Posts Tagged ‘art

10
Aug
18

Exhibitions: ‘Now, the new form of the past’ and ‘Senses’ at Kunstwerk! Liemers Museum, Netherlands

Exhibition dates: 16th June – 9th September 2018

Artists: Drager Meurtant (assemblages, NL) and Petra Senn (photography, D); Jeanine Keuchenius (paintings, NL)

Kelly Elmendorp, Stijn Geutjes, Robert van der Kroft, Drager Meurtant, Winny de Meij, Petra Senn.

*PLEASE NOTE I WILL BE TAKING A SHORT BREAK FROM REGULAR POSTINGS ON ART BLART FOR THE NEXT THREE WEEKS AS I CELEBRATE MY 60TH BIRTHDAY. THANK YOU*

 

 

Drager Meurtant (b. 1951) 'Green bird day' 2017

 

Drager Meurtant (b. 1951)
Green bird day
2017

When the green bird / came to live / we agreed to call / it a day

 

 

 

Accumulating, life

 

I first had contact with Gerard Rutteman (artist alias Drager Meurtant) when he emailed me about a posting I had done on Art Blart about the Japanese photographer Shomei Tomatsu in 2015. Since then we have become firm friends. In 2017 on a trip to Europe, I caught a high speed train from Paris to the French city of Reims to meet him and his vivacious wife Jeanine. We spent a glorious day wandering the city, taking photographs, talking art, and eating a hearty lunch at a local brasserie. This pair of self-taught artists, creative human beings, are so talented.

While I greatly admire Jeanine’s paintings with their powerful and poetic muscularity (in my mind, I note the influence of artists such as Pierre Soulages, Cy Twombly and Anselm Kiefer) and their use of colour which can be seen in other paintings on her website – and observe the photographs of Petra Senn (I would need to see more to make constructive comment) – it is the work of Drager Meurtant to which I am going to focus my attention in this text.

The path of Drager Meurtant reminds me of that of Australian artist Rosalie Gascoigne.

“Gascoigne worked as a teacher before moving to Australia in 1943 following her marriage to astronomer Ben Gascoigne. She discovered a natural talent for creating assemblages through the ensuing seventeen years spent in relative isolation on the stony terrain of Mount Stromlo, home to Stromlo Observatory, and the wheat belt of Monaro near Canberra, a landscape she designated as the crucible from which her art emerged… Gascoigne’s lifelong passion for collecting and arranging developed initially from the Sogetsu school of ikebana, with its emphasis on form and line rather than colour. Its general principles of valuing immediate response, the experience of materials, process and experiment with variations can be seen as underpinning all of her later work. The collection of discarded materials, such as farm machinery parts, for use as suitable vessels for her arrangements, led her to also make sculptural assemblages… Gascoigne had no formal art training, often asserting that her fifty-year apprenticeship was in looking. She began exhibiting in 1974 at the age of 57.” (Text from the Art Gallery of New South Wales website)

Gascoigne went on to become one of Australia’s most loved and respected artists.

Drager Meurtant spent most of his life as a veterinarian-biomedical researcher. He is an autodidact and, like Gascoigne, his apprenticeship as an artist was one of looking and writing poetry. Only in the last five years has he really been able to fully concentrate on his art practice. To my mind, he has the potential to become a much beloved artist of his country, and an international artist of high repute. I am palpably excited by his art and its development. There is a frisson of expectation every time I see new work; that frisson enhanced by the amplitude of the music he creates and the temperature of the environment that surrounds his work.

In this latest exhibition, there is a wonderful, tensional balance between elements and energy in his constructions. Much of the basic elements are from demolition- / remnant materials (“recycling art”), sometimes called objets trouvés: things coil around, are contained, wire, wood, recycled materials, energy, intimacy. His un/civilised forms of expression create an interplay between the conscious and the unconscious minds.

Drager is true to the integrity of his materials, the inherent qualities of natural and man made materials, and his vision. He incorporates primitive, mythical, spiritual and folkloric elements into his art. And his pleasure is in the layering and painting, in the materials, forms and, finally, in the art itself. Here is humour (The snake kept its mouth shut, 2018 below; the moustache of The Orator, 2016 below), ecology and spirit. A sense of mystery and purpose at one and the same time.

Riffing on Guy Debord’s concept of dérive (“drift” in English) which Debord defines as “a mode of experimental behaviour linked to the conditions of urban society: a technique of rapid passage through varied ambiances”1, I can relate Drager’s art to an unplanned journey through the urban landscape in which he drops his everyday relations and lets himself be drawn by the attractions of the terrain and the encounters he finds there. Drager’s attractions are the refuse of the human race. His encounters lead to the construction of contexts and situations, an artistic practice of “the happening”, which is a structured but unencumbered, expressive approach that encourages us to question our finite place in the world. Who else would paint a mountain on a radiator!

While I believe that some of the most important qualities in this world have their meanings proscribed by their opposite, some of these qualities have to be understood by reference only to themselves – which is very difficult – but must be attempted. A lot of things have been made too simple (taught in art schools?) by constructing fraught dichotomies. In other words, as an artist and as a human being, do not rely on binaries but just “on the thing itself”. Let it reveal itself to you – whether that is through Dada, an enigmatic self, of movement and form – or through some other mechanism. Drager has enough intellect and talent not to fall into the too simple, too easy, trap.

In this small regional gallery in the Netherlands, this visionary of the romantic, otherworldy (definition: devoted to intellectual or imaginative pursuits), utopian / dystopian unification of art and life constructs his paradoxes. I love the poetry that accompanies and informs his work; I love the brown butchers paper that covered “the happenings” before the unveiling; and I love the energy, the concern for the environment, and the construction and conceptualisation of his assemblages. I am challenged, in a good way, by his art.

The next step on the path for my friend is to keep the faith, is to keep making the art for himself and no one else. To keep them free and not contained by unwanted concerns. For, as he said to me, “in the end the path followed will be more interesting than the stakes raised in passing.” But curators please take note… here is a star of the future!

Marcus

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Many thankx to the artists and Kunstwerk! Liemers Museum for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

  1. Guy Debord (1958) Definitions. Internationale Situationniste #1 (Paris, June 1958). Translated by Ken Knabb.

 

 

“The creation of art, to me, is not work. The end-result is not seen as a piece, but as a whole. Since it brings me comfort and relieves stress, I call my assemblages ‘art-peaces’.”

“The essence of working with found objects (or scrap material) is that their different natures will enrich the composition as they are expressed in its different layers. This effect is based upon the divergent origins, structures and functions of these elements: wood, metal, glass, stone, cloth, plastic, etc. As a consequence, each bears a different weight and ease for ‘penetrance’ (transparency), that will influence the final form of the composition.”

.
Drager Meurtant

 

“Nearly every work of assemblage, in its relational structure, approaches abstract art” [but] “the practice of assemblage raises materials from the level of formal relations to that of associational poetry.”

.
Seitz, W. C. The Art of Assemblage. New York: Museum of Modern Art, 1961, p. 25, 84.

 

“It’s not where you take things from, it’s where you take them to.”

.
Jean-Luc Godard

 

 

Before the exhibition opening

Before the opening of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Before the opening of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Before the opening of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Before the opening of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Before the opening of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands

 

 

Now, the new form of the past is an exhibition based on international collaboration between Drager Meurtant (assemblages, NL) and Petra Senn (photography, D) with the theme Recycling Art . Both artists place most of the energy in their art and demand attention for its creativity, in the reuse of materials and objects.

Drager uses demolition material and remnants from construction, plus objets trouvés, to make assemblages; while Petra uses weathered matter and the perishableness (transitoriness) of materials in her photographs. Every artwork thus carries echoes from the past within itself. Senses is a parallel exhibition of abstract paintings by Jeanine Keuchenius.

Text from the Kunstwerk! Liemers Museum website

 

The artists Drager Meurtant and Petra Senn first met on ‘pictify’, a social medium for artists (at present no longer accepting new art submissions.) After an exchange of some ‘faves’ and views, the retrospective The Trauma of Painting by Alberto Burro in the museum K21 in Düsseldorf, Germany, became the place where at the end of June 2016 the three, Petra Senn, Drager Meurtant and his artist-partner Jeanine Keuchenius, met in person. With the overwhelming artistic environment, the basis of a human and artistic interest became established. Thus, when Stijn Geutjes, the curator of Kunstwerk! Liemers Museum asked Drager about willingness to exhibit his art in the museum, the answer came with the suggestion of the theme “Now, the new form of the past”, and introduction of colleague Petra Senn as associate, and Jeanine to come with an addition of the theme “Senses”. After some discussion, and rising interest of Stijn Geutjes in the abstract photographies of Petra Senn, the decision came to exhibit in a collaborative effort, that included partaking in the selection process of works of the curator and the three artists.

Text by Drager Meurtant

 

Objets trouvés

An objets trouvé is a found object; a natural or discarded object found by chance and held to have aesthetic value; an ordinary object, as a piece of driftwood, a shell, or a manufactured article, that is treated as an object of art by one who finds it aesthetically pleasing.

The term relates directly to Marcel Duchamp’s readymades, Dada and Fluxus art. Art critics have coined the terms arte povera (Italian) and junk art (Anglo-American) to signify art which incorporates said objects.

Arte Povera is basically the legitimate justification for creating art of junk and found objects. Arte Povera was a term coined by the Italian art critic Germano Celant. He used the word to sum up a type of art which combined elements of conceptual art, minimal art and performance art. He conceived the idea of the art movement in reaction to the ever increasing commercialism within the art world. The artists embrace the ideas of using valueless materials such as earth, gravel, rocks or litter in order to create works of art.

Junk art is the flattering name is given to 20th and 21st-century art in which the artist uses refuse, scrap metal, urban waste or just anything viewed as useless or cast of from modern society. Junk art is very much synonymous with American artist Robert Rauschenberg. It is also very much part of the 1960s Italian movement Arte Povera. The movement was the product of Antoni Tàpies, Alberto Burri, Michelangelo Pistoletto, Piero Manzoni, and Lucio Fontana.

Text from the Xamou website

 

Found object

Found object originates from the French objet trouvé, describing art created from undisguised, but often modified, objects or products that are not normally considered materials from which art is made, often because they already have a non-art function. …

Found objects derive their identity as art from the designation placed upon them by the artist and from the social history that comes with the object. This may be indicated by either its anonymous wear and tear (as in collages of Kurt Schwitters) or by its recognisability as a consumer icon (as in the sculptures of Haim Steinbach). The context into which it is placed is also a highly relevant factor. The idea of dignifying commonplace objects in this way was originally a shocking challenge to the accepted distinction between what was considered art as opposed to not art. …

As an art form, found objects tend to include the artist’s output – at the very least an idea about it, i.e. the artist’s designation of the object as art – which is nearly always reinforced with a title. There is usually some degree of modification of the found object, although not always to the extent that it cannot be recognised, as is the case with ready-mades. Recent critical theory, however, would argue that the mere designation and relocation of any object, ready-mades included, constitutes a modification of the object because it changes our perception of its utility, its lifespan, or its status.

Text from the Wikipedia website

 

Installation views of the exhibition Now, the new form of the past

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation views of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing the work of Drager Meurtant and Petra Senn

 

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation view of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing Drager Meurtant’s work connection not wireless (2014) top left, and Petra Senn’s Persuasiveness (2012) top right

 

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation view of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing Drager Meurtant’s Under way Nd

 

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation view of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing Drager Meurtant’s work Swan in essence (2014) at centre, with Petra Senn’s Insubordination (2017) top left and someone from the past I (nd) top right

 

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation view of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing the work of Drager Meurtant and Petra Senn with DM’s The promised land (2016) at right

 

 

About Drager Meurtant

In almost four decades since his training as as veterinarian-biomedical researcher, Drager Meurtant (artist alias of Gerard Rutteman) has channeled much creativity towards scientific publications and – in his free time – poetry. In more recent years, through a rapid learning curve, his creations have taken form as sculptures (in particular assemblages), collages, paintings and graphical works.

As autodidact and experienced carpenter, the circle saw, jig-saw, chisel, gouge, hammer are used to handle natural materials (wood, stone) in addition to manufactured (paper, cloth) and construction material (metal, glass, etcetera). Much of the basic elements are from demolition- / remnant materials (“recycling art”), sometimes objets trouvés. The assembly of contrasting elements creates tension, sometimes suspension.

The sculptures made by David Smith and (box) assemblages by Joseph Cornell, but also installations by Dieter Roth inspire Drager, as does the art by Joan Miró and members of CoBrA. The making of photographs is considered complementary to the assemblages, in an attempt to capture the fleeting world in which we live.

