Arthur Tress Boy in Flood Dream – Art Blart _ art and cultural memory archive

Exhibition: ‘Arthur Tress: Rambles, Dreams, and Shadows’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 31st October, 2023 – 18th February, 2024

Warning: This posting contains photographs of male nudity and sexual activity.

Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing the work Boy in Flood Dream, Ocean City, Maryland 1971

Arthur Tress: fantastical photographer

Definition of ‘fantastical’
1. strange, weird, or fanciful in appearance, conception, etc.
2. created in the mind; illusory.

I honour the work of Arthur Tress. Strange and wonderful, like something out of a fairytale or a nightmare, Arthur Tress’ ‘imaginary’ stories take the viewer out of themselves and into a different realm of being and believing. His staged, performative “magic realism” photographs – featuring the inclusion of fantastic or mythical elements into seemingly realistic fiction – emerge from the psyche of the artist, from his deepest thoughts, feelings and dreams.

Taking advice from that another gay photographer, American Duane Michals (who works in sequences of images to tell stories), Michals told Tress that “a photograph can be anything”. As Michals insightfully observes,

“I believe in the imagination. What I cannot see is infinitely more important than what I can see…

Everything we experience is in our mind. It is all mind. What you are reading now, hearing now, feeling now…

There is not one photography. There is no photography. The only value judgment is the work itself. Does it move, touch, fill me?”1

It’s all in the mind.

Tress discovered his own way to tell stories, his own signature style, that was completely different from anything being accomplished in New York at the time by (for example) Robert Mapplethorpe, Peter Hujar, Diane Arbus, David Wojnarowicz, or Nan Goldin. Through the transmutation of metal into gold, or dream into photograph, Tress placed himself outside the trendy happenings of the Big Apple. In images such as the early Woman with Coin Operated Binoculars, Coit Tower, San Francisco (1964, below) – redolent of what was to follow – the disturbing Boy with Root Hands, New York (1970, below), Bride and Groom, New York, New York (1970, below) and Boy in Flood Dream, Ocean City, Maryland (1971, below), Tress reaches out an illuminates the dreams, desires and fears of children and adults.

What is disappointing is that neither the media images nor the accompanying text include any images from or text about what I feel is one of Tress’ strongest bodies of work, his photographs of gay fantasies. Can we not include these images for fear of upsetting delicate conservative sensibilities? I don’t know whether there were any included in the exhibition either, having not seen the presentation in person.

Again, created from the artist’s fantasies and imagination these works posses a tremendous élan vital, a celebration of sexuality and life. They also possess intelligence and wit a plenty. Witness, Band-aid Fantasy (1978, below) which is clever and sensitive in its fetishisation of the removal of a Band-aid from a friend; or the look on the face of Superman and the male subject in Superman Fantasy (1977, below) where one cock belongs to both: the penis of the male “standing” in for that of the super man, standing in for the always hidden power of Superman’s cock represented by the (irony: cut-out cardboard) phallic armoured body of the hyper-masculine hero, desired by the male with his lustful look. The photograph makes me laugh. If you are so further inclined, there are six pages of these wonderful gay fantasies on the Stanford Libraries Arthur Tress Photograph Collection web pages. Well worth a visit.

To my mind, Arthur Tress has always been an underrated artist. A courageous and dedicated photographer who forged an extra-ordinary magical path, it is a pleasure to see his work exhibited at the Getty.

Dr Marcus Bunyan

1/ Duane Michals June 20, 1976 September 1, 1976

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

“Tress credits his friend and fellow photographer Duane Michals with opening his eyes to the possibilities of his chosen medium in the 1960s, back when Tress’ photographs hewed more closely to the prevalent “documentary” style of the day. “He said a photograph can be anything,” Tress says, describing Michals’ approach. “It can be a sequence, you can write on the photograph, paint on it, make collages, tell a story. In the ’60s, that was revolutionary.”

