palestine” to commemorate the presence of Australian troops in Palestine during World War I and, in particular, Australian involvement in the 1917 British capture of Beersheba (in turn a critical city in the events of 1948 and the Nakba). These monuments also reflect the realities of the 1920s (when they were erected) and the era of the British Mandate, when the name Palestine implicitly invoked the shared position of Australia and Palestine within British imperialism. Comparative monument (Palestine) begins with a complete photographic record of these monuments bearing the name “Palestine” in and around Melbourne. Figuring this material into a Palestinian context – both a kind of “homecoming” and exile for these Australian monumental forms – becomes a way to reanimate these linkages between Australia and Palestine. In these forms dedicated to 1917, Nicholson implicates the events and repercussions of 1948 with their echoes of Australian Aboriginal experiences of dispossession and colonial violence. Comparative monument (Palestine) is an attempt to rethink the possibilities of the monument in the face of these histories of dispossession and the acts of imagination and solidarity these histories demand.
Nicholas Mangan (Australian, b. 1979) Some kinds of duration (detail) 2011
Installation view, Monash University Museum of Art,2014 Photo: Marcus Bunyan
Nicholas Mangan (Australian, b. 1979) Some kinds of duration 2011
Installation view, Monash University Museum of Art,2014 Photo: Christian Capurro
MUMA’s second exhibition for 2014, Concrete brings together the work of twelve artists, both Australian and international. The exhibition explores the concrete, or the solid and its counter: change, the flow of time. As we prepare to mark the centenary of the First World War, the exhibition considers the impact of time upon built and monumental form, reading between materiality and emotion, form and memory.
Monuments reflect a desire for commemoration, truth, honour and justice. Equally, they may function to consolidate political power and national identity. Works in the exhibition locate the monumental in relation to longer cycles of construction, displacement and erasure; archaeology, geology and palaeontology; the shifting politics of memory and ways to describe a history of place.
“Concrete explores the human desire to mark our presence as a complex drive for memory – as well as the need for a blank or negative, a placeholder for the unknowable, the unsayable, the missing.”
Exhibition curator, Geraldine Kirrihi Barlow:
“Concrete introduces a number of artists to Australian audiences for the very first time. Continuing MUMA’s highly regarded series of thematic and discursive exhibitions, and presenting a broad range of significant projects, Concrete considers the function of monuments and ruins from poetic, material and political perspectives.”
Director, Charlotte Day
Text from the MUMA press release
Carlos Irijalba (Spanish, b. 1979) High Tides (drilling)
2012
Installation view
Courtesy of the artist
Carlos Irijalba (Spanish, b. 1979) High Tides (drilling) (detail)
2012 Photo: Marcus Bunyan
Born in Pamplona, Spain, 1979. Lives and works in Amsterdam, Netherlands
High Tides (drilling) by Carlos Irijalba presents a 17 metre drilling core from the site of a former weapons factory in the Urdaibai or Guernica Estuary, Basque Country. Beneath an asphalt ‘cap’, layers of soil, clay, limestone and the sedimentary rock Marga are evident. The bombing of Guernica is remembered for its devastating impact upon the civilian population and was the subject of an iconic painting by Pablo Picasso. Irijalba offers a window into the history of this place, as well as longer geological measures of time and materiality.
Tides I, II and III 2012 is a series of three photographs of converging layers of asphalt from which the sample has been taken. Together, these images detail a common surface so ubiquitous we cannot value it as rare or particular. And yet these images record a very specific piece of ‘ground’ or earth, just as they also suggest a vast aerial view, perhaps the meeting of two oceans.
Concrete installation view, Monash University Museum of Art, 2014
Laurence Aberhart (left), Jamie North (doorway), Carlos Irijalba (right) Photo: Christian Capurro
Laurence Aberhart (New Zealand, b. 1949) Auroa Taranaki
1991
Silver gelatin photograph
Laurence Aberhart (New Zealand, b. 1949) Matakana, North Auckland
1994
Silver gelatin photograph
Born in New Zealand, 1949. Lives and works in Russell, Northland, New Zealand
Photographer Laurence Aberhart is drawn to the edge of dominant historical narratives, creating archives of built and monumental forms particular to certain places and periods of time. He returns to these chosen subjects repeatedly. His photographs of the ANZAC memorials of Australia and New Zealand have been taken over the past thirty years. Familiar across both countries, the memorials were built after the First World War to commemorate those who served with the Australia and New Zealand Army Corps. Very few families were able to visit the graves of those who died, and so these monuments served the bereaved as well as larger national concerns. As we approach the centenary of the war, these memorials are the focus of greater attention, yet what they mean is difficult to lock down. In these images the single figure on each column is a fixed point against landscapes in states of constant change.
Saskia Doherty Footfalls 2013-14
Cast concrete and printed paper
Installation view, Monash University Museum of Art,2014 Photo: Christian Capurro
Saskia Doherty poetically references the Samuel Beckett play Footfalls, expanding on an image of famed American palaeontologist Dr Barnum Brown discovering a dinosaur footprint with texts and concrete sculptural gestures, describing the footprint as “a vastly preserved index of a life”.