 

Drager Meurtant (b. 1951) 'Movement from within' 2016

 

Drager Meurtant (b. 1951)
Movement from within
2016
Three-dimensional sculpture, mixed media
Assemblage (relief), wood, paper, paint, sand, image
40 x 50 x 7 cm

“When the pieces were seen fit / and fixed in their proper position / the movement was undeniable / as it arose from within”

 

Drager Meurtant (b. 1951) 'Crawling, again' 2018

 

Drager Meurtant (b. 1951)
Crawling, again
2018
Three-dimensional sculpture, mixed media
47 x 34 x 20 cm

“How to make connections / of elements and the outside world? The answer to my question / came crawling, again”

 

Drager Meurtant (b. 1951) 'Crawling, again' 2018 (installation view)

 

Drager Meurtant (b. 1951)
Crawling, again (installation view)
2018
Three-dimensional sculpture, mixed media
47 x 34 x 20 cm

 

Drager Meurtant (b. 1951) 'Number 53' 2016 (installation view)

 

Drager Meurtant (b. 1951)
Number 53 (installation view)
2016
Mixed media sculpture
Assemblage, wood, paper, metal, plaster, paint
31 x 36 x 9 cm

“In former times / you could buy / petroleum, paraffin and coal / at number 53”

 

Drager Meurtant (b. 1951) 'The Orator' 2016

 

Drager Meurtant (b. 1951)
The Orator (installation view)
2016
Sculpture, wood, paint

 

Drager Meurtant (b. 1951) 'Tegut' 2018

 

Drager Meurtant (b. 1951)
Tegut
2018
Collage, paper
11 x 15 cm

“The next generation / has more generations / to lean upon”

 

Drager Meurtant (b. 1951) 'Three of a kind' 2018 (installation view)

 

Drager Meurtant (b. 1951)
Three of a kind (installation view)
2018
Mixed media
24 x 32 x 1 cm

“When presented three figures / of different size / and writing / and colour”

 

Drager Meurtant (b. 1951) 'Three of a kind' 2018

 

Drager Meurtant (b. 1951)
Three of a kind
2018
Mixed media
24 x 32 x 1 cm

 

Drager Meurtant (b. 1951) 'Mon Combat' 2018

 

Drager Meurtant (b. 1951)
Mon Combat
2018
Installation of book, metal
60 x 30 x 5 cm

Mon Combat by A. Tempspassé: there is always someone who sees argument to start a battle

 

Installation view of the exhibition 'Now, the new form of the past' at Kunstwerk! Liemers Museum, Netherlands

 

Installation view of the exhibition Now, the new form of the past at Kunstwerk! Liemers Museum, Netherlands showing Drager Meurtant’s works the listener (needs protection) (2018) at left, and The Mechanic (2018) at right

 

Drager Meurtant (b. 1951) 'The Mechanic' 2018

 

Drager Meurtant (b. 1951)
The Mechanic
2018
Mixed media (wood, iron, paint)
105 x 65 x 65 cm

“With good tools / you get everything moving”

 

Drager Meurtant (b. 1951) 'The snake kept its mouth shut' 2018

 

Drager Meurtant (b. 1951)
The snake kept its mouth shut
2018
Mixed media, trash
35 x 25 x 500 cm

“Curling, the snake kept its mouth shut”

 

Drager Meurtant (b. 1951) 'Destiny' 2018 (installation view)

 

Drager Meurtant (b. 1951)
Destiny (installation view)
2018
Painting on discarded radiator with support
60 x 130 cm

 

Drager Meurtant (b. 1951) 'All humans are equal' 2018 (installation view)

 

Drager Meurtant (b. 1951)
All humans are equal (installation view)
2018
Mixed media
100 x 50 x 200 cm

All humans are equal. // To test this assumption / take two / and tilt the angle / and position towards, one another.

 

Drager Meurtant (b. 1951) 'Rudimentary' 2016 (installation view)

 

Drager Meurtant (b. 1951)
Rudimentary (installation view)
2016
Mixed media
23 x 13 x 16 cm

“Mental metal / rudimentary face / mind you!”

 

Drager Meurtant (b. 1951) 'The promised land' 2016

 

Drager Meurtant (b. 1951)
The promised land
2016
Box assemblage
Mixed media, wood, board, metal, paint
34 x 44 x 10 cm

“The promised land / cannot be for outsiders. // They may look / how it is, yonder.”

 

Drager Meurtant (b. 1951) 'Steep-2' 2014 (installation view)

 

Drager Meurtant (b. 1951)
Steep-2 (installation view)
2014
Mixed media, wood partly rotten, metal, paint and glass
35 x 23 x 10 cm

Steep-2: The Monte Rotondo / is left behind / it weighs too much / for me. // The climbing rock of Feyr / I leave / to the climbers. // But / this wooden rock / serves as model / of a viewpoint on imagination.

 

Drager Meurtant (b. 1951) 'The avail of propaganda' 2016

 

Drager Meurtant (b. 1951)
The avail of propaganda
2016
Mixed media
Assemblage, wood, cloth, metal, paper, paint
43 x 21 x 8 cm

“The avail of propaganda / is that you and I / do what / we detest.”

 

Drager Meurtant (b. 1951) 'Twosome' Nd (installation view)

 

Drager Meurtant (b. 1951)
Twosome (installation view)
Nd
Mixed media

 

Drager Meurtant (b. 1951) 'fact-ohry' 2013 (installation view)

 

Drager Meurtant (b. 1951)
fact-ohry (installation view)
2013
Mixed media
24 x 32 x 42 cm

I said / now I will build a fact-ohry / and that / became factual. // With grabbing and placing / elements that together / took progressively the shape / of a fact-ohry / I became part of it. // Could shape the further design / and steer it at minor extent / but the end-result / was determined / by the starting point. // Voila.

(Note: This Fact-ohry is the only one with guarantee that risks during drilling for shale gas are secured.)

 

Drager Meurtant (b. 1951) 'Progress (halted)' 2016 (installation view)

 

Drager Meurtant (b. 1951)
Progress (halted) (installation view)
2016
Bronze
26 x 18 x 21 cm

“When going forth / from wood to bronze / and grasping the result / I realised progress had halted. // A result stands in the way / of the learning process.”

 

Drager Meurtant (b. 1951) 'Progress (halted)' 2016

 

Drager Meurtant (b. 1951)
Progress (halted)
2016
Bronze
26 x 18 x 21 cm

 

 

About Petra Senn

Petra’s work has mostly to do with memories and emotions. Her photos directly respond to the surrounding environment and use everyday experiences from the artist as a starting point. These experiences are often framed instances that would go unnoticed in their original context.

By contesting the division between the realm of memory and the realm of experience, she wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.

Her works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By applying abstraction, she absorbs the tradition of remembrance art into daily practice. She has a deep inner desire to protect the past from vanishing, both physically and, inevitably, mentally.

In her work Petra takes great care neither to simply reflect reality nor to just make visual statements. There is always left space for the spectators own emotions and opinions. She considers her work as visual stimulus, an invitation to enter ones inner world, knowing well that this process only works if she perceives deeper emotions while taking the pictures herself. Her search is for poetry in almost every item and condition.

Artist statement

 

Petra Senn. 'Her Lips' 2015

 

Petra Senn
Her Lips
2015

 

Petra Senn. 'Insubordination' 2017

 

Petra Senn
Insubordination
2017

 

Petra Senn. 'Persuasiveness' 2012

 

Petra Senn
Persuasiveness
2012

 

 

About Jeanine Keuchenius

Jeanine Keuchenius (1953, Indonesia) is a creative artist, dancer, and performer. Her background is as an art therapist (independent and within psychiatry) and social worker / pastoral worker. In the visual art she is an autodidact (a self-taught person), acquiring some skills at high school (teacher in visual art), she then followed several courses / workshops given by professional artists.

Jeanine’s painting uses paper, linen or panel, with palette filled with gouache, acrylic, oil, ink, with at times addition of tar, sand, and glue. Artists that inspire her are Henri Toulouse-Lautrec, Edvard Munch, Antoni Tapies and Emil Schumacher, but also the medium of modern dance moves her in her work, which is mostly abstract, but at times features more figurative elements. Sometimes echoes from mountain landscapes and abandoned hamlets (e.g. on the island of Corsica) are visualised. Her motto is: “In duet with myself.”

 

Installation view of the exhibition 'Senses' at Kunstwerk! Liemers Museum, Netherlands

Installation view of the exhibition 'Senses' at Kunstwerk! Liemers Museum, Netherlands

 

Installation views of the exhibition Senses at Kunstwerk! Liemers Museum, Netherlands

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Amulet' 2011

 

Jeanine Keuchenius (b. 1953, Indonesia)
Amulet (installation view)
2011
Gouache on paper
50 x 65 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Amulet' 2011

 

Jeanine Keuchenius (b. 1953, Indonesia)
Amulet
2011
Gouache on paper
50 x 65 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Pink and grey' 2012

 

Jeanine Keuchenius (b. 1953, Indonesia)
Pink and grey (installation view)
2012
Gouache on paper
50 x 65 cm

Each painting is the reflection of memory or dream.

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Pink and grey' 2012

 

Jeanine Keuchenius (b. 1953, Indonesia)
Pink and grey
2012
Gouache on paper
50 x 65 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Lying figure 2' 2017

 

Jeanine Keuchenius (b. 1953, Indonesia)
Lying figure 2 (installation view)
2017
Two-dimensional plaster cut, printed on newspaper
22 x 26 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Beautiful stay' 2014

 

Jeanine Keuchenius (b. 1953, Indonesia)
Beautiful stay (installation view)
2014
Gouache on paper

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Unchained' 2016

 

Jeanine Keuchenius (b. 1953, Indonesia)
Unchained (installation view)
2016
Mixed media on panel (bitumen, acrylic, sand on panel)
45 x 57 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Memory 1' 2018

 

Jeanine Keuchenius (b. 1953, Indonesia)
Memory 1 (installation view)
2018
Mixed media on panel (acrylic, sand, plaster, oil on panel)
60 x 70 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Gribusella' 2014

 

Jeanine Keuchenius (b. 1953, Indonesia)
Gribusella
2014
Acrylic on paper
50 x 65 cm

Form and colour accompany depth and emotion

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Senses' 2012

 

Jeanine Keuchenius (b. 1953, Indonesia)
Senses
2012
Acrylic on paper
50 x 65 cm

 

Jeanine Keuchenius (b. 1953, Indonesia) 'Bwual ènzo' 2014

 

Jeanine Keuchenius (b. 1953, Indonesia)
Bwual ènzo
2014
Gouache on paper
50 x 65 cm

Both when handling and avoiding themes, you sometimes walk in a circle.

 

Poster for the exhibitions 'Now, the new form of the past' and 'Senses'

 

Poster for the exhibitions Now, the new form of the past and Senses

 

 

Kunstwerk! Liemers Museum
Kerkstraat 16, 6901
AB Zevenaar, Nederland
Phone: +31 85 040 9971

Opening hours :
Tuesday to Sunday from 2 pm – 5 pm.

Jeanine Keuchenius website

Drager Meurtant website

Petra Senn website

Kunstwerk! Liemers Museum website

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08
Jul
18

Review: ‘Colony: Australia 1770 – 1861’ at NGV Australia at Federation Square, Melbourne Part 2, featuring photographs from exhibition

Exhibition dates: 15th March – 15th July 2018

Presented in conjunction with the exhibition Colony: Frontier Wars (15 March – 2 September 2018) which presents a powerful response to colonisation through a range of historical and contemporary works by Indigenous and non-Indigenous artists dating from pre-contact times to present day.

Warning: Aboriginal and Torres Strait Islander readers should be aware that this posting contains images and names of people who may have since passed away.

 

 

Installation view of the exhibition 'Colony: Australia 1770 - 1861' at NGV Australia at Federation Square, Melbourne

 

Installation view of the exhibition Colony: Australia 1770 – 1861 at NGV Australia at Federation Square, Melbourne showing how some of the photographs were displayed in the case at rear.

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

” …what the generality of the white population of the Colony consist of, which is of the most debased and vilest dregs of Great Britain and Ireland… they never look on the Blacks in the light of human beings, but, would just as soon shoot them as they would a crow, or hunt them as they would a kangaroo. Indeed in some districts the dogs used to be thought good for nothing unless they could kill a Black as well as a kangaroo, and they used to teach them to do so, by giving them some of the poor Black’s blood.”

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James Graham. ‘Overland Letter’ part of the Graham Bros collection at The University of Melbourne archives

 

The bad deeds of some leading frontier politicians, administrators and military men have been almost overlooked; many history books – even more modern online popular resources such as the Australian Dictionary of Biography – diminish, attempt to justify or overlook completely their proven excesses against this continent’s Indigenes. …

“On any occasion of seeing or falling in with the Natives, either in Bodies or Singly, they are to be called upon, by your friendly Native Guides, to surrender themselves to you as Prisoners of War. If they refuse to do so, make the least show of resistance, or attempt to run away from you, you will fire upon and compel them to surrender, breaking and destroying the Spears, Clubs and Waddies of all those you take Prisoners. Such natives as happen to be killed on such occasions, if grown up men, are to be hanged up on Trees in Conspicuous Situations, to Strike the Survivors with the greater terror.”

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Lachlan Macquarie, fifth governor of New South Wales quoted in Paul Daley, “Heroes, Monuments and History,” in ‘Meanjin’, Autumn 2018

 

 

Terror incognita

Firstly, let me state that I am no expert in Australian colonial history, culture or photography. These are very specialised fields. But what I can do is use my eyes, my knowledge and my feelings to provide comment on this exhibition.

This magnificent exhibition at NGV Australia at Federation Square is a fascinating interrogation of the early history of the Australian nation, yet at the same time I found it very disturbing and sad. The exhibition more resembles a natural history exhibition than an art exhibition, a cabinet of curiosities, a Wunderkammer, were encyclopaedic collections of objects whose categorical boundaries are yet to be defined are mixed with the first European art made on this continent. The exhibition is a microcosm or theatre of the world, and a memory theatre, for all that has passed since before invasion of this land up until the year 1861. The installation mixes together colonial and Indigenous artefacts from within the allotted time period. There is so much to see that I have visited three times and not got to the bottom of this exhibition it is so dense. Paintings, drawings, sculpture, colonial furniture, clothing, pottery, jewellery, photography, maps, artefacts, etc… are displayed in a melange of techniques, offering a huge range of artists and media. Please see Part 1 of the posting for the installation images of the exhibition.