As it turned out, Tress was a receptive audience for Michals’ manifesto. By the time the Brooklyn native had secured his breakthrough assignment in 1969 to photograph what he describes as the “endangered folk cultures” of Appalachia, Tress was already pushing against the dispassion of the documentary style.”

Ben Marks. “How One Artist Makes New Art From Old Coloring Books and Found Photos,” on the Collectors Weekly website August 26th, 2021 [Online] Cited 10/11/2023

The first exhibition to chronicle the early career of Arthur Tress, one of the most innovative American photographers of the postwar era. During his first decade as an emergent professional in the New York photography world (1968-1978), his artistic practice evolved from being rooted in the social documentary tradition to a bold new approach drawing inspiration from the inner worlds of fantasies, daydreams, and nightmares.

Arthur Tress (American, b. 1940)
Boy in Flood Dream, Ocean City, Maryland
1971
From the series Dream Collector
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

One of Tress’s best known images from his Dream Collectors photobook, the photograph depicts a child emerging out of a discarded roof on a pier in Ocean City, Maryland. The effectiveness of this composition is remarkable given that Tress stumbled on the site and the subject by chance.

Wall label

Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing Boy in Flood Dream, Ocean City, Maryland (1971, above)

Installation views of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing works from his Shadows series in the bottom image

Arthur Tress’s Magic Realism Comes to Getty

Drawn from his imagination, dreams, and queer identity, Arthur Tress’s photography presents a surrealist world with fantastical subjects In the field of staged photography, Arthur Tress (American, born 1940) was a trailblazer, directing his subjects in fictional and often surreal scenes.

The first exhibition to chronicle his early career, Arthur Tress: Rambles, Dreams, and Shadows, on view October 31, 2023 – February 18, 2024 at the Getty Center, examines how his artistic practice evolved from being rooted in the social documentary tradition to a bold new approach drawing inspiration from fantasies, daydreams, and nightmares.

“Tress’s early work from his Dream Collector and other related series constitutes a remarkable artistic achievement and a major contribution to the history of post-war photography and the photo book,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the J. Paul Getty Museum. “In a series of increasingly radical projects, Tress delved deeply into the worlds of surrealism and the unconscious, establishing himself as one of the most interesting mavericks of his generation.”

Born in Brooklyn, New York, Tress began his career as a documentary photographer in the late 1960’s, focusing his lens on the people of New York and the Appalachian region of the eastern United States. Initially concerned with such societal issues as poverty, pollution, and lack of open space for urban recreation, by the mid-1970s he began channeling his creative energy into more personal artistic projects that reflected his imagination, dreams, and his own queer identity.

This exhibition presents highlights from Tress’s major photographic projects dating from 1968 to 1978: Appalachia: The Disturbed Land; Open Space in the Inner City; The Dream Collector; Shadow; Theater of Mind; and The Ramble.

Tress’s early work is rooted in the social documentary tradition, recalling photographs made by Depression-era artists for the U.S. government. Tress’s Appalachia: The Disturbed Land captures scenes of poverty and environmental degradation in coal mining communities. The work was originally exhibited at the Sierra Club’s gallery in New York where it garnered positive reviews.

Tress’s next major project, Open Space in the Inner City, also reflects his concern for the environment as well as his interest in documenting problems facing young people. Set primarily in New York City and its environs, the photographs show polluted streetscapes and waterways, housing projects, junkyards, factories, and parking lots, and include both candid and posed images of children, families, and commuters. A central theme of the series is the general lack of open space for recreation.

Appearing as his first major photo book in 1972, The Dream Collector visualises children’s fantasies and nightmares. This body of work cemented Tress’s reputation for staging macabre and fantastic subjects at a time when the photography world was largely dedicated to prosaic realism.