Jamie North (Australian, b. 1971) Tropic cascade #1 and #2 2014
Cement, blast furnace slag, coal ash, galvanised steel, Australian native plants
Installation view, Monash University Museum of Art, 2014 Photo: Christian Capurro
Jamie North (Australian, b. 1971) Tropic cascade #2 (detail) 2014
Cement, blast furnace slag, coal ash, galvanised steel, Australian native plants
Installation view, Monash University Museum of Art, 2014 Photo: Marcus Bunyan
Monash University Museum of Art (MUMA)
Ground Floor, Building F.
Monash University Caulfield campus
900 Dandenong Road
Caulfield East, VIC 3145 Phone: 61 3 9905 4217
Frank Lloyd Wright (American, 1867-1959) Grouped Towers, Chicago Project
1930
Perspective
Pencil on tracing paper
19 x 28 1/4″ (48.3 x 71.8cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
A change of pace now… some exquisite drawings in this posting about the work of Frank Lloyd Wright. It’s a pity they can’t build a skyscraper such as the beautiful Mile High in Melbourne, instead of all the non-descript towers that are going up all over the place. At least we would then have a masterpiece on our hands.
Marcus
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Many thankx to MoMA for allowing me to publish the art work and photographs in the posting. Please click on the photographs for a larger version of the image.
Frank Lloyd Wright (American, 1867-1959) Grouped Towers, Chicago Project
1930
Plan of the five towers and shared pedestal
Pencil on tracing paper
13 3/4 x 35 3/8″ (34.9 x 89.9cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
Frank Lloyd Wright (American, 1867-1959) Broadacre City Project
1934-1935
Study for a plan of a highway interchange
Pencil and coloured pencil on tracing paper
22 x 35″ (55.9 x 88.9cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
Frank Lloyd Wright and the City: Density vs. Dispersal celebrates the recent joint acquisition of Frank Lloyd Wright’s extensive archive by MoMA and Columbia University’s Avery Architectural and Fine Arts Library. Through an initial selection of drawings, films, and large-scale architectural models, the exhibition examines the tension in Wright’s thinking about the growing American city in the 1920s and 1930s, when he worked simultaneously on radical new forms for the skyscraper and on a comprehensive plan for the urbanisation of the American landscape titled “Broadacre City.” Visitors encounter the spectacular 12-foot-by-12-foot model of this plan, which merges one of the earliest schemes for a highway flyover with an expansive, agrarian domain.
Promoted and updated throughout Wright’s life, the model toured the country for several years in the 1930s, beginning with a display at Rockefeller Center. This dispersed vision is paired with Wright’s innovative structural experiments for building the vertical city. Projects, from the early San Francisco Call Building (1912), to Manhattan’s St. Mark’s-in-the-Bouwerie Towers (1927-31), to a polemical mile-high skyscraper, engage questions of urban density and seek to bring light and landscape to the tall building. Highlighting Wright’s complex relationship to the city, the material reveals Wright as a compelling theorist of both its horizontal and vertical aspects. His work, in this way, is not only of historic importance but of remarkable relevance to current debates on urban concentration.
Text from the MoMA website
Frank Lloyd Wright and his assistant Eugene Masselink installing the exhibition Frank Lloyd Wright: American Architect at The Museum of Modern Art, November 13, 1940 – January 5, 1941. Photographic Archive. The Museum of Modern Art Archives, New York Photo: Soichi Sunami
Frank Lloyd Wright (American, 1867-1959) Broadacre City Project
1934-1935
Model under construction in Chandler, Arizona, 1935
Gelatin silver print on paper
4 1/4 x 6 5/8″ (10.8 x 16.8cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York) Photo: Roy E. Peterson
Frank Lloyd Wright (American, 1867-1959) Broadacre City Project
1934-1935
Taliesin fellows working on the model. Chandler, Arizona, 1935
Gelatin silver print on paper
9 9/16 x 7″ (24.3 x 17.8cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
Frank Lloyd Wright (American, 1867-1959) Broadacre City Project
1934-1935
Model in four sections
painted wood, cardboard, and paper
152 x 152″ (386.1 x 386.1cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
Frank Lloyd Wright (American, 1867-1959) H. C. Price Company Tower, Bartlesville, Oklahoma
1952-1956
Apprentices working on the model in the Taliesin drafting room. Spring Green, Wisconsin, c. 1952
Gelatin silver print on paper
7 3/4 x 9 1/2″ (19.7 x 24.1cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
The Museum of Modern Art presents Frank Lloyd Wright and the City: Density vs. Dispersal, which celebrates the recent joint acquisition of Frank Lloyd Wright’s extensive archive by MoMA and Columbia University’s Avery Architectural and Fine Arts Library, on view from February 1 to June 1, 2014. Frank Lloyd Wright (1867- 1959) – perhaps the most influential American architect of the 20th century – was deeply ambivalent about cities. For decades, Wright was seen as the prophet of America’s post–World War II suburban sprawl, yet the dispersed cities that he envisaged were also carefully planned – quite distinct from the disorganised landscapes that often developed instead. Paradoxically, Wright was also a lifelong prophet of the race for height that has played out around the world. Through an initial selection of drawings, films, and large-scale architectural models, the exhibition examines the tension in Wright’s thinking about the growing American city from the 1920s to the 1950s, when he worked simultaneously on radical new forms for the skyscraper and on a comprehensive plan for the urbanisation of the American landscape titled “Broadacre City.” The exhibition is organised by Barry Bergdoll, Acting Chief Curator of Architecture and Design, MoMA, and Carole Ann Fabian, Director, Avery Architectural and Fine Arts Library, with Janet Parks, Curator of Drawings & Archives, Avery Architectural and Fine Arts Library, and Phoebe Springstubb, Curatorial Assistant, Department of Architecture and Design, MoMA.