Some observations can be made. Generally, the paintings and drawings are of a very classical form, very tightly controlled and painted. They set out to document the landscape, firstly the Australian landscape as seen in the European tradition, and then in a more realistic yet romanticised form in later paintings. Early colour aquatints of Aboriginal people depict them climbing trees in an almost reptilian manner while later representations picture “a romantic vision of a vast, silent and forbidding land. Two generic Aboriginal people figures are included in the foreground in the guise of the noble savage.” Of a vanishing race. Other collages (a fictionalised representational technique), such as James Wallis’ View of Awabakal Aboriginal people, with beach and river inlet, and distant Aboriginal group in background (c. 1818), propose “a harmonious relationship between the Awabakal, colonisers and the military. Such a suggestion is at odds with earlier events of April 1816 when Wallis, under the direction of Governor Macquarie, led an armed regiment against Dharawal and Gandangara people south of Sydney, in what is now acknowledged as the first officially sanctioned massacre of Indigenous people in Australia.” (Exhibition text) Further, the romanticised vistas of colonial interloper John Glover (1767-1849) evoke, “an idyll where the natives were at one with nature, even as the slaughter was upon them…” (Damian Smith, 2018). This connection to nature can be seen in Glover’s painting The River Nile, Van Diemen’s Land, from Mr Glover’s farm (1837). But, as the exhibition text notes, “Glover had not experienced the conflict or witnessed the violence between Tasmanian Aboriginal resistance fighters and white settlers during the 1820s. By the time of his arrival in 1831, the Tasmanian Aboriginal survivors had been forced to leave Country and relocate to Flinders Island.” These representations of Aboriginal life are pure fiction constructed in the imagination of the artists and colonisers.

By way of contrast, the portraits of landed gentry, such as Thomas Bock’s four paintings of Captain William Robertson and his family (1830s-50s), are elegant and flattering. They are portraits executed in the grand Georgian manner fashionable in England and were greatly prized by colonists. Here is a family who has made it, and they want everyone to know about it. The roots of their representation are in the old country, their allegiance there also, to the mother country. Australia is a colony, part of the British Empire, an outpost of all that is right and proper in the world. Imagine just for a second that you are back in the 1850s. No electricity, only candle power. Now imagine arriving at a home with these portraits, or the landscapes of John Glover, lit by candle light. The skin would be luminescent, the golden frames glowing in the light; the trees in the Glover paintings would have writhed, seeming almost alive in the flickering light. A forbidding landscape indeed.

In portraiture, the same disposition can be seen in the early daguerreotype and ambrotype photographs of Aboriginals and colonists.

“Within a decade of the arrival of European colonists in the Port Phillip District a number of professional photographers had established studios in Melbourne, and prominent among these was Douglas Kilburn. Around 1847, Kilburn made a series of portraits [see below] of people thought to be from the Kulin nation. The images testify to the power of photographs to record kin and define identity. They also show Aboriginal people who had experienced a decade of dispossession following the arrival of settlers. It is believed Kilburn’s subjects were among the numbers of First Nations people who had few choices other than to return to Melbourne because they had been driven out of their Country.” (Exhibition text)

If we look at these small, personal, one-off photographs housed in leather cases that can be closed off from the world, when opened to reveal the Aboriginal sitters … we notice how frontal they are, how they face straight on to the camera, how grouped they are, how they fill the picture plane with little negative space around them, how the camera seems to press in on them, as though to capture every last detail of their countenance and clothing. Their visage. The aspect of their being. These are ethnographic documents as much as they are portraits, for they map the condition of the captives. If, as Michael Graham-Stewart states in his book Bitter fruit: Australian photographs to 1963, “photography operates not only as an instrument of oppression, but also as a means of connecting with people of the past,” what do contemporary Indigenous Australians make of these images. Do they find evidence of wrongdoing and suffering but also of resistance, adaptation, and continuity? Are they also angry and sad at what they have lost, as in a thriving and incredibly diverse culture? I would be.

Again, by way of contrast we look at how the colonists viewed themselves in these personal treasures. Here, we must remember that these early photographs would have been relatively expensive for a family to have commissioned them, almost as expensive say, in contemporary terms, as buying a plasma television when they first came out. Only the well-to-do would have been able to afford to have their portrait taken. Two examples of this providence and bounty can be seen in this posting. The portrait of The Lashmar family by William Millington Nixon (1857-58, see below) shows a family who were pioneering pastoralists on Kangaroo Island in the 1850s. “Despite the relative remoteness of their home, and the harshness of the environment, the family evidently prospered. Thomas Young Lashmar not only had the means to travel to Adelaide with his wife and family, but was also able to commission photographic portraits at a time when it was still a relatively expensive exercise.” (Exhibition text) While Aboriginals while forced from their land and massacred, pastoralists were making money and prospering from the confiscated lands.

Nothing better shows the sense of entitlement that the early pastoralists had (and still do today, with their illegal land clearing) towards their possession of the land and their identity that arose from that possession, than the commissioned set of five portraits by daguerreotype portraitist George Goodman of the daughters of prominent local land holder William Lawson II in the town of Bathurst, north-west of Sydney. Dressed in their finest, the young daughters, arms covered, clutch flowers and either look away from the camera or directly at it. The camera is placed directly at eye level, or slightly below it, and the space around the sitter is open and amorphous, a plain background which isolates the figure in space. Unlike the claustrophobic portraits by Douglas Kilburn of the Aboriginals from the Kulin nation, here the sitters seem to possess the space of the photograph, they inhabit and can breathe in the pictorial plane. In particular, the portrait of Susannah Caroline Lawson (1845, below) pictures a young woman with an incredibly determined stare and haughty demeanour. She seems to radiate a perfect sense of entitlement within the physical presence of the photograph.

Other photographs reinforce this vision of the world that the colonists enacted. Thomas Bock’s Portrait of two boys (1848-50, below) “shows that he was a skilled photographer by 1848… Any parent would have been thrilled by such a vivid image of their sons, especially as, like many colonial sons, they might be getting ready to be sent ‘home’ to the United Kingdom for schooling. The image of the boys was a memento for their parents as well as proof for relatives in Britain that colonial society could produce the same well-dressed and well-bred young boys as the old country.” (Gael Newton)

There is the rub. For migrants who were a long way from home, photography was proof that they were alive, successful, flourishing… and could live up to the expectations of their family back home and the standards of the old country. “Photography served several interrelated roles associated with the experience of migration and colonisation. For those European migrants transplanted halfway across the world, often without family or friends, the most immediate and heartfelt use for the camera was portraiture. Some of Australia’s earliest surviving photographs are small, sturdily cased portraits which provided ‘likenesses as if by magic’ of those depicted and were sent back ‘home’, thus providing an emotional connection to family members.” (Exhibition text) An emotional connection for people living in a far off land to those back “home”, and an emotional connection to family in a forbidding land, to remind themselves of their strength and unity in the face of the unknown.

What this exhibition does not show, because they are later photographs, is evidence of the overt oppression of Indigenous peoples that photography documented. While terra nullius is a Latin expression meaning “nobody’s land” usually associated with colonising Australia, the British Government using this term to justify the dispossession of Indigenous people, there is also another term, terra incognita, a term used in cartography for regions that have not been mapped or documented. In many ways the terror that Indigenous people experienced during invasion is still being mapped and explored. Much of it is still not known or is unaccepted, as a terror incognita. Dr Katherine Ellinghaus in her article “Criss-Cross History Hidden in a Letter,” notes that, “Reconciliation Australia’s own biennial survey [2016] has found that more than one in three Australians don’t accept that Aboriginal and Torres Strait Islander people were subject to mass killings, incarceration, and forced removal from their lands.”

This is the terror that still exists in the Australian psyche. The terror of cutting ties to the motherland, the terror of an incognita, an “unknown land”, and the hidden terror prescribed and enacted on the cultural body of the Aboriginal, unacknowledged by some even today.

Dr Marcus Bunyan for Art Blart

Word count: 1,853

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Many thankx to the National Gallery of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Dr Marcus Bunyan and the National Gallery of Victoria.

 

Unknown photographer. 'Robert Lyall with the New Norfolk Cup' 1851 Ambrotype

 

Unknown photographer
Robert Lyall with the New Norfolk Cup
1851
Ambrotype
National Gallery of Victoria, Melbourne
Purchased, 2004
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

Robert Lyall was a successful Tasmanian publican and businessman whose interests extended to horse racing. In 1851 his prized horse Patience won the New Norfolk Cup and Lyall was the recipient of a handsome silver presentation cup. Not only evidence of his success and standing, the cup was apparently also of great personal significance to Lyall as he included it as a decorative element when this large-scale ambrotype was commissioned. Unlike more intimately scaled cased images, this photograph was framed so that it could be prominently displayed on the wall. (Exhibition text)

 

Douglas T. Kilburn (attributed to) 'No title (Group of Koori men)' c. 1847 Daguerreotype

Douglas T. Kilburn (attributed to) 'No title (Group of Koori men)' c. 1847 Daguerreotype

 

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846)
No title (Group of Koori men)
c. 1847
Daguerreotype; leather, wood, velvet, brass
National Gallery of Victoria, Melbourne
Purchased from Admission Funds, 1983

Photos: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

Within a decade of the arrival of European colonists in the Port Phillip District a number of professional photographers had established studios in Melbourne, and prominent among these was Douglas Kilburn. Around 1847, Kilburn made a series of portraits of people thought to be from the Kulin nation. The images testify to the power of photographs to record kin and define identity. They also show Aboriginal people who had experienced a decade of dispossession following the arrival of settlers. It is believed Kilburn’s subjects were among the numbers of First Nations people who had few choices other than to return to Melbourne because they had been driven out of their Country. (Exhibition text)

 

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846) 'No title (Group of Koori men)' c. 1847

 

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846)
No title (Group of Koori men)
c. 1847
Daguerreotype; leather, wood, velvet, brass
National Gallery of Victoria, Melbourne
Purchased from Admission Funds, 1983

 

 

Kulin

The Kulin nation is an alliance of five Indigenous Australian tribes in south central Victoria, Australia. Their collective territory extended around Port Phillip and Western Port, up into the Great Dividing Range and the Loddon and Goulburn River valleys. Before British colonisation, the tribes spoke five related languages. These languages were spoken in two groups: the Eastern Kulin group of Woiwurrung, Boonwurrung, Taungurong and Ngurai-illam-wurrung; and the western language group of just Wathaurung.

The central Victoria area has been inhabited for an estimated 60,000 to 100,000 years before European settlement. At the time of British settlement in the 1830s, the collective populations of the Woiwurrung, Boonwurrung and Wathaurong tribes of the Kulin nation was estimated to be under 20,000. The Kulin lived by fishing, hunting and gathering, and made a sustainable living from the rich food sources of Port Phillip and the surrounding grasslands.

Due to the upheaval and disturbances from British settlement from the 1830s on, there is limited physical evidence of the Kulin peoples’ collective past. However, there is a small number of registered sites of cultural and spiritual significance in the Melbourne area.

Text from the Wikipedia website

 

Douglas T. Kilburn (attributed to) 'No title (South-east Australian Aboriginal man and two younger companions)' 1847 (left) and 'No title (Two Koori women)' c. 1847 (right) Daguerreotypes

 

Left

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846)
No title (South-east Australian Aboriginal man and two younger companions)
1847
Daguerreotype
National Gallery of Australia, Canberra
Purchased 2007

Right

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846)
No title (Two Koori women)
c. 1847
Daguerreotype, brass, glass, gold, velvet
National Gallery of Victoria, Melbourne
Purchased, 2004

Photos: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Douglas T. Kilburn (attributed to) 'No title (Two Koori women)' c. 1847 Daguerreotype

 

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846)
No title (Two Koori women)
c. 1847
Daguerreotype, brass, glass, gold, velvet
National Gallery of Victoria, Melbourne
Purchased, 2004
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

As a way of attracting attention to his newly opened business Douglas Kilburn took at least eight daguerreotypes of Aboriginal people in the lands of the Kulin nation. As a result of the nineteenth-century belief that the Aboriginal people were doomed to annihilation, Kilburn intended the images as ethnographic studies rather than individual portraits; nevertheless, his unnamed sitters project a proud and dignified presence. His photographs were popular with local artists such as Eugene von Guérard and John Skinner Prout, who copied them, and they also reached an international audience when they were used as the basis for wood engravings in William Westgarth’s Australia Felix in 1848, Nordisk Penning-Magazin in 1849 and the Illustrated London News in 1850. (Exhibition text)

 

George Goodman Lawson children

 

George Goodman (active in Australia 1842-51)

Left

Maria Emily Lawson
1845
Daguerreotype
Mitchell Library, State Library of New South Wales, Sydney
Presented 1993

Middle

Susannah Caroline Lawson
1845
Daguerreotype; leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

Right

Eliza Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

George Goodman Lawson mother and children

 

George Goodman (active in Australia 1842-51)

Left

Caroline and Thomas James Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented 1991

Middle

Sophia Rebecca Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

Right

Sarah Ann Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

George Goodman arrived in Sydney in 1842 and established the first professional photography studio in Australia. Although he is known to have made photographs of Tasmanian street scenes, his stock-in-trade was portraiture. Goodman travelled to regional towns where he advertised his services as a daguerreotype portraitist. In 1845 he visited the town of Bathurst, north-west of Sydney, and was commissioned to photograph the family of prominent local land holder William Lawson II. The resulting series includes five individual portraits of Lawson’s young daughters and a charming, and surprisingly informal, image showing his wife Caroline Lawson and their young son. (Exhibition text)

 

George Goodman (active in Australia 1842-51) 'Susannah Caroline Lawson' 1845

 

George Goodman (active in Australia 1842-51)
Susannah Caroline Lawson
1845
Daguerreotype; leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

 

George Goodman (active in Australia 1842-51) 'Eliza Lawson' 1845

 