On view is Wright’s 1934-35 manifesto project, for what he called “Broadacre City,” which embodied his quest for a city of private houses set in nature and spread across the countryside. He believed that advances in technology had rendered obsolete the dense cities created by industry and immigration in the late 19th and early 20th centuries. Distributed along a rectilinear grid, these one-acre homesteads were to be combined with small-scale manufacturing, community centers, and local farming, and interspersed with parklands to form a carpet-like pattern of urbanisation. Visitors encounter the spectacular 12-foot-by-12-foot model of this plan, which merges one of the earliest schemes for a highway flyover with an expansive, agrarian domain. Promoted and updated throughout Wright’s life, the model toured the country for several years in the 1930s, beginning with a display at New York City’s Rockefeller Center. It is juxtaposed with the monumental models and drawings produced of his skyscraper visions: the six-foot tall model of his 1913 San Francisco Call Building; the model of his only built residential tower, the Price Tower, in Bartlesville, Oklahoma of 1952-56; and the eight-foot drawings of the Mile High tower project.
This dispersed vision is paired with Wright’s innovative structural experiments for building the vertical city, which engaged questions of urban density and sought to bring light and landscape settings to tall buildings. His ambitions grew from a 24-story design for the offices of the San Francisco Call newspaper (1913) to the 548-story, mile-high tower he envisioned in Chicago (1956) – a building large enough to house the entire population of Broadacre City. Wright’s proposal for the San Francisco Call Building celebrates verticality: repeated piers emphasise the height, drawing the eye up to a startlingly cantilevered cornice pierced with slots that frame the sky and allow daylight to wash the facades for dramatic effect. His design for the National Life Insurance Company Building (1924-1925) features a tower clad entirely in glass, setting aside the load-bearing frame of the Call Building to experiment with the curtain wall and other new building technologies. The project reveals Wright as a key participant in international debates on the possibility of cladding a tall building with a transparent glass facade, rather than cladding it in ornamental masonry for decorative effect.
An unregulated building boom in the 1920s in New York and Chicago resulted in an unprecedented urban density that Wright described as “congestion.” In response, he devised the Skyscraper Regulation – a set of design rules governing the lateral and vertical growth of American cities. By regulating the location and height of tall buildings, Wright sought to optimise light and views and to minimise the effects of closely spaced tall buildings that were turning urban streets into shadowy canyons. Wright’s Skyscraper Regulation was his last attempt to address the inherited city. He would turn instead to devising a set of regulations for an entirely new and dispersed urban fabric (Broadacre City), in which the unit of the city block was exchanged for the farmed acre.
In 1927, Wright’s design for the financially troubled Church of St. Mark’s-in-the-Bowery dramatically transformed the building by having the floors project outward from a single central core plunged deep into the ground. The concrete floors tapered toward the periphery, which he compared to the structural concept of the “taproot” of a tree. This “taproot” structure was finally tested in built form in the S.C. Johnson & Son Research Laboratory Tower (1943-1950) in Racine, Wisconsin. In 1956, Wright unveiled a 26-foot-tall rendering of a gleaming, vertiginously tapered skyscraper – which he said would house 100,000 employees of the state of Illinois. The mile-high tower adopts the “taproot” structure he had articulated 30 years before, in which a skyscraper’s vertical ascent is stabilised by a foundation plunged deep into the ground. Both a polemic and a rationalised proposal for the future of tall buildings, the Mile High marks the definitive return of Wright’s tower to the city. The Mile High embodies Wright’s paradoxical attitude toward the American city: meant to condense the experience of urban life and work within a single telescoping form, freeing the ground for the realisation of Broadacre, holding in tension two idealized images of the city – its extraordinary vertical reach and its extreme horizontal extension.
Press release from the MoMA website
Frank Lloyd Wright (American, 1867-1959) National Life Insurance Company Building, Chicago Project
1924-1925
Axonometric view
Coloured pencil on tracing paper
40 x 24″ (101.6 x 61cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
Frank Lloyd Wright (American, 1867-1959) S.C. Johnson & Son Inc. Research Laboratory Tower, Racine, Wisconsin
1943-50
Section
Pencil, coloured pencil, and ink on tracing paper
35 1/8 x 20″ (89.2 x 50.8cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
Frank Lloyd Wright (American, 1867-1959) St. Mark’s-in-the-Bouwerie Towers, New York Project
1927-1931
Aerial perspective
Pencil and coloured pencil on tracing paper
23 3/4 x 15″ (60.3 x 38.1cm)
The Museum of Modern Art, New York. Jeffrey P. Klein Purchase Fund, Barbara Pine Purchase Fund, and Frederieke Taylor Purchase Fund
Frank Lloyd Wright (American, 1867-1959) St. Mark’s-in-the-Bouwerie Tower, New York Project
1927-1931
Perspective, 1928
Pencil and coloured pencil on tracing paper
28 1/4 x 10 1/8″ (71.8 x 25.7 cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
Frank Lloyd Wright (American, 1867-1959) St. Mark’s-in-the-Bouwerie Tower, New York Project
1927-1931
Section and perspective cutaway of a duplex apartment with balcony and living-room floor plans, 1929
Ink, pencil, and coloured pencil on linen window shade
47 x 35″ (119.4 x 88.9 cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
Frank Lloyd Wright (American, 1867-1959) The San Francisco Call Building Project
1913
Preliminary perspective
Pencil, coloured pencil, and cut-and-pasted tracing paper on paper
47 3/4 x 23 7/8″ (121.3 x 60.6cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
Frank Lloyd Wright (American, 1867-1959) The Mile High Illinois, Chicago Project
1956
Perspective with Wright’s Golden Beacon Apartment Building project (1956-1957)
Pencil, coloured pencil, ink, and gold ink on tracing paper
105 x 30″ (266.7 x 76.2cm)
The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
The Museum of Modern Art 11 West 53 Street
New York, NY 10019 Phone: (212) 708-9400
Opening hours:
10.30 am – 5.30 pm
Open seven days a week
Stephen Benwell (Australian, b. 1953) Statue (installation view)
2012 Photo: Marcus Bunyan
Throughout his career a major preoccupation of Benwell’s work has been the depiction of the male figure. In 2006 he commenced a series of figurative sculptural works that explore issues relating to masculinity, naked beauty and sensuality. These works, initially inspired by eighteenth century figurines and Greco-Roman statuary, have become a significant aspect of Benwell’s recent practice. The artist contributes a group of these evocative male figures for Melbourne Now.
This is the second of a two-part posting on the huge Melbourne Now exhibition at the National Gallery of Victoria, Melbourne. The photographs in this posting are from NGV Australia at Federation Square. The first part of the posting featured work from NGV International venue in St Kilda Road. Melbourne Now celebrates the latest art, architecture, design, performance and cultural practice to reflect the complex cultural landscape of creative Melbourne.
“Melbourne is a microcosm of the global art world. This is evident not only in its possession of world-class infrastructure, but also in the multitude of tendencies, styles and modes of practice that circulate in its midst. I doubt that there is an underlying formal unity, or even a hierarchy of movements, that holds together and directs the global art world. This then begs the question: does the teeming multitude of art forms in Melbourne suggest that the local scene is an isomorph [a substance or organism that exactly corresponds in form with another] of global chaos, or a unique fragment that coexists with other entities?
The answer is paradoxical. It is our haunted and resistant sense of place that allows for both a form of belonging that is forever seeking to be elsewhere, and a unique aesthetic that anticipates the many returns of a repressed past.”
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Nikos Papastergiadis. “As Melbourne in the world.” 2013
“What the show delivers in spades is a sense of the city as a place of immense creativity and subtle exploration. While non-Melburnians might be tempted to see this as an especially large example of the city’s enduring fascination with itself, when the theme is the city, the inclusion of architecture and design makes sense.
And the result is anything but narcissistic; a turn round the exhibition reveals that although Melbourne features strongly in some works, it is also curiously incidental; at the heart of the show is an examination of urban and suburban, and what it feels like to live in a rapidly changing world where old certainties no longer apply.”
Papapetrou’s contribution to Melbourne Now comprises three photographs from her 2013 series The Ghillies. Working with her children as models and using the extreme camouflage costumes that are employed by the military, Papapetrou reflects on the passing of childhood and the moment when children separate themselves from their mothers. Young men often assume the costumes and identities of masculine stereotypes, hiding themselves, and their true identity, from plain sight in the process.
Hamer’s contribution to Melbourne Now pairs works referencing local signage, Blame and punish the individual, 2013, and Can’t, 2013, with three earlier tapestries from her American series I Send Mixed Messages, 2013. While the contrasting palettes and particular nuances of typography, built architecture and native vegetation point to specific times and places, when amplified and dislocated Hamer’s chosen texts suggest a more universal narrative of perplexity and turmoil. The artist describes these powerful distillations as ‘revealing the small in-between moments that characterise everyday life’.
Piccinini’s work for Melbourne Now is The carrier, 2012, a hyper-real sculpture of a bear-like figure holding an elderly woman. With his massive, hirsute and muscular physique, the creature is almost human; there is warmth and intimacy between the mismatched couple. The figures’ relationship is ambiguous. Are they mistress and servant, or simply unlikely friends, embarked on a journey together? It is nice to believe the latter, but hard to forget that humans rarely treat other animals equitably. The carrier investigates what we want from our creations, and wonders about unexpected emotional connections that might arise between us and them.
Metaxas’s contribution to Melbourne Now comprises five photographs from The Mourners series, 2011, which was first exhibited at the Centre for Contemporary Photography, Melbourne, in 2011. These stately portraits show women who have adopted the traditional practice of wearing black, symbolising perpetual mourning, following the death of their husbands. Photographed against plain black backdrops, dressed in their widows’ weeds, these women form an austere and mournful frieze.