George Goodman (active in Australia 1842-51)
Eliza Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

 

George Goodman (active in Australia 1842-51) 'Caroline and Thomas James Lawson' 1845

 

George Goodman (active in Australia 1842-51)
Caroline and Thomas James Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented 1991

 

George Goodman (active in Australia 1842-51) 'Sophia Rebecca Lawson' 1845

 

George Goodman (active in Australia 1842-51)
Sophia Rebecca Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

 

George Goodman (active in Australia 1842-51) 'Sarah Ann Lawson' 1845

 

George Goodman (active in Australia 1842-51)
Sarah Ann Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

 

Unknown photographer (working 1850s) 'Pair of portraits: George Taylor, his wife Ann (nee Collis Pratt)' c. 1856 Ambrotypes

 

Unknown photographer (working 1850s)
Pair of portraits: George Taylor, his wife Ann (nee Collis Pratt)
c. 1856, Adelaide
Two ambrotypes, colour dyes, gold paint
9.4 x 6.8 cm (each image, oval)
J.C. Earl Bequest Fund 2010
Art Gallery of South Australia, Adelaide
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Freeman Brothers Studio. ‘No title (Mother and children)’ 1855-56

 

Freeman Brothers Studio, Sydney (1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
No title (Mother and children)
1855-56
Daguerreotype, oil paint; leather, gold, paint, glass, velvet, metal, wood (case)
National Gallery of Victoria, Melbourne
Gerstl Bequest, 2001
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Freeman Brothers Studio. ‘No title (Mother and children)’ 1855-56

 

Freeman Brothers Studio, Sydney (1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
No title (Mother and children)
1855-56
Daguerreotype, oil paint; leather, gold, paint, glass, velvet, metal, wood (case)
National Gallery of Victoria, Melbourne
Gerstl Bequest, 2001

 

 

One of the largest and most celebrated Sydney photographic studios was run by the Freeman Brothers, whose skilful portraits were much admired. This pair of entrepreneurial photographers used the latest processes, building a large, well-appointed studio and actively promoting their work through display in international exhibitions. James Freeman was also extremely well versed in the potential uses of the medium, delivering a comprehensive lecture on the topic to a Sydney society in 1858. (Exhibition text)

 

Thomas Glaister (England 1824 - United States 1904, Australia 1850s) 'No title (Seated woman)' c. 1858

 

Thomas Glaister (England 1824 – United States 1904, Australia 1850s)
No title (Seated woman)
c. 1858
Ambrotype, coloured dyes
13.6 h x 10.7 w cm (case)
National Gallery of Australia, Canberra
Purchased 1983
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Professor Robert Hall. ‘Portrait of a gentleman with check pants’ 1855-65 and Thomas Glaister. ‘George Coppin’ c. 1855

 

Left

Professor Robert Hall (active in Australia mid 19th century)
No title (Portrait of a gentleman with check pants)
1855-65
Stereo ambrotype, colour dyes
8.8 x 17.1 cm (overall)
Art Gallery of South Australia, Adelaide
R. J. Noye Collection
Gift of Douglas and Barbara Mullins, 2004

Right

Thomas Glaister (England 1824 – United States 1904, Australia 1850s)
George Coppin
c. 1855
Daguerreotype, hand tinted, gilt-matted and glazed
5.2 x 12.7 cm
Mitchell Library, State Library of New South Wales, Sydney

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

George Selth Coppin (8 April 1819 – 14 March 1906) was a comic actor, entrepreneur and politician, active in Australia. For more information see the Australian Dictionary of Biography entry.

 

Thomas Glaister. ‘No title (Gentleman)’ c. 1854

 

Meade Brothers Studio, Melbourne (studio active in Australia 1850s)
Thomas Glaister (attributed to) (photographer England 1825 – United States 1904)
No title (Gentleman)
c. 1854
Daguerreotype, colour pigments; gold, leather, velvet, brass, glass (case)
National Gallery of Victoria, Melbourne
Purchased through the NGV Foundation with the assistance of T. H. Lustig and Moar Families, Governor, 2001
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Thomas Glaister. ‘No title (Gentleman)’ c. 1854

 

Meade Brothers Studio, Melbourne (studio active in Australia 1850s)
Thomas Glaister (attributed to) (photographer England 1825 – United States 1904)
No title (Gentleman)
c. 1854
Daguerreotype, colour pigments; gold, leather, velvet, brass, glass (case)
National Gallery of Victoria, Melbourne
Purchased through the NGV Foundation with the assistance of T. H. Lustig and Moar Families, Governor, 2001

 

Thomas Bock. ‘William Robertson Jnr.’ c. 1852 and ‘Margaret Robertson’ c. 1852

 

Left

Thomas Bock (attributed to) (England 1790 – Australia 1855, Australia from 1824)
William Robertson Jnr.
c. 1852
Daguerreotype, hand coloured
case: 9.2 x 8.0 cm, image: 7.0 x 5.5 cm
National Portrait Gallery, Canberra
Gift of Fiona Turner (nee Robertson) and John Robertson, 2001
Donated through the Australia Government’s Cultural Gifts Program

Right

Thomas Bock (attributed to) (England 1790 – Australia 1855, Australia from 1824)
Margaret Robertson
c. 1852
Ambrotype, hand coloured
case: 9.3 x 8.0 cm, image: 7.0 x 6.0 cm
National Portrait Gallery, Canberra
Gift of Fiona Turner (nee Robertson) and John Robertson, 2001
Donated through the Australia Government’s Cultural Gifts Program

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

News of scientific discoveries reached Australia via the flotillas of ships plying the southern trade routes. The first demonstrations of photography occurred in England and France in 1839. News of this reached Australia that same year and was described in an account in the Tasmanian newspaper The Cornwall Chronicle on 19 October 1839. Former convict Thomas Bock was one of the earliest Tasmanian photographers, first advertising his studio in September 1843. His daguerreotype portraits resemble his paintings and drawings in their composition and use of hand-colouring. (Exhibition text)

 

Thomas Bock

1790 – 1855

Thomas Bock, artist, printmaker and photographer, is believed to have been born at Sutton Coldfield, near Birmingham, in 1790. He completed an apprenticeship as an engraver with Thomas Brandard in Birmingham and in 1814 established his own business there, advertising himself as an ‘Engraver and Miniature Painter’. In April 1823, Bock and a woman named Mary Day Underhill appeared at the Warwickshire Assizes charged with ‘administering concoctions of certain herbs to Ann Yates, with the intent to cause a miscarriage.’ Both were found guilty and sentenced to transportation for fourteen years. At the time of his conviction, Bock was thirty-two, married and father to five children. Bock arrived in Hobart aboard the Asia in January 1824. His convict record stated he had ‘served an apprenticeship to the Engraving Business’ and described him as ‘well connected and very orderly.’ The colonial authorities found immediate use for Bock, some of his earliest Tasmanian works being bank notes engraved for the Bank of Van Diemen’s Land and a drawing of executed cannibal, Alexander Pearce, made in July 1824 at the request of the Colonial Surgeon. Bock worked as a printmaker during the 1820s, engraving stationery along with illustrations for publications such as the Hobart Town Almanack while also producing portraits. He received a conditional pardon in 1832 and free pardon a year later, thereafter establishing a highly successful practice as Hobart’s most sought-after portrait artist. Bock was particularly known for his portrait drawings utilising watercolour, pencil, chalk and pastel (or ‘French crayon’), but his practice was diverse, incorporating printmaking and oil painting as well as photography. On his death in Hobart in March 1855 he was described as ‘an artist of a very high order’ whose works ‘adorned the homes of a number of our old colonists and citizens.’

Text from the National Portrait Gallery website

 

Thomas Bock (attributed to) (England 1790 - Australia 1855, Australia from 1824) 'William Robertson Jnr.' c. 1852

 

Thomas Bock (attributed to) (England 1790 – Australia 1855, Australia from 1824)
William Robertson Jnr.
c. 1852
Daguerreotype, hand coloured
case: 9.2 x 8.0 cm, image: 7.0 x 5.5 cm
National Portrait Gallery, Canberra
Gift of Fiona Turner (nee Robertson) and John Robertson, 2001
Donated through the Australia Government’s Cultural Gifts Program

 

 

William Robertson (1839-1892), barrister and politician, was the third of the seven children of pastoralist William Robertson (1798-1874) and his wife Margaret (née Whyte, 1811-1866). Robertson was born and educated in Hobart and then at Wadham College, Oxford. He is believed to be the first Australian to row in an Oxford eight, his team victorious against Cambridge in the Boat Race of 1861. Robertson graduated with a BA in 1862 and was married and called to the bar the following year. On his return to Australia, Robertson practised law in Hobart before heading to Victoria in 1864. He worked as a barrister in Melbourne and then assisted in the management of the family property, Corangamarah, which he and his three brothers jointly inherited on the death of their father in 1874. Robertson served as a member of the Victorian Legislative Assembly between 1871 and 1874 and again from 1881 to 1886; he was also President of the Colac Shire council in 1880-81. After the dissolution of the partnership with his brothers in 1885, Robertson became sole owner of Corangamarah, later called The Hill, and in retirement enjoyed the lifestyle of an ‘hospitable and sports-loving country gentleman.’

Text from the National Portrait Gallery website

 

Thomas Bock (attributed to) (England 1790 - Australia 1855, Australia from 1824) 'Margaret Robertson' c. 1852

 

Thomas Bock (attributed to) (England 1790 – Australia 1855, Australia from 1824)
Margaret Robertson
c. 1852
Ambrotype, hand coloured
case: 9.3 x 8.0 cm, image: 7.0 x 6.0 cm
National Portrait Gallery, Canberra
Gift of Fiona Turner (nee Robertson) and John Robertson, 2001
Donated through the Australia Government’s Cultural Gifts Program

 

 

Margaret Robertson (née Whyte, 1811-1866) was the daughter of settlers George and Jessie Whyte, who emigrated to Van Diemen’s Land from Scotland in 1832. In September 1834, Margaret married Scottish-born entrepreneur and landowner William Robertson (1798-1874), who had arrived in the colony in 1822 and who, in the decade leading up to his marriage, had acquired land nearby to a property owned by Margaret’s family. The first of Margaret and William’s seven children – four sons and three daughters – was born in 1835. The family resided in Hobart until the early 1860s, when Roberston relocated to his Victorian estate, where Margaret died in February 1866.

Text from the National Portrait Gallery website

 

Thomas Bock (England 1790 - Australia 1855, Australia from 1824) 'No title (Portrait of two boys)' 1848-50

 

Thomas Bock (England 1790 – Australia 1855, Australia from 1824)
No title (Portrait of two boys)
1848-50, Hobart, Tasmania, Australia
Daguerreotype
case closed 7.0 h x 6.0 w cm case open 7.5 h x 13.0 w cm
National Gallery of Australia, Canberra
Purchased 2009
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

The daguerreotype was first demonstrated in Australia in Sydney in May 1841. Late the following year, London’s George Goodman set up the first commercial studio in Sydney, claiming to have an exclusive license to use the daguerreotype in the colonies. Goodman was working in Hobart in August 1843, where he came in direct competition with British convict artist Thomas Bock.

Although an engraver by trade, Bock had a keen interest in photography and, in the Hobart Town Advertiser of 29 September 1843, he advertised that ‘in a short time he would be enabled to take photographic likenesses in the first style of the art’. Infuriated, Goodman threatened legal action and Bock promptly withdrew until five years later when he opened a portrait photography studio in Hobart.

Bock’s stepson Alfred assisted him in the photography-side of the studio business. They had seen daguerreotype portraits brought from London by Reverend Francis Russell Nixon in Hobart in June 1843 – before Goodman’s arrival in Tasmania – and had purchased a camera from a Frenchman in Hobart so that they could learn the new art form using photographic formulas published in English magazines. Their lack of proper training, however, shows in Hobart dignitary GTYB Boyes’s records of August 1849, in which he comments, ‘Bock understands the nature of his apparatus but very imperfectly!’ Despite this and other unfavourable remarks between 1849 and 1853, Boyes continued to visit Bock’s studios for daguerreotype portraits.

Bock’s portrait of two freckle-faced boys dressed in matching outfits shows that he was a skilled photographer by 1848 – a year before Boyes’s initial disparaging remark. Any parent would have been thrilled by such a vivid image of their sons, especially as, like many colonial sons, they might be getting ready to be sent ‘home’ to the United Kingdom for schooling. The image of the boys was a memento for their parents as well as proof for relatives in Britain that colonial society could produce the same well-dressed and well-bred young boys as the old country. The sitters are as yet unidentified but the daguerreotype has been dated by comparison with several identified examples of double portraits of children that have survived out of the hundreds of images made by the Bock studio.

Gael Newton
Senior Curator, Photography
in artonview, issue 61, autumn 2010

 

William Millington Nixon (England 1814 - Australia 1893, Australia from 1855) 'The Lashmar family' 1857-58

 

William Millington Nixon (England 1814 – Australia 1893, Australia from 1855)
The Lashmar family
1857-58
Daguerreotype, coloured inks; gold, leather, brass, metal, velvet and glass (case)
National Gallery of Victoria, Melbourne
Purchased, 2004
Photos: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

Shortly after his arrival in Adelaide in 1855, William Millington Nixon began making daguerreotypes, and quickly become a skilled daguerreotypist. By 1858 he had built a reputation as a portraitist and established a studio in King William Street, Adelaide.