Expanding the artist’s greater naturist project, Nudes, 2013, is a series of collages featuring images of twentieth-century modernist art objects and nudes taken from soft porn references. In these works, Ringholt complicates the original function of the images as the spectator considers the relationship between the nude and the work of art. Interested in how images can be transformed by simple interventions, Ringholt opens possibilities for new narratives to emerge between the nude, the object and the audience.
Since challenging fellow artist Luke Sinclair to a boxing match at Melbourne’s Northside Boxing Gym in 2001 (as a performance), Lewer has remained interested in the site, training there regularly and making art about it. For Melbourne Now Lewer presents an immersive recreation of the gymnasium, featuring a large-scale charcoal wall-drawing accompanied by mirrors, sound and a sweaty boxing bag.
The collective’s members are Cassandra Chilton, Molly O’Shaughnessy, Sarah Parkes, Caroline Price and Lyndal Walker. Their practice embraces themes of home life, feminism and craft and explores how collaborative participation in, and contemporising of, these activities creates a distinct cultural community. Their work’s innovative combination of humour and contemporary critique with nostalgic or familiar elements makes it appealing to a wide audience. Often thought of in terms of dysfunction, the share house in their hands becomes a site of creativity, cooperation and overindulgence.
Food is a constant presence in HSL’s work, from recipe swap meets, street art and public art commissions to controversial cake entries in the Royal Melbourne Show. For Melbourne Now the group take baking and icing to a whole new level. Their installation At home with the Hotham Street Ladies, 2013, transforms the foyer of The Ian Potter Centre: NGV Australia into an icing-bombed domestic wonderland. Their commission for kids invites children and families to photograph themselves within one of the scenes from HSL’s icing- and lolly encrusted share house.
For Melbourne Now Irvine has constructed a large site-specific work at The Ian Potter Centre: NGV Australia, Before the after, 2013, which establishes a dialogue with the gallery building, its architecture and the temporality of the exhibition. Spilling out across the floor, the serpentine form is an interruption of the order of things, a writhing obsidian mass that clings to the interior of the building. At the same time the work is a nuanced meditation on the nature of surfaces and skin. Irvine’s iterative practice argues for value in the gestural, and proposes the act of making as a form of knowledge.
Knight’s recent folded photographic works extend his interest in notions of authorship, photographic agency, the relationships between observer and observed, and ideas of intimacy and love. Each scene captures a couple lying together, bodies entwined, in bed – the artist privy to an intense, personal scene of absorption. There is an evident trust between Knight and his subjects, who sleep gently, seemingly unaware of, or perhaps complicit in, his presence. The illusion is ruptured by the folding of the photographic print, which has the effect of sometimes forcing the couples closer together, other times slicing them apart. The fold intensifies the sense of intimacy and draws attention to the physical state of the photograph.
For Melbourne Now, Wadelton contributes a series of recent photographs of suburban milk bars selected from his vast personal cache. Whereas these shots of corner-store facades – windows jammed with ice-cream, soft drink and newspaper logos, hand-painted typography and scrawled graffiti – echo the Pop paintings that made his name, insofar as they combine ready-made commercial symbols on the same flat, pictorial plane, the photographs’ grey-scale palette and documentary presentation differ from the futuristic aesthetic of Wadelton’s canvases. While the paintings delight in global commercial imagery, Milk Bars of Melbourne, 2010-2013, shows a local culture in terminal decline.
While at first iProtest, 2012-2013, resembles a display of endearing souvenir-style figurines hanging on a wall, its potency is revealed on closer inspection. Each figurine is personalised with details relating to one of the many conflicts driven by mass protests around the world. Nationalism is referenced by faces painted with flags; acts of violence leave bodies dismembered and bloodied; and the cutest figurines are in fact riot police, wielding guns and dressed as clowns. The omnipresent symbol of Facebook is also ingeniously added to the work. Byrne’s crowd of modified figurines explores the way social media has become a significant tool for coordinating protests around the world.
Informed by a fascination with death, memento mori and Victorian jewellery design, deVille’s work relies on traditional techniques and involves a broad range of animals, precious and semiprecious metals and gems. The artist is a vegan and passionate advocate for the fair and just treatment of animals, and only uses animals that have died of natural causes in her work. By examining death in this distinctive way, deVille urges us to consider our own mortality and the beauty of death and remembrance. For Melbourne Now she has created an installation titled Degustation, 2013, which evokes an ornate Victorian-style dining room, filled with her sculptural pieces and works from the NGV collection.
With Transfer station 2, 2011, Gojak creates a sculptural work of unfurling, freewheeling loops, shaky erratic lines and clusters of blossoming tangles that appears like a drawing suspended in space. A high-keyed palette of cobalt blues, soft pinks and fluorescent yellows activates heavier blackened thickets that punctuate perspectives of uninterrupted space. Suspended from the ceiling by a single line, Gojak’s sculpture is a not-quite-settled upon Venn diagram. Its openness is held still in a moment, together with all the scribbled-out mistakes, digressions and exclusions, stalling or directing the movement and exchange circulating around the forms.
The first version of 150 rotations was displayed recently in an exhibition, curated by Gower, that explored the appropriation and use of urban detritus as a visual art strategy by a variety of Melbourne artists. Further developed for Melbourne Now, Gower’s contribution now comprises 150 circular components, each made up of tea-bag tags, price tags and elements cut from junk mail catalogues, which colonise the wall like a galaxy of vibrant constellations. Akin to the light from long-dead stars, the familiar ephemera, which is usually thrown out, recycled or composted, now serves a new purpose and takes on a mesmeric, formal beauty.
Von Sturmer’s Melbourne Now commission for kids, Paradox park, 2013, creates a space for enquiry and interaction with art, conceived with a child’s innate sense of curiosity and wonder. Paradox park comprises a large tilted plane with small circular apertures through which a child (or adventurous adult) can push their head in order to view small projections of animated objects atop and below the surface. By placing the viewer’s point of reference inside the work, von Sturmer posits experience itself as a creative act – a unique interplay between viewer and viewed.
Melbourne Design Now is the first design exhibition of its kind to be shown at the National Gallery of Victoria. A presentation of localised creative intelligence in the fields of industrial, product, furniture and object design, this project comprises more than ninety design projects from forty designers, design studios and companies. Melbourne Design Now celebrates design’s relationship to everyday life and how contemporary designers are embedding unique and serial design production with ideas, meaning and emotion to resonate with the city of Melbourne.
The breadth of design projects in this ‘exhibition within the exhibition’ intends to communicate to the public that the work of Melbourne designers is influencing discourses, future scenarios and markets both at home and around the world. Ranging from cinema cameras by Blackmagic Design to the Bolwell EDGE caravan, eco-design education tools by Leyla Acaroglu to Monash Vision Group’s direct-to-brain bionic eye, and furniture made with ancient Australian timber by Damien Wright to biodegradable lampshades by LAB DE STU, these design projects consolidate Melbourne as one of the great design cities in the world today.
Gregory Bonasera is a ceramicist with an in depth understanding of the processes utilised in the production of ceramics; a methodical thinker who works more like an industrial designer than a potter to realise his creations and to advise and collaborate with other designers on their projects. Consistently adding new works to his range of innovative functional and sculptural ceramic wares, Gregory casts his creations in fine porcelain and bone china employing a hybrid of state of the art CAD technology with traditional 270 year old ceramic production methods. His works are strongly influenced by natural forms, science, biology, botany and geometry.
Kate Rohde’s jewellery and vessels are created in resin, a signature material that features extensively in her visual art practice. These pieces take a playful, decorative approach, often incorporating elements typical of Baroque and Rococo style, drawing particularly on the decorative arts and interior design of this era. The highly ornate nature reveals, on closer inspection, that much of the patterning is drawn from flora and fauna sources. The combination of the two intersecting interests creates a psychedelic supernature.
Text from the Pieces of Eight Gallery website [Online] Cited 25/11/2013
Johnson creates fantastic worlds in images that combine densely layered patterns, objects and figures within architectural settings. Cryptic words and phrases are part of her unique and idiosyncratic iconography. The artist’s drawing and installation practice is inspired by science fiction, mythological cosmology and comic books, and reflects a diverse interest in art, ranging from illuminated manuscripts to folk art traditions such as quilt making. Her contribution to Melbourne Now includes ten new drawings that depict the imagined formation of a future civilisation. These are displayed within a constructed environment featuring a raised podium, painted walls and patterned floor which, together with the drawings, offers an immersive experience.
Sampling the City: Architecture in Melbourne Now reveals the complex web of personalities, factions and trajectories that make up Melbourne’s vibrant contemporary architectural culture. This project asks: What are the ideas and themes that inform Melbourne’s design culture? Who are its agitators and protagonists? How are emerging architects driving new ways of thinking? The project is in four parts:
A ‘super graphic’ introduction sampling Melbourne’s contemporary architectural culture
A projection space with architectural imagery curated to five themes: representation and the city; craftsmanship and materiality; art-engaged practice; stitching the city; and bio-futures/advanced architecture
An incubator/studio environment providing insight into the processes of six leading Melbourne architects: Cassandra Fahey, Make Architecture, March Studio, Muir Mendes, Studio Bird and Studio Roland Snooks
An intimate screening room with a video artwork by Matthew Sleeth
Sampling the City is curated by Fleur Watson, with exhibition design by Amy Muir and Stuart Geddes, projection and soundscape design by Keith Deverall, introductory narrative by Watson and Michael Spooner and built environment imagery by Peter Bennetts.
For Melbourne Now, un Magazine presents un Retrospective – a selective history of artists, writers and art practice in Melbourne since 2004, as featured in the back catalogue of the magazine. Taking inspiration and content from past issues, un Retrospective assembles recent local works of art alongside correlating text – whether original essay, review or interview – from the pages of un Magazine, highlighting the relationships between criticism and practice, writers and artists, that have been fostered in the publication. un Retrospective celebrates ten years of un Magazine and contemporary art in Melbourne while providing a point of historical context within the newness of Melbourne Now.