The Lashmar family were pioneering pastoralists on Kangaroo Island in the 1850s. Despite the relative remoteness of their home, and the harshness of the environment, the family evidently prospered. Thomas Young Lashmar not only had the means to travel to Adelaide with his wife and family, but was also able to commission photographic portraits at a time when it was still a relatively expensive exercise. (Exhibition text)

 

Unknown photographer. 'No title (Portrait of a nun)' c. 1860

 

Unknown photographer
No title (Portrait of a nun)
c. 1860
Ambrotype with hand tinting
4.0 x 16.5 x 12.5 cm (box)
Art Gallery of South Australia, Adelaide
R.J. Noye Collection
Gift of Douglas and Barbara Mullins, 2004
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Thomas Glaister (England 1824 - United States 1904, Australia 1850s) 'Reverend Jabez Bunting Waterhouse' 1861

 

Thomas Glaister (England 1824 – United States 1904, Australia 1850s)
Reverend Jabez Bunting Waterhouse
1861
Ambrotype, coloured-dyes
Mitchell Library, State Library of New South Wales, Sydney
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

WATERHOUSE BROTHERS: Jabez Bunting (1821-1891), Joseph (1828-1881), and Samuel (1830-1918), Wesleyan ministers, were the fifth, ninth and tenth children of Rev. John Waterhouse (d. 1842) and his wife Jane Beadnell, née Skipsey. In 1838 their father, a prominent Yorkshire Methodist, was appointed general superintendent of the Wesleyan Methodist Mission in Australia and Polynesia with a roving commission. With his wife, seven sons and three daughters, he reached Hobart Town in the James on 1 February 1839.

Jabez was born in London on 19 April 1821, educated at Kingswood School in 1832-35 and apprenticed to a printer. In Hobart, A. Bent’s printing premises were purchased and worked by Jabez. In 1840 he became a local preacher extending his ministry to convict road menders. Received as a probationer in 1842, he returned to England to enter Richmond (Theological) College and in 1845 was appointed to Windsor circuit. After his ordination at the Methodist chapel, Spitalfields, he was sent to Van Diemen’s Land in 1847, and ministered successively in the Hobart, Westbury, Campbell Town and Longford circuits. In 1855 the first conference of the Wesleyan Church in Australia appointed him to South Australia; he served at Kapunda, Willunga and Adelaide, his ministry marked by his business acumen and his role as secretary of the Australasian Conference at Adelaide in 1862.

In 1864 Waterhouse was transferred to New South Wales and was appointed successively to Maitland, Goulburn, Orange, Waverley, Parramatta, Newcastle and Glebe. In 1874-75 he was secretary of the New South Wales and Queensland Annual Conference and president in 1876; he was elected secretary of the first three general conferences of the Australasian Wesleyan Methodist Church: in Melbourne 1875, Sydney 1878 and Adelaide 1881. In 1882 he retired as a supernumerary, but remained on committees such as those of the Sustentation and Extension Society and the Missionary Society, frequently looking after missionary interests during the absence of George Brown. He supported the Wesleyan Church in Tonga in the dispute with S. W. Baker and published The Secession and the Persecution in Tonga … (Sydney, 1886). Regarded as a gifted preacher by his denomination and as the architect of most of the conference legislation, he died of heart disease and dropsy at Randwick on 18 January 1891 and was buried in the Wesleyan section of Rookwood cemetery. He was survived by his wife Maria Augusta, née Bode, whom he had married at Windsor, England, on 13 August 1847, and by seven sons; his second son John was headmaster of Sydney High School.

Niel Gunson. Australian Dictionary of Biography

 

Freeman Brothers Studio. ‘Walter Davis’ and ‘Jemima Jane Davis’ c. 1860

 

Left

Freeman Brothers Studio (Sydney 1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
Jemima Jane Davis
c. 1860
Ambrotype, coloured dyes; wood, leather, velvet, glass and gilt metal (case)
National Gallery of Victoria, Melbourne
Gift of Warwick Reeder, 1991

Right

Freeman Brothers Studio (Sydney 1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
Walter Davis
c. 1860
Ambrotype, coloured dyes; wood, leather, velvet, glass and gilt metal (case)
National Gallery of Victoria, Melbourne
Gift of Warwick Reeder, 1991

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Freeman Brothers Studio. ‘Walter Davis’ c. 1860

 

Freeman Brothers Studio (Sydney 1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
Walter Davis
c. 1860
Ambrotype, coloured dyes; wood, leather, velvet, glass and gilt metal (case)
National Gallery of Victoria, Melbourne
Gift of Warwick Reeder, 1991
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Freeman Brothers Studio. ‘Jemima Jane Davis’ c. 1860

 

Freeman Brothers Studio (Sydney 1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
Jemima Jane Davis
c. 1860
Ambrotype, coloured dyes; wood, leather, velvet, glass and gilt metal (case)
National Gallery of Victoria, Melbourne
Gift of Warwick Reeder, 1991

 

Freeman Brothers Studio. ‘Walter Davis’ c. 1860

 

Freeman Brothers Studio (Sydney 1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
Walter Davis
c. 1860
Ambrotype, coloured dyes; wood, leather, velvet, glass and gilt metal (case)
National Gallery of Victoria, Melbourne
Gift of Warwick Reeder, 1991

 

Unknown photographer. 'No title (Portrait of a man, woman and child)' c. 1860

 

Unknown photographer
No title (Portrait of a man, woman and child)
c. 1860
Ambrotype, coloured dyes; wood, leather, brass, glass, silk (velvet) (case)
Museum of Applied Arts and Sciences, Sydney
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Unknown photographer. 'No title (Portrait of mother and child)' c. 1855

 

Unknown photographer
No title (Portrait of mother and child)
c. 1855
Ambrotype, coloured dyes; wood, leather, brass, glass, silk (velvet) (case)
Museum of Applied Arts and Sciences, Sydney
Gift of Tooth & Company Ltd under the Australian Government’s Tax Incentives for the Arts Scheme, 1986
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Unknown photographer. ‘Jemima, wife of Jacky with William T. Mortlock’ and ‘Jacky, known as Master Mortlock’ c. 1860

 

Left

Unknown photographer
Jemima, wife of Jacky with William T. Mortlock
c. 1860
Daguerreotype
Ayers House Museum, National Trust of South Australia, Adelaide

Right

Unknown photographer
Jacky, known as Master Mortlock
c. 1860-65
Daguerreotype
Ayers House Museum, National Trust of South Australia, Adelaide

Photos: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

The Mortlock family were wealthy pastoralists in South Australia. Along with the daguerreotypes of family members they commissioned around 1860 are two portraits of their domestic servants known as Jemima and Jacky. Each member of the Mortlock family has been named in these images, but the identity of the two Aboriginal sitters has been lost – initially with the assignment of European first names and then the addition of the surname ‘master Mortlock’, which identified them as servants of the pastoralists who employed them. (Exhibition text)

 

Unknown photographer. 'Brothers William Paul and Benjamin Featherstone' c. 1860

 

Unknown photographer
Brothers William Paul and Benjamin Featherstone
c. 1860
Ambrotype, gold paint
15.5 x 12.1 cm (case)
Art Gallery of South Australia, Adelaide
J.C. Earl Bequest Fund, 2010
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Thomas Glaister (England 1824 - United States 1904, Australia 1850s) 'Professor John Smith' c. 1858

 

Thomas Glaister (England 1824 – United States 1904, Australia 1850s)
Professor John Smith
c. 1858
Daguerreotype
Tasmanian Museum and Art Gallery, Hobart
Presented by Miss Kate Crouch, 1942
Photo:
© Dr Marcus Bunyan and the National Gallery of Victoria

 

Unknown photographer. 'Emily Spencer Wills' c. 1859

 

Unknown photographer
Emily Spencer Wills
c. 1859
Daguerreotype, coloured dyes; brass, glass, leather, wood
1/6th plate daguerreotype with applied colour in al brass matt (without original leather case)
Frame: 8.5 x 7.2 cm, sight: 6.6 x 5.4 cm
National Portrait Gallery, Canberra Gift of T S Wills Cooke 2014
Donated through the Australian Government’s Cultural Gifts Program
Photo:
© Dr Marcus Bunyan and the National Gallery of Victoria

 

Unknown photographer. 'Emily Spencer Wills' c. 1859

 

Unknown photographer
Emily Spencer Wills
c. 1859
Daguerreotype, coloured dyes; brass, glass, leather, wood
1/6th plate daguerreotype with applied colour in al brass matt (without original leather case)
Frame: 8.5 x 7.2 cm, sight: 6.6 x 5.4 cm
National Portrait Gallery, Canberra Gift of T S Wills Cooke 2014
Donated through the Australian Government’s Cultural Gifts Program

 

 

Photography served several interrelated roles associated with the experience of migration and colonisation. For those European migrants transplanted halfway across the world, often without family or friends, the most immediate and heartfelt use for the camera was portraiture. Some of Australia’s earliest surviving photographs are small, sturdily cased portraits which provided ‘likenesses as if by magic’ of those depicted and were sent back ‘home’, thus providing an emotional connection to family members.

This group of family portraits shows members of the Wills family, including Thomas Wentworth Wills, who was a prominent sportsman and one of the authors of the rules of the game that later became known as Australian Rules. (Exhibition text)

 

Unknown photographer. 'No title (Group of people in front of a crushing plant on a goldfield)' 1860s and Henry King (Australia 1855-1923) 'Henry Kay' 1855-60

 

Left

Unknown photographer
No title (Group of people in front of a crushing plant on a goldfield)
1860s
Ambrotype; embossed leather, wood, velvet, brass, gilt metal
National Gallery of Victoria, Melbourne Purchased, 2007

Right

Henry King (Australia 1855-1923)
Henry Kay
1855-60
Ambrotype, coloured dyes
2 photographs: ambrotypes with hand-colouring ; 8.9 x 6.5 cm. (oval, sight, f.1) in pinchbeck and gilt brass mount 10.9 x 8.3 cm. and 9.6 x 7.0 cm. (oval, sight, f.2) in gilt brass mount 10.9 x 8.2 cm., in brown union case 12.0 x 9.4 cm
Pictures Collection, State Library Victoria, Melbourne
Gift of Mrs W.G. Haysom 1964

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

The discovery of gold in 1851 led to extraordinary change in the colonies as migrants flooded in and previously unknown wealth enabled expansion and development. Across the colony mines were dug and small towns and settlements were established. This ambrotype shows a working mine in central Victoria and also reveals the environmental damage that resulted from the scramble for gold.

The desire to make a fortune on the goldfields brought about significant social change. Migrants such as Henry Kay, who arrived from Penang in the 1850s, came seeking gold but stayed on in various other roles, including that of court interpreter. (Exhibition text)

 

Henry King (Australia 1855-1923) 'Henry Kay' 1855-60

Henry King (Australia 1855-1923) 'Henry Kay' 1855-60

 

Henry King (Australia 1855-1923)
Henry Kay
1855-60
Ambrotype, coloured dyes
2 photographs: ambrotypes with hand-colouring ; 8.9 x 6.5 cm. (oval, sight, f.1) in pinchbeck and gilt brass mount 10.9 x 8.3 cm. and 9.6 x 7.0 cm. (oval, sight, f.2) in gilt brass mount 10.9 x 8.2 cm., in brown union case 12.0 x 9.4 cm
Pictures Collection, State Library Victoria, Melbourne
Gift of Mrs W.G. Haysom 1964

 

 

The Ian Potter Centre: NGV Australia

Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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11
Apr
18

Vale Polixeni Papapetrou (1960-2018)

April 2018

 

My god, what a loss.

I am very sorry to hear of the passing of Polixeni Papapetrou. Sadness indeed…

Poli was a wonderful spirit and an incredibly gifted artist. Condolences to Robert Nelson and all of the family.

A selection of some of my favourite Papapetrou images are posted below – but really, there are so many memorable images, she leaves behind an indelible and lasting legacy.

From an earlier posting:

 

“What we should do is honour this talented and determined artist for creating so many memorable images over the years, for following her passion and her heart with courage and conviction. For the rest of my life I will always remember the spaces, the ambiguous vistas, the fantastical archetypes, the fables of her work. Images of drag queens and Dreamkeepers, Ghillies and goblins are etched in my memory. I will always remember them. You can’t ask much more from the work of an artist than that.”

 

You can kill the dreamer, but you cannot kill the dream.

Marcus

 

 

Polixeni Papapetrou. 'Drag queen wearing cut out dress' 1993

 

Polixeni Papapetrou (1960-2018)
Drag queen wearing cut out dress
1993
From the series Drag Queens 1988-1999
Gelatin silver photograph
28.5 x 28.5 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

 

 

“Art does not reproduce the visible; rather, it makes visible.”