Slave Pianos – a collaboration between artists, composers and musicians Rohan Drape, Neil Kelly, Danius Kesminas, Michael Stevenson and Dave Nelson – make historically grounded, research-based installations and performances utilising humour, immediacy and the conflation of ‘high’ and ‘low’ idioms to suggest connections and interrelations between the largely discrete fields of music, art and architecture.
For Melbourne Now Slave Pianos present Gamelan sisters, 2013, a self-governing electromechanical ‘slave’ gamelan, which allows audience members to select pieces from a repertoire of compositions arranged by Slave Pianos via a wall-mounted console alongside related scores. The Gamelan sisters instrument features in Slave Pianos’ space opera The Lepidopters, to be performed in Indonesia and Australia in 2014, which is based on a three part science fiction story set in Indonesia commissioned from American writer and art critic Mark von Schlegell. A comic depicting the first two parts of The Lepidopters, drawn by Yogyakarta-based artist ‘Iwank’ Erwan Hersi Susanto – a member, with Kesminas, of the Indonesian art-rock collective Punkasila – is also presented in the Melbourne Now Reading Room.
The Ian Potter Centre: NGV Australia Federation Square
Corner of Russell and Flinders Streets, Melbourne
Anonymous photographer Hardstrasse with Hardbrücke in construction 1972
Gelatin silver print
8.8 x 12.6cm
Baugeschichtliches Archiv der Stadt Zürich
When creating this archive, so much of my time is spent cleaning up clearly inadequate media images, an example of which can be seen below. I have become very adept at this process and my thoughts are this: would you want to be the artist whose work is displayed to the public in a remarkably decomposed manner, one not up to a standard of any artist who cares about their prints and reputation? I certainly would not. It is a wonder to me that museums and galleries spend thousands of dollars staging exhibitions and producing costly catalogues and yet cannot spend a tiny proportion of time, money and care on their media images to promote artist and said exhibition. I had to spend a lot of time on over half of these images to bring them up to presentable standard.
Having said that, there are some cracking photographs in this posting. The Sugimoto is sublime, Walker Evans so muscular, Lucien Hervé a masterpiece of light and texture, and Moriz Nähr a symphony of light and tone, to name but a few. I hope you enjoy all the effort it takes to bring these images to you.
Dr Marcus Bunyan
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Many thankx to the Fotomuseum Winterthur, Zurich for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Moriz Nähr (Austrian, 1859-1945) Stiegenhaus im Haus Stonborough-Wittgenstein [Staircase in the house Stonborough-Wittgenstein] (composite)
1928
William Henry Fox Talbot (English, 1800-1877)
The Bridge of Sighs, St. John’s College, Cambridge 1845
Salt print from calotype negative
16.4 x 20.6cm
Museum Folkwang Essen
Charles Marville (French, 1813-1879)
24, Rue Bièvre, Paris 1865-1869
Albumin print
27.4 x 36.6cm
Collection Thomas Walther
Architectures and cities are both volumes and images alike. We experience them directly, physically and sensually, as well as through pictures. Pictures speak a language of their own. They offer a discourse that is quite unlike the physical experience of architecture. They transform volume into surface; distil matter into forms and signs – rarely, if ever, leaving it as it is. That is probably why so many architects try to get involved in determining the image of their buildings. Concrete – Photography and Architecture seeks to approach the singular and complex relationship between architecture and photography in light-hearted, narrative and dialectical ways. The exhibition explores issues of history and ideology, as well as the specifics of form and material, in the photographic image.
The visual appeal of destroyed or dilapidated buildings is also addressed, as are their powerful demonstrations of power and exclusivity, fragility and beauty. To what extent does photography influence not only the way architecture is perceived, but also the way it is designed? How does an image bring architecture to life, and at what point does it become uncanny? How do settlements develop into cities? Or, in sociological terms: how do work and life interconnect differently in, say, Zurich and Winterthur, as opposed to, say, Calcutta? And how do skyscrapers and living spaces translate into the flat, two-dimensional world of photography?
Concrete – Photography and Architecture is not, however, chronologically arranged. Instead, it is based on compelling positions, counterpositions and thematic fields that connect various concrete, fundamental and historical aspects. Alongside everyday buildings and prestigious architecture, structured by horizontal and vertical axes, alongside homes and houses, utopian fantasies, design and reality, an important aspect of the exhibition is the compelling appeal of architectural decay due to the passage of time, through both natural and deliberate destruction. It is almost as though photography were providing a moral reminder even such magnificence and presence, whether hewn in stone or cast in concrete, has its weaknesses too.
Architecture has always been an important platform for the frequently heated discussion of ideas and views, zeitgeist and weltanschauung, everyday life and aesthetics. Architecture is the bold materialisation of private and public visions, functionality and avant-garde art alike. It is, as Slavoj Žižek puts it, ideology in stone. Photography and architecture both play an undisputed role in our everyday lives. They confront us on a daily basis, often without our even noticing, and they influence how we think, act and live in subliminal and lasting ways. Concrete – Photography and Architecture provides visual answers to the question of what it is that makes up the intimate yet complex relationship between architecture and photography, architect and photographer.
The exhibition presents more than 400 photographs and groups of works from the 19th, 20th and 21st centuries, including William Henry Fox Talbot, Domenico Bresolin and Charles Marville as well as Germaine Krull, Lucia Moholy and Julius Shulman, and spanning an arc to contemporary works by Georg Aerni, Iwan Baan, Luisa Lambri and Hiroshi Sugimoto. Projects such as the long-term observations of Schlieren photography or Wolfgang Scheppe’s Migropolis show how the art of photography is playing an increasingly important role as an instrument of research and knowledge. The exhibition is accompanied by a lavishly illustrated book published by Scheidegger & Spiess, with some 300 colour and black-and-white pictures, essays by Jochen Becker, Johannes Binotto, Verena Huber Nievergelt, Michael Jakob, Nicoletta Leonardi, Lorenzo Rocha, Caspar Schärer, Aveek Sen and Urs Stahel as well as a conversation with Annette Gigon, Meret Ernst and Armin Linke.
Press release from the Fotomuseum Winterthur website
Haus Wittgenstein, also known as the Stonborough House and the Wittgenstein House) is a house in the modernist style designed and built on the Kundmanngasse, Vienna, by the Austrian architect Paul Engelmannand the Austrian philosopher Ludwig Wittgenstein.
In November 1925, Wittgenstein’s sister Margaret Stonborough-Wittgenstein commissioned Engelmann to design and build a large townhouse. Margaret also invited her brother to help with the design in part to distract him from an incident that had happened while he had been a primary school teacher: he had hit a boy for getting an answer wrong and the boy had collapsed. The architect was Paul Engelmann, someone Wittgenstein had come to know while training to be an Artillery Officer in Olmutz. Engelmann designed a spare modernist house after the style of Adolf Loos: three rectangular blocks. Wittgenstein showed a great interest in the project and in Engelmann’s plans and poured himself into the project for over two years. He focused on the windows, doors, door knobs, and radiators, demanding that every detail be exactly as he specified, to the point where everyone involved in the project was exhausted. One of the architects, Jacques Groag, wrote in a letter: “I come home very depressed with a headache after a day of the worst quarrels, disputes, vexations, and this happens often. Mostly between me and Wittgenstein.” When the house was nearly finished he had a ceiling raised 30mm so the room had the exact proportions he wanted.
Waugh writes that Margaret eventually refused to pay for the changes Wittgenstein kept demanding, so he bought himself a lottery ticket in the hope of paying for things that way. It took him a year to design the door handles, and another to design the radiators. Each window was covered by a metal screen that weighed 150 kg, moved by a pulley Wittgenstein designed. Bernhard Leitner, author of The Architecture of Ludwig Wittgenstein, said of it that there is barely anything comparable in the history of interior design: “It is as ingenious as it is expensive. A metal curtain that could be lowered into the floor.”
The house was finished by December 1928, and the family gathered there that Christmas to celebrate its completion. Describing the work, Ludwig’s eldest sister, Hermine, wrote: “Even though I admired the house very much, I always knew that I neither wanted to, nor could, live in it myself. It seemed indeed to be much more a dwelling for the gods than for a small mortal like me”. Paul Wittgenstein, Ludwig’s brother, disliked it, and when Margaret’s nephew came to sell it, he reportedly did so on the grounds that she had never liked it either. Wittgenstein himself found the house too austere, saying it had good manners, but no primordial life or health. He nevertheless seemed committed to the idea of becoming an architect: the Vienna City Directory listed him as “Dr Ludwig Wittgenstein, occupation: architect” between 1933 and 1938.
After World War II, the house became a barracks and stables for Russian soldiers. It was owned by Thomas Stonborough, son of Margaret until 1968 when it was sold to a developer for demolition. For two years after this the house was under threat of demolition. The Vienna Landmark Commission saved it – after a campaign by Bernhard Leitner – and made it a national monument in 1971, and since 1975 it has housed the cultural department of the Bulgarian Embassy.
Lala Aufsberg (actually, Ida Louise Aufsberg, born 26 February 1907 in Sonthofen, May 18, 1976) was a well-known art photographer. After attending primary school and six years of school for Higher daughters in Immenstadt she began training for the 1932 photo dealer in Oberstdorf. After completion of the training Lala Aufsberg moved to Nuremberg, where she worked in the photographers’ studios of Seitz and Rosemary. In 1931 she joined the photo club of friends of photography in Nuremberg.
From April 1938 Lala Aufsberg attended the State School of Applied Arts and Crafts in Weimar, Department Lichtbildnerei at Walter Hege. In July 1938, she passed the exam for the master photographer’s craft, and in the same year returned to Sonthofen and opened a photographic studio. In the years 1937 and 1938 she documented the Nazi Party rallies in Nuremberg (see above photograph). She received her first artistic job in the years 1941-1942, in which she photographed the murals in churches and monasteries in Carinthia and Styria. Owned by the University of Marburg “German documentation center for art history” – Bildarchiv Foto Marburg (listed in UNESCO Archives Portal) acquired 1976/1977 and 1996, the Lala-Aufsberg archive with about 46,000 art history, black and white negatives in sizes 6 x 6 and 9 x 12 and 103,000 photos.
Art Blart _ art and cultural memory archive 
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