.
Paul Klee. Creative Credo [Schöpferische Konfession] 1920

 

 

Polixeni Papapetrou. 'Three young men paying homage to Elvis on the 13th anniversary of Elvis’ death, Elvis Memorial Melbourne' 1990

 

Polixeni Papapetrou (1960-2018)
Three young men paying homage to Elvis on the 13th anniversary of Elvis’ death, Elvis Memorial Melbourne
1990
From the series Elvis Immortal 1987-2002
Selenium toned gelatin silver photograph
40.7 x 40.7 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

 

Polixeni Papapetrou. 'Mr Wrestling' 1992

 

Polixeni Papapetrou (1960-2018)
Mr Wrestling
1992
From the series Wrestlers 1992
Pigment ink print
100 x 100cm

 

Polixeni Papapetrou. 'Indian Brave' 2002

 

Polixeni Papapetrou (1960-2018)
Indian Brave
2002
From the series Phantomwise 2002-03
Pigment ink print
85 x 85 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

 

Polixeni Papapetrou. 'Lost' 2005

 

Polixeni Papapetrou (1960-2018)
Lost
2005
From the series Fairy Tales 2004-2014
Type C print
100 x 100 cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

 

Polixeni Papapetrou. 'In the Wimmera 1864 #1' 2006

 

Polixeni Papapetrou (1960-2018)
In the Wimmera 1864 #1
2006
From the series Haunted country 2006
Pigment ink print
105 x 105cm
Geelong Gallery Collection

 

 

In the Wimmera 1864 #1 from the Haunted country series is amongst the earliest works by the artist to have been staged in the Australian landscape and is one in which she explores the narrative of the ‘lost child’. The work references the story of three children lost in Mallee scrub near their home outside Horsham in the Wimmera District and is reminiscent, as the artist intends, of Frederick McCubbin’s late 19th century paintings of children lost or at least wandering absent-mindedly through the Australia bush. (Text from the Culture Victoria website)

 

Polixeni Papapetrou. 'Hanging Rock 1900 #3' 2006

 

Polixeni Papapetrou (1960-2018)
Hanging Rock 1900 #3
2006
From the series Haunted country 2006
Pigment ink print
105 x 105 cm

 

Polixeni Papapetrou. 'The Provider' 2009

 

Polixeni Papapetrou (1960-2018)
The Provider
2009
From the series Between Worlds 2009-2012
Pigment print
105 x 105cm

 

Polixeni Papapetrou. 'The Mourner' 2012

 

Polixeni Papapetrou (1960-2018)
The Mourner
2012
From the series Between Worlds 2009-2012
Pigment print
105 x 105cm

 

Polixeni Papapetrou. 'The Joy Pedlars' 2011 from 'The Dreamkeepers' 2011

 

Polixeni Papapetrou (1960-2018)
The Joy Pedlars
2011
From the series The Dreamkeepers 2012
Pigment print
105 x 105cm

 

Polixeni Papapetrou. 'The Wanderer No. 3', 2012 from 'The Dreamkeepers'

 

Polixeni Papapetrou (1960-2018)
The Wanderer No. 3
2012
From the series The Dreamkeepers 2012
Pigment print
105 x 105cm

 

Polixeni Papaetrou (1960-2018) 'Ocean Man' 2013

 

Polixeni Papaetrou (1960-2018)
Ocean Man
2013
From the series The Ghillies 2013
120 cm x 120 cm
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013

 

Polixeni Papaetrou. 'Scrub Man' 2012

 

Polixeni Papaetrou (1960-2018)
Scrub Man
2012
From the series The Ghillies 2013
120 cm x 120 cm
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013

 

 

Review of the exhibition Polixeni Papapetrou: Lost Psyche at Stills Gallery, 2014

When “facing” adversity, it is a measure of a person’s character how they hold themselves, what face they show to the world, and how their art represents them in that world. So it is with Polixeni Papapetrou. The courage of this artist, her consistency of vision and insightful commentary on life even while life itself is in the balance, are inspiring to all those that know her.

Papapetrou has always created her own language, integrating the temporal dissemination of the historical “case” into a two-dimensional space of simultaneity and tabulation (the various archetypes and ancient characters), into an outline against a ground of Cartesian coordinates.1 In her construction, in her observation and under her act of surveillance, Papapetrou moves towards a well-made description of the states of the body in the tables and classification of the psychological landscape. Her tableaux (the French tableau signifies painting and scene (as in tableau vivant), but also table (as in a table used to organize data)) are a classification and tabulation that is an exact “portrait” of “the” illness, the lost psyche of the title. Her images lay out, in a very visible way, the double makeover: of the outer and inner landscape.

These narratives are above all self-portraits. The idea that image, archetype and artist might somehow be one and the same is a potent idea in Papapetrou’s work. What is “rendered” visible in her art is her own spirit, for these visionary works are nothing less than concise, intimate, focused self-portraits. They speak through the mask of the commedia dell’ arte of a face half turned to the world, half immersed in imaginary worlds. The double skin (as though human soul, the psyche, is erupting from within, forcing a face-off) and triple skin (evidenced in the lack of depth of field of the landscape tableaux) propose an opening up, a revealing of self in which the anatomy (anatemnein: to tear, to open a body, to dissect) of the living is revealed. The images become an autopsy on the living and the dead: “a series of images, that would crystallize and memorize for everyone the whole time of an inquiry and, beyond that, the time of a history.”2

Papapetrou’s images become the “true retina” of seeing, close to a scientific description of a character placed on a two dimensional background (notice how the stylised clouds in The Antiquarian, 2014 match the fur hat trim). In the sense of evidence, the artist’s archetypes proffer a Type that is balanced on the edge of longing, poetry, desire and death, one that the objectivity of photography seeks to fix and stabilise. These images serve the fantasy of a memory: of a masked archetype in a made over landscape captured “exact and sincere” by the apparatus of the camera. A faithful memory of a tableau in which Type is condensed into a unique image: the visage fixed to the regime of representation,3 the universal become singular. This Type is named through the incorporated Text, the Legend: I am Day Dreamer, Immigrant, Merchant, Poet, Storyteller.

But even as these photographs seek to fix the Type, “even as the object of knowledge is photographically detained for observation, fixed to objectivity,”4 the paradox is that this kind of knowledge slips away from itself, because photography is always an uncertain technique, unstable and chaotic, as ever the psyche. In the cutting-up of bodies, cutting-up on stage, a staging aimed at knowledge – the facticity of the masked, obscured, erupting face; the corporeal surface of the body, landscape, photograph – the image makes visible something of the movements of the soul. In these heterotopic images, sites that relate to more stable sites, “but in such a way as to suspect, neutralize, or invert the set of relations that they happen to designate, mirror or reflect,”5 Papapetrou’s psyche, “creates the chain of tradition which passes a happening on from generation to generation.”6 In her commedia dell’ arte, an improvised comedy of craft, of artisans (a worker in a skilled trade), the artist fashions the raw material of experience in a unique way.7 We, the audience, intuitively recognise the type of person being represented in the story, through their half masks, their clothing and context and through the skilful dissemination of collective memory and experience.

Through her storytelling Papapetrou moves towards a social and spiritual transformation, one that unhinges the lost psyche. Her landscape narratives are a narrative of a recognisable, challenging, unstable non-linear art, an art practice that embraces “the speculative mystery of ancient roles…  They’re all souls with divided emotions, torn between dream and reality, who like us, converge on the collective stage that is the world.” They are archetype as self-portrait: portraits of a searching, erupting, questioning soul, brave and courageous in a time of peril. And the work is for the children (of the world), for without art and family, extinction.

Dr Marcus Bunyan for the Art Blart blog

 

Footnotes

1. Adapted from Didi-Huberman, Georges. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpetriere (trans. Alisa Hartz). Cambridge, Mass.: MIT Press, 2003, p. 24-25. I am indebted to the ideas of Georges Didi-Huberman for his analysis of the ‘facies’ and the experiments of Jean-Martin Charcot on hysteria at the Hôpital Salpêtrière in Paris in the 1880s.
2. 
Ibid., p. 48
3. Ibid., p. 49
4. Ibid., p. 59
5. Foucault, Michel. “Of Other Spaces,” in Diacritics Spring 1986, p. 24 quoted in Fisher, Jean. “Witness for the Prosecution: The Writings of Coco Fusco,” in Fusco, Coco. The Bodies That Were Not Ours. London: Routledge, 2001, pp. 226-227
6. Fisher, Ibid., p. 227-228
7. “One can go on and ask oneself whether the relationship of the storyteller to his material, human life, is not in itself a craftsman’s relationship, whether it is not his very task to fashion the raw material of experience, his own and that of others, in a solid, useful, and unique way.”
Benjamin
, Walter. Illuminations (trans. by Harry Zohn; edited by Hannah Arendt). New York: Schocken Books, 1968 (2007), p. 108

 

Polixeni Papapetrou. 'The Immigrant' 2014

 

Polixeni Papapetrou (1960-2018)
The Immigrant
2014
From the series Lost Psyche 2014
Pigment print
100 x 150 cm

 

Polixeni Papapetrou. 'The Storyteller' 2014

 

Polixeni Papapetrou (1960-2018)
The Storyteller
2014
From the series Lost Psyche 2014
Pigment print
100 x 150 cm

 

 

Polixeni Papapetrou website

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08
Dec
17

In conversation: Marcus Bunyan and Elizabeth Gertsakis discuss his new work, ‘The Shape of Dreams’ (2013 – 2017)

December 2017

 

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

 

Marcus Bunyan
Untitled from the series The Shape of Dreams 
2013 – 2017
Silver gelatin print
© Marcus Bunyan

 

 

In conversation

EG: Just saw your most recent Art Blart and your work. It’s very beautiful. Congratulations. At first I didn’t know whose they were. Then I went through them one by one, and only after responding to them ‘unknown’ I saw it was your work. SO BEAUTIFUL, so potent and yet, within the ambivalence and questioning there was space for great stillness and contemplation. Powerful and so poetic. The one of the children, close up is dazzling, but so are the open fields, mountains, roadways and minute images of flight.

MB: Thank you so much Elizabeth. Yes, my work would you believe. I can now believe after 4 years hard work. A poem to the uncertainty of human dreams. It’s a conceptual series in the vein of my hero Minor White – contemplative, poetic as always with me, but with an edge under the poetry as you so correctly observe EG – you are caught in the dream in the end image, suspended in time and space, in your imagination. You are always so spot on with your observations.

EG: Your own tendency is also closely linked to language and ideas?

MB: This is very true. The basis for all my work is body, time, space, environment and their link to language and ideas… and how conceptual work can be spiritual as well.

EG: I’m with you on that one, and political as well.

MB: Indeed – all my work, including this series, is very anti-war.

EG: What is unseen, invisible in these images is definitely the dark quiet hole of hell that war is. Or at least those that invest in it.

MB: The key image in this regard is the one of the explosion.

EG: But the ones of the distant and misdirected aerial machines also…

MB: Indeed, and the second one, where all the men are looking away while the cloud expands in the background.

EG: Yes, the casual indifference and banality of it.

MB: You have it perfectly Elizabeth!

EG: But the children, oh those children, and the innocent implacability of the natural world.

MB: To find these images on Ebay and then spend four years of my life cleaning and saving them was an incredible experience. It was almost like I was breathing these images as I was saving them, looking into each one and being immersed in them. Thus, the art demands contemplation from the viewer in order to begin to understand its resonances.

.
Many thankx to Elizabeth Gertsakis for her wisdom, knowledge, friendship and advice throughout the year. These observations of my work mean a great deal to me.

SEE THE FULL SEQUENCE INCLUDING SIZE AND SPACING OF IMAGES (ENLARGE AND USE SCROLL BAR)

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Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

 

Marcus Bunyan
Untitled from the series The Shape of Dreams
2013 – 2017
Silver gelatin print
© Marcus Bunyan

 

 

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03
Oct
17

Review: ‘Gregory Crewdson: Cathedral of the Pines’ at The Photographers’ Gallery, London

Exhibition dates: 23rd June – 8th October 2017

 

Gregory Crewsdon. 'The Haircut' 2014

 

Gregory Crewdson
The Haircut
2014
© Gregory Crewdson. Courtesy Gagosian

 

 

End of days

I have written critically and glowingly of Crewdson’s work in the past (see my review of his exhibition at the Centre for Contemporary Photography, Melbourne 2012). With the exhibition Gregory Crewdson: Cathedral of the Pines the same elements are extant: life in the back woods of America, the tableaux beautifully staged and presented in large photographic prints throughout the three floors of the expansive spaces of the Photographers’ Gallery, London. And yet there is something particularly “icky”, if I can use that word, about this new body of work. What made me feel this way?

Firstly, I was uncomfortable with the number of naked or half-naked females (compared to men) in the photographs, all looking vulnerable, melancholic and isolated in small, rural town America. This is how Crewdson sees women in the microcosms he creates, women vulnerable in forest and cabin settings, but this incessant observation became/is objectionable to me. These are not powerful, strong, independent women, far from it. These are stateless women who peer endlessly out of windows, or sit on the end of beds looking downcast. It is almost degrading to females that these woman are so passive and objectified. Reinforcing the theme of isolation and desperation is the word “HELP!” painted on the bridge above a naked woman standing on a roadway; reinforcing the feeling of voyeurism is a woman’s bra hanging in a toilet being observed by a man on a pair of skis.

Secondly, compared to the earlier series, the spaces in these new photographs seem to be completely dead. The photographs look handsome enough but they have a very different feel from the previous work. While externally referencing a sense of space and uncertainty present in B grade movies, European and American 19th century landscape paintings (where the human figure is dwarfed by the supposed sublime), and the paintings of Edward Hopper – the spaces in these new works feel closed, locked down and a bit scary. Nothing is real (and never has been) in Crewdson’s work but this time everything seems to be over directed. As my friend Elizabeth Gertsakis observed, “The environmental context is chilling. The palette is extremely cold, there is no warmth at all. The viewer is not welcome, because there is nothing to be welcome to… even for curiosity’s sake. No one is real here – everything is silent.” Or dead. Or lifeless.

The whole series seems apathetic. That is, apathy with extreme effort. While Crewdson observes that the darkness lifted, leading to a reconnection with his artistic process and a period of renewal and intense creativity, this work is clearly at the end of something. As Elizabeth comments, “An invisible wall has come down here…. and there is absolutely no entry. This body of work is so much more pervy because it is so obvious and wooden. The camera here is well and truly in the mortuary and the photographer is the undertaker as well as the man who makes dead faces look ‘human’.” But he doesn’t make them human, and there’s the rub. Which all begs the question: where is this work going?

While Crewdson continues to move down a referential and associative path, the work fails to progress conceptually even as the work ultimately stagnates, both visually and emotionally. These wooden mise en scène are based on a very tired conceptual methodology, that of the narrative of the B grade movie which, if you have the money, time and willingness to invest in, can seem sufficiently sophisticated. Of course, buyers want to keep buying a signatory technique or idea that is easily recognisable and this adds to the cachet of the art… but as a critic you have to ask where the work is going, if an artist keeps repeating the same thing over and over and over again in slightly different contexts. Imagine if Degas had kept painting ballet dancers using the same lighting, the same perspective, the same colour palette, the same psychological investigation painting after painting… what we would be saying about the resulting work. Sure, there is great technical proficiency contained in Crewdson’s work, but is he pushing the work anywhere more interesting? And the simple answer to that question is, no he isn’t. No wonder he has been having a tough time reconnecting with his artistic process.

Marcus

.
All installation photographs © Dr Marcus Bunyan, The Photographers’ Gallery and the artist. Please observe that there are reflections in the installation photographs of the surrounding gallery.

 

 

“It was deep in the forests of Becket, Massachusetts that I finally felt darkness lift, experienced a reconnection with my artistic process, and moved into a period of renewal and intense creativity.”

.
Gregory Crewdson

 

 

Room 1

Installation view of Room 1 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 1 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Gregory Crewdson. Woman at Sink 2014

Installation view of Room 1 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 1 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Gregory Crewdson. Woman in Parked Car 2014

Installation view of Room 1 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 1 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

 

Installation views of Room 1 of Gregory Crewdson: Cathedral of the Pines at The Photographers’ Gallery, London

 

Gregory Crewdson. 'The Basement' 2014

 

Gregory Crewdson
The Basement
2014
© Gregory Crewdson. Courtesy Gagosian

 

 

This is the first UK exhibition of Cathedral of the Pines, a new body of work by acclaimed American artist Gregory Crewdson, and it is also the first time The Photographers’ Gallery has devoted all three of its gallery spaces to one artist.

With this series, produced between 2013 and 2014, Crewdson departs from his interest in uncanny suburban subjects and explores human relations within more natural environments. In images that recall nineteenth-century American and European paintings, Crewdson photographs figures posing within the small rural town of Becket, Massachusetts, and its vast surrounding forests, including the actual trail from which the series takes its title. Interior scenes charged with ambiguous narratives probe tensions between human connection and separation, intimacy and isolation.

Crewdson describes this project as ‘his most personal’, venturing to retrieve in the remote setting of the forest, a reminiscence of his childhood. The images in Cathedral of the Pines, located in the dystopian landscape of the anxious American imagination, create atmospheric scenes, many featuring local residents, and for the first time in Crewdson’s work, friends and family. In Woman at Sink, a woman pauses from her domestic chores, lost in thought. In Pickup Truck, Crewdson shows a nude couple in the flatbed of a truck in a dense forest – the woman seated, the man turned away in repose. Crewdson situates his disconsolate subjects in familiar settings, yet their cryptic actions – standing still in the snow, or nude on a riverbank – hint at invisible challenges. Precisely what these challenges are, and what fate awaits these anonymous figures, are left to the viewer’s imagination.

Crewdson’s careful crafting of visual suspense conjures forebears such as Diane Arbus, Alfred Hitchcock, and Edward Hopper, as well as the influence of Hollywood cinema and directors such as David Lynch. In Cathedral of the Pines, Crewdson’s persistent psychological leitmotifs evolve into intimate figurative dramas. Visually alluring and often deeply disquieting, these tableaux are the result of an intricate production process: For more than twenty years, Crewdson has used the streets and interiors of small-town America as settings for photographic incarnations of the uncanny.

Maintaining his trademark elaborate production processes, Crewdson works with a large crew to produce meticulously staged images with an obsessive attention to detail. Situated between Hollywood cinema and nineteenth-century American and European Romantic landscape painting, these scenes are charged with ambiguous narratives, which prove tensions between human connection and separation, intimacy and isolation.

Text from The Photographers’ Gallery website and wall text

 

Room 2

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Gregory Crewdson. The VW Bus 2013

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Gregory Crewdson. Pregnant Woman on Porch 2013

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Gregory Crewdson. Father and Son 2013

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Gregory Crewdson. The Ice Hut 2014

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Gregory Crewdson. Sisters 2014

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Gregory Crewdson. Sisters 2014 (detail)

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Gregory Crewdson. The Disturbance 2014 (detail below)

Installation view of Room 2 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

 

Installation views of Room 2 of Gregory Crewdson: Cathedral of the Pines at The Photographers’ Gallery, London

 

Gregory Crewdson. 'The Disturbance' 2014

 

Gregory Crewdson
The Disturbance
2014
© Gregory Crewdson. Courtesy Gagosian

 

Room 3

Installation view of Room 3 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 3 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Gregory Crewdson. Woman on Road 2014

Installation view of Room 3 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 3 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 3 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 3 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 3 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

Installation view of Room 3 of 'Gregory Crewdson: Cathedral of the Pines' at The Photographers' Gallery

 

Installation views of Room 3 of Gregory Crewdson: Cathedral of the Pines at The Photographers’ Gallery, London

 

 

The Photographers Gallery
16-18 Ramillies Street
London
W1F 7LW

Opening hours:
Mon – Sat: 10.00 – 18.00
Thu: 10.00 – 20.00 during exhibitions
Sun: 11.00 – 18.00

The Photographers’ Gallery website

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15
Apr
15

New work: ‘Too Much of the Air’ 2015 by Marcus Bunyan

April 2015

 

And now for something completely different…

After 16 months hard work, I have completed a new 52 image sequence. Below is a selection of images from the sequence. Please click on the photographs for a larger version of the image.

To view the whole sequence please visit my website.

 

 

“Imagine being in these planes knowing that you only had moments to live, and knowing that you could do nothing about it. What brought you to that point, what decisions did you take as a human being (or were taken for you) that enacted this scenario.

The “greatness” as the event passes is what is being worked with here. It is the inverse aspect of the sublime. Usually the
sublime is regarded as beyond time … but not here. Essentially I am sustaining the last moments of a doomed life, outside of time.

We are unusually privileged to experience the sublime in this way. It is usually a lost aspect through the death of the witness.”

Dr Marcus Bunyan

 

Note: these images wil be printed large to reinforce the disintegration of the image, technology and human being.
This painting was one of a few starting points, inspirations, for the new sequence.

Tullio Crali
Before the Parachute Opens (Prima che si apra il paracadute)
1939

 

 

Beginning of the sequence

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

End of the sequence

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

air-zs

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

 

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

 

Marcus Bunyan website

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30
Dec
14

Exhibition: ‘Horst: Photographer of Style’ at the Victoria & Albert Museum, London

Exhibition dates: 6th September 2014 – 4th January 2015

Curator: Susanna Brown, Curator of Photographs at the V&A

 

 

Steichen, Penn, Avedon, Newman – and then there is Horst, master of them all. Style, elegance, lighting, framing, colour but above all panache – the guts and talent to push it just that little bit further.

Marcus

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

 

 

“Fashion is an expression of the times. Elegance is something else again.”

.
Horst, 1984

 

 

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

 

Installation images of Horst – Photographer of Style at the V&A
© Victoria and Albert Museum, London

 

 

“This autumn, the V&A will present the definitive retrospective exhibition of the work of master photographer Horst P. Horst (1906-1999) – one of the leading photographers of the 20th century. In his illustrious 60-year career, German-born Horst worked predominantly in Paris and New York and creatively traversed the worlds of photography, art, fashion, design, theatre and high society.

Horst: Photographer of Style will display 250 photographs, alongside haute couture garments, magazines, film footage and ephemera. The exhibition explores Horst’s collaborations and friendships with leading couturiers such as Coco Chanel and Elsa Schiaparelli in Paris; stars including Marlene Dietrich and Noël Coward; and artists and designers such as Salvador Dalí and Jean-Michel Frank. Highlights of the exhibition include photographs recently donated to the V&A by Gert Elfering, art collector and owner of the Horst Estate, previously unpublished vintage prints, and more than 90 Vogue covers by Horst.

The exhibition will also reveal lesser-known aspects of Horst’s work: nude studies, travel photographs from the Middle East and patterns created from natural forms. The creative process behind some of his most famous photographs, such as the Mainbocher Corset, will be revealed through the inclusion of original contact sheets, sketches and cameras. The many sources that influenced Horst – from ancient Classical art to Bauhaus ideals of modern design and Surrealism in 1930s Paris – will be explored.

Martin Roth, Director of the V&A said: “Horst was one of the greatest photographers of fashion and society and produced some of the most famous and evocative images of the 20th century. This exhibition will shine a light on all aspects of his long and distinguished career. Horst’s legacy and influence, which has been seen in work by artists, designers and performers including Herb Ritts, Robert Mapplethorpe, Bruce Weber and Madonna, continues today.” 

Horst’s career straddled the opulence of pre-war Parisian haute couture and the rise of ready-to-wear in post-war New York and his style developed from lavish studio set-ups to a more austere approach in the latter half of the 20th century. The exhibition will begin in the 1930s with Horst’s move to Paris and his early experiments in the Vogue studio. Among his first models and muses were Lisa Fonssagrives, Helen Bennett and Lyla Zelensky. Vintage black and white photographs from the archive of Paris Vogue will be displayed alongside garments in shades of black, white, silver and gold by Parisian couturiers such as Chanel, Lanvin, Molyneux and Vionnet.

The exhibition will then focus on Horst’s Surreal-inspired studies and collaborations with Salvador Dalí and Elsa Schiaparelli. Fashion photographs will be shown with trompe l’oeil portraits and haunting still lifes. Horst excelled at portraiture and in the 1930s he captured some of Hollywood’s brightest stars: Rita Hayworth, Bette Davis, Vivien Leigh, Noël Coward, Ginger Rogers, Marlene Dietrich and Joan Crawford, to name a few.

Horst travelled widely throughout the 1940s and 1950s to Israel, Iran, Syria, Italy and Morocco. An escape from the world of fashion and city environs, his little-known travel photographs reveal a fascination for ancient cultures, landscapes and architecture. On display will be works taken in Iran such as the Persepolis Bull, Horst’s powerful image of a vast sculpture head amidst the ruins of a once magnificent palace, and images documenting the annual migration of the nomadic Qashqai clan.

Detailed studies of natural forms such as flowers, minerals, shells and butterfly wings from the project Patterns From Nature, will be shown alongside a series of kaleidoscopic collages made by arranging photographs in simple repeat; his intention was that these dynamic patterns could be used as designs for textiles, wallpaper, carpets, plastics and glass.

Horst was admired for his dramatic lighting and became one of the first photographers to perfect the new colour techniques of the 1930s. A short film of him at work in the Vogue studios during the 1940s will be shown with an introduction to his peers including Lee Miller, Cecil Beaton and Irving Penn. The advent of colour enabled a fresh approach and Horst went on to create more than 90 Vogue covers and countless pages in vivid colour. A selection of 25 large colour photographs, newly printed from the original transparencies from the Condé Nast Archive, will demonstrate Horst’s exceptional skill as a colourist. These prints feature Horst’s favourite models from the 1940s and 50s, such as Carmen Dell’Orefice, Muriel Maxwell and Dorian Leigh, and will be shown together with preparatory sketches, which have never previously been exhibited.

In the early 1950s, Horst created a series of male nudes for an exhibition in Paris for which the models were carefully posed and dramatically lit to accentuate their musculature. The series evokes the classical sculpture that Horst so admired throughout his career. During the 1960s and 1970s, Horst photographed some of the world’s most beautiful and luxurious homes for House and Garden and Vogue under the editorship of his friend Diana Vreeland. A three-sided projection and interactive screens will present these colourful studies. Among the most memorable are the Art Deco apartment of Karl Lagerfeld, the three lavish dwellings of Yves Saint Laurent and the Roman palazzo of artist Cy Twombly.

In the latter years of Horst’s life, his early aesthetic experienced a renaissance. The period also witnessed a flurry of new books, exhibitions, and television documentaries celebrating his work. Horst produced new, lavish prints in platinum-palladium for museums and the collector’s market, selecting emblematic works from every decade of his career, which will be showcased as the finale to the exhibition.”

Press release from the V&A

 

Behind the scenes at American Vogue, 1946 from Victoria and Albert Museum

 

Showing clips from the publication house’s cutting room floor, as well as editors at work, this never-before-seen footage shot from late 1946 to early 1947 gives a fascinating insight into the history of fashion publishing. This film is comprised of outtakes from the documentary Fashion Means Business. Dorian Leigh models the latest American designs in the Condé Nast studio for Horst and his assistant Vassilov, overseen by Vogue editors Muriel Maxwell and Priscilla Peck. The photographs are selected with editor Jessica Daves and art director Alexander Liberman, and the page layout finalised with Marcel Guillaume and Liberman.

With permission from HBO Archives/The March of Time. Provided by Condé Nast Archive

 

Horst P. Horst. 'Chanel, Vogue France' 1935

 

Horst P. Horst
Chanel, Vogue France
1935
© Condé Nast/Horst Estate

A fore-runner of the timeless look of Chanel, here in brown and white check rayon with collar, cuffs and lapels in white piquè that matches the buttoned top.

 

Horst P. Horst. 'Hat and coat-dress by Bergdorf Goodman, modelled by Estrella Boissevain' 1938

 

Horst P. Horst
Hat and coat-dress by Bergdorf Goodman, modelled by Estrella Boissevain
1938
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Corset by Detolle for Mainbocher' 1939

 

Horst P. Horst
Corset by Detolle for Mainbocher
1939
© Conde Nast / Horst Estate

 

Horst P.Horst. 'Lisa with Turban, New York' 1940

 

Horst P.Horst
Lisa with Turban, New York
1940
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Gertrude Stein at Balmain Fashion Show' 1946

 

Horst P. Horst
Gertrude Stein at Balmain Fashion Show
1946
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Birthday Gloves, New York' 1947

 

Horst P. Horst
Birthday Gloves, New York
1947
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Lillian Marcuson in Dior's belted two-piece suit in black rustic wool, called 'Milieu du Siècle'' 1949

 

Horst P. Horst
Lillian Marcuson in Dior’s belted two-piece suit in black rustic wool, called ‘Milieu du Siècle’
1949
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Nina de Voe' 1951

 

Horst P. Horst
Nina de Voe
1951
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Lillian Marcuson, New York' 1950

 

Horst P. Horst
Lillian Marcuson, New York
1950
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Outfit by Tina Leser' Vogue, April 1950

 

Horst P. Horst
Outfit by Tina Leser
Vogue, April 1950
© Condé Nast/Horst Estate

 

Horst P.Horst. 'Bombay Bathing Fashion' 1950

 

Horst P.Horst
Bombay Bathing Fashion
1950
© Condé Nast/Horst Estate

Model (unidentified) and Dorian Leigh (r) in bathing suit and sleeveless shirt cover-up by Carolyn Schnurer 1951 Vogue

 

Haute Couture

When Horst joined Vogue in 1931, Paris was still the world’s undisputed centre of high fashion. Photography had begun to eclipse graphic illustration in fashion magazines and the publisher Condé Montrose Nast devoted large sums to improving the quality of image reproduction. He insisted that Vogue photographers work with a large format camera, which produced richly detailed negatives measuring ten by eight inches.

The creation of a Horst photograph was a collaborative process, involving the talents of the photographer and model, the art director, fashion editor, studio assistants and set technicians. The modelling profession was still in its infancy in the 1930s and many of those who posed under the hot studio lights were stylish friends of the magazine’s staff, often actresses or aristocrats.

By the mid 1930s, Horst had superseded his mentor George Hoyningen-Huene as Paris Vogue‘s primary photographer. His images frequently appeared in the French, British and American editions of the magazine. Many of the photographs on display in the exhibition are vintage prints from the company’s archive.

 

Horst P. Horst. 'Dress by Hattie Carnegie' 1939

 

Horst P. Horst
Dress by Hattie Carnegie
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Dress by Hattie Carnegie' 1939

 

Horst P. Horst
Dress by Hattie Carnegie
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Muriel Maxwell, American Vogue' 1939

 

Horst P. Horst
Muriel Maxwell, American Vogue
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Summer Fashions, American Vogue cover' 1941

 

Horst P. Horst
Summer Fashions, American Vogue cover
1941
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Dinner suit and headdress by Schiaparelli' 1947

 

Horst P. Horst
Dinner suit and headdress by Schiaparelli
1947
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Millicent Rogers in a Charles James gown and a gold necklace of her own design' Vogue, February 1, 1949

 

Horst P. Horst
Millicent Rogers in a Charles James gown and a gold necklace of her own design
Vogue,
February 1, 1949
© Conde Nast / Horst Estate

 

Horst in Colour from Victoria and Albert Museum

 

This film reveals the process of creating new colour prints for the exhibition Horst: Photographer of Style. Horst was quick to master new colour processes, introduced in the late 1930s, and he created hundreds of vibrant fashion photographs for Vogue.

The V&A team worked closely with specialists at the Condé Nast Archive and expert printer Ken Allen to select and print from Horst’s early transparencies, which date from the 1930s to the 1950s. The film includes insights into Horst’s dynamic approach from model Carmen Dell’Orefice and Vogue’s International Editor at Large, Hamish Bowles.​

 

Fashion in Colour

The 1930s ushered in huge technical advancements in colour photography. Horst adapted quickly to a new visual vocabulary, creating some of Vogue’s most dazzling colour images. In 1935 he photographed the Russian Princess Nadejda Sherbatow in a red velveteen jacket for the first of his many Vogue cover pictures.

The occupation of Paris transformed the world of fashion. The majority of French ateliers closed and many couturiers and buyers left the country. Remaining businesses struggled with extreme shortages of cloth and other supplies. The scarcity of French fashions in America, however, enabled American designers to come into their own.

Horst’s colour photographs are rarely exhibited because few vintage prints exist. Colour capture took place on a transparency which could be reproduced on the magazine page without the need to create a photographic print. The size of the new prints displayed in this room of the exhibition echoes the large scale of a group of Horst images printed in 1938 at the Condé Nast press.

 

Horst P. Horst. 'Marlene Dietrich, New York' 1942

 

Horst P. Horst
Marlene Dietrich, New York
1942
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Gloria Vanderbilt age 17 wearing a dress by Howard Greer, New York' 1941

 

Horst P. Horst
Gloria Vanderbilt age 17 wearing a dress by Howard Greer, New York
1941
© Conde Nast / Horst Estate

At 17, in Beverly Hills wearing a tabletop dress by Howard Greer. Tabletop dresses looked good from the waist up when stars were photographed sitting in restaurants and nightclub

 

Stage and Screen

Horst’s portraits spanned a wide cross-section of subjects, from artists and writers to presidents and royalty. In the 1930s, he became aware of a new focus for his work. As he later noted in his book Salute to the Thirties (1971), glamorous Hollywood movie stars were imperceptibly assuming the place left vacant by Europe’s vanishing royal families. With the approach of the Second World War, the escapism offered by theatre and cinema gained in popularity. Horst began to photograph these new, classless celebrities, both in costume and as themselves.

The first well-known star Horst photographed was the English performer Gertrude Lawrence, then appearing in Ronald Jeans’ play Can the Leopard…? at the Theatre Royal, Haymarket. Horst’s first portrait of a Hollywood actress, Bette Davis, appeared in Vogue‘s sister magazine Vanity Fair in 1932.

 

Horst P. Horst. 'Round the Clock, New York' 1987

 

Horst P. Horst
Round the Clock, New York
1987
© Conde Nast / Horst Estate

 

Platinum

The 1980s witnessed a flurry of new books, exhibitions and television documentaries about Horst. He produced new prints for museums and the collector’s market, selecting emblematic works from every decade of his career to be reprinted in platinum-palladium, sometimes with new titles. This was a complex and expensive technique, employing metals more expensive than gold. Failing eyesight finally forced him to stop working in 1992.

Horst’s platinum-palladium prints are treasured for their nuanced tones, surface quality and permanence. His style had experienced a renaissance in 1978 when Francine Crescent, French Vogue‘s editor in chief, had invited him to photograph the Paris collections. Horst’s work for her echoed his atmospheric, spot-lit studies of the 1930s. His use of the platinum process for creating new and reproducing early works ensured his mastery of light, mood and composition would be enjoyed by a new audience.

 

Horst P. Horst. 'Male Nude #3' 1952, printed 1980s

 

 

Horst P. Horst
Male Nude #3
1952, printed 1980s
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Still Life' Nd

 

Horst P. Horst
Still Life
Nd
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Male Nude' 1952

 

Horst P. Horst
Male Nude
1952
© Conde Nast / Horst Estate

 

Male Nudes

In the early 1950s Horst produced a set of distinctive photographs unlike much of his previous output. These male figure studies were exhibited for the first time in Paris in 1953 and reprinted using the platinum-palladium process in the 1980s. The studies exemplify Horst’s sense of form. All emphasis is on the idealised human body, expressive light and shadow. Monumental and anonymous nudes resemble classical sculptures. As Mehemed Agha (1929-78), art director of American Vogue, commented:

“Horst takes the inert clay of human flesh and models it into the decorative shapes of his own devising. Every gesture of his models is planned, every line controlled and coordinated to the whole of the picture. Some gestures look natural and careless, because carefully rehearsed; the others, like Voltaire’s god, were invented by the artist because they did not exist.”

 

Horst P. Horst. 'Salvador Dali's costumes for Leonid Massine's ballet 'Bacchanale'' 1939

 

Horst P. Horst
Salvador Dali’s costumes for Leonid Massine’s ballet Bacchanale
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Lisa Fonssagrives hands, New York' 1941

 

Horst P. Horst
Lisa Fonssagrives hands, New York
1941
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Odalisque I' 1943

 

Horst P. Horst
Odalisque I
1943
© Conde Nast / Horst Estate

 

Horst P.Horst. 'Bunny Hartley' Vogue, 1938

 

Horst P.Horst
Bunny Hartley
Vogue,
1938
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Lisa Fonssagrives "I Love You"' 1937

 

Horst P. Horst
Lisa Fonssagrives “I Love You”
1937
© Conde Nast / Horst Estate

 

Surrealism

The Surrealist art movement explored unique ways of interpreting the world, turning to dreams and the unconscious for inspiration. During the 1930s Surrealism escaped its radical avant-garde roots and transformed design, fashion, advertising, theatre and film. Horst’s photographs of this period feature mysterious, whimsical and surreal elements combined with his classical aesthetic. He created trompe l’oeil still lifes, photographed the surreal-infused dress designs of his friend Elsa Schiaparelli and collaborated with the artist Salvador Dalí. He shared with the Surrealists a fascination with the representation of the female body, often fragmenting and eroticising the human form in his images.

His most celebrated photograph of the era is Mainbocher Corset (1939). Decades after the photograph was made, Main Bocher himself expressed his admiration for Horst’s virtuosity, writing,

“Your photographs are sheer genius and delight my soul … each one is perfect by itself.”

 

Horst P. Horst. 'Patterns from Nature Photographic Collage' 1945

 

Horst P. Horst
Patterns from Nature Photographic Collage
1945
© Conde Nast / Horst Estate

 

Patterns from Nature

Horst’s second book, Patterns from Nature (1946), and the photographs from which it originated, are a surprising diversion from the high glamour of his fashion and celebrity photographs. These close-up, black and white images of plants, shells and minerals were taken in New York’s Botanical Gardens, in the forests of New England, in Mexico, and along the Atlantic and Pacific coasts.

This personal project was partly inspired by photographs of plants by Karl Blossfeldt (1865-1932). Horst was struck by “their revelation of the similarity of vegetable forms to art forms like wrought iron and Gothic architecture.” Horst’s interest was also linked to the technical purity of ‘photographic seeing’, a philosophy associated with the New Objectivity movement of the 1920s and ’30s. Practitioners took natural forms out of their contexts and examined them with such close attention that they became unfamiliar and revelatory.

 

Horst P. Horst. 'View of ruins at the palace of Persepolis, Persia' 1949

 

Horst P. Horst
View of ruins at the palace of Persepolis, Persia
1949
© Conde Nast / Horst Estate

 

Travel

In the summer of 1949, Horst journeyed to the Middle East with his partner Valentine Lawford, then political counsellor at the British Embassy in Tehran. They travelled by road from Beirut to Persepolis, where Horst was able to photograph parts of the ancient Persian city that had only recently been uncovered. Afterwards, Horst visited the newly established State of Israel on a photographic assignment for Vogue.

The trip left a strong impression on Horst and he returned in the spring of 1950. He spent a week with Lawford at the relatively remote south-eastern shore of the Caspian Sea, before documenting the annual migration of the Qashqa’i clan. Horst and Lawford were invited by Malik Mansur Khan Qashqa’i to spend ten days with his tribe as they travelled by camel and horse, in search of vegetation for their flocks.

 

Horst P. Horst. 'Yves Saint Laurent poses in the apartment's grand salon for a November 1971 'Vogue' photo spread' 1971

 

Horst P. Horst
Yves Saint Laurent poses in the apartment’s grand salon for a November 1971 ‘Vogue’ photo spread
1971
© Conde Nast / Horst Estate

 

Living in Style

In 1947 Horst acquired five acres of land in Oyster Bay Cove, Long Island, part of the estate once owned by the designer Louis Comfort Tiffany. On the land he described as ‘everything I had ever dreamed of’, Horst built a unique house and landscaped garden. British diplomat Valentine Lawford visited for the first time in 1947, with Noël Coward, Christopher Isherwood, and Greta Garbo. It was the beginning of a relationship with Horst that would last until Lawford’s death in 1991.

They welcomed many friends and visitors to Long Island, including the dynamic editor Diana Vreeland. She left Harper’s Bazaar for Vogue in 1962 and soon put the couple to work on Vogue‘s ‘Fashions in Living’ pages. The homes and tastes of everyone from Jackie Onassis to the Duke and Duchess of Windsor, Andy Warhol and Karl Lagerfeld featured in their articles. Horst’s creative chemistry with Vreeland brought him a new lease of life.

 

Roy Stevens. 'Horst directing fashion shoot with Lisa Fonssagrives' 15 May 1941

 

Roy Stevens
Horst directing fashion shoot with Lisa Fonssagrives
15 May 1941
© Time & Life Pictures / Getty Images

 

In the Studio

During the 1940s Horst worked primarily in the Condé Nast studio on the 19th floor of the Graybar Building, an Art Deco skyscraper on Manhattan’s Lexington Avenue. The busy studio was well equipped with a variety of lights and props and Horst worked closely with talented art director Alexander Liberman. Like Horst, he had found refuge in the artistic circles of Paris and New York, and enjoyed a long career with Condé Nast.

By 1946 dressing the American woman had become one of the country’s largest industries, grossing over six billion dollars a year. The staff of Vogue expanded accordingly. In 1951 Horst found a studio of his own, the former penthouse apartment of artist Pavel Tchelitchew, with high ceilings and a spectacular view over the river. Horst developed a new approach to photography in response to the abundance of daylight and for a time his famous atmospheric shadows disappeared.

 

 

Victoria and Albert Museum
Cromwell Road, London SW7 2RL

Opening hours:
The V&A is open daily from 10.00 to 17.45 and until 22.00 on Fridays

Victoria and Albert Museum website, Horst web page

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

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

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