Between 1972 and 1975 Tress created a series of photographs centered on his own shadow. The images reproduced in his photobook Shadow trace the mystical dream journey of an individual soul through birth, death, and enlightenment. Tress chose to use a wide-angle lens that alters the perspective and imparts a dreamlike quality. His only light source was the sun, which made early morning or late afternoon the ideal times to shoot, as the raking light lengthened the shadows, making them more dramatic.

In Theater of the Mind Tress explored his personal anxieties as well as the complexities of family relationships. He convinced his subjects to play out dramatic and sometimes disturbing scenes for the camera which were informed by the artist’s own psychic intuitions. Afterwards, when he shared the photographs with them, his sitters often remarked on his having illuminated an important but hitherto hidden aspect of their family dynamic.

One of Tress’s most personal bodies of work is an extraordinary series depicting the Ramble, a wooded section of Central Park in New York City known as a gay cruising ground. The Ramble was a personal photographic project that he did not exhibit or publish, as doing so could have exposed his subjects to embarrassment, harassment, or violence. Tress was still struggling with his sexuality at this time and making these pictures helped allay his anxieties, giving him something else to focus on in the Ramble aside from his own furtive sexual encounters.

“By revisiting an energetic decade of professional and personal work from 1968 to 1978, this exhibition enabled me to see more clearly how these early explorative years marked the beginning of a very personal vision, unique to myself, as an emerging photo artist – a peculiar combination of documentary realism and emotional responsiveness to the hidden mysteries of everyday life,” says Arthur Tress.

“I’m excited to have this amazing opportunity both in our exhibition and its accompanying catalogue to share an extraordinary body of work that is not well known to the general public, and to narrate the remarkable story behind Tress’s early career that has remained untold,” says Jim Ganz, senior curator in the Getty Museum’s Department of Photographs.

Arthur Tress: Rambles, Dreams, and Shadows is curated by Jim Ganz with Paul Martineau, curator in the Department of Photographs. Related programming includes Magic Realism: An Evening with Arthur Tress, where Tress will discuss his bold approach to photography, and the world premiere of Arthur Tress: Water’s Edge, an immersive journey into the life and unique vision of acclaimed photographer Arthur Tress. The exhibition is also accompanied by a catalogue, Arthur Tress: Rambles, Dreams, and Shadows.

Anonymous. “Arthur Tress’s Magic Realism Comes to Getty,” on the Getty website Oct 18, 2023 [Online] Cited 28/10/2023

Arthur Tress: Water’s Edge – Trailer

Trailer for feature length documentary about fantasist/surrealist photographer Arthur Tress. Directed by Stephen B. Lewis

Arthur Tress (American, b. 1940)
Woman with Coin Operated Binoculars, Coit Tower, San Francisco
1964
Gelatin silver print
© Arthur Tress Archive LLC

Not sure whether this photograph is in the exhibition. Used under fair use conditions for the purpose of education, research, review and comment

Arthur Tress (American, b. 1940)
Girl and Moon Dream, New York, New York
1968
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Girl with Doll’s Head, Capels, West Virginia
1968
From the series Appalachia: The Disturbed Land
Gelatin silver print
20.4 × 15.7cm (8 1/16 × 6 3/16 in.)
J. Paul Getty Museum, Los Angeles
Gift of the Ottersons
© Arthur Tress Archive LLC

Arthur Tress Appalachia: The Disturbed Land proof sheet 1968

Arthur Tress (American, b. 1940)
Boy with Hockey Gloves (Hockey Glove Fantasy)
1968
Gelatin silver print
© Arthur Tress Archive LLC

A Kind of Magic

Photographer Arthur Tress’s “shaman vision quest dream journey”

Photographer Arthur Tress revels in the weird and fantastic – a hand sticking out of a bus seat, boys blending in with trees, children and adults playing against backdrops of rubble and trash – dark, spooky, unnerving images.

Tress, who spent time in his early career as a documentary photographer and traveled widely, staged his photographs to set a mood and tell a story.

Tress is one of the foremost practitioners of staged photography. He’s well known for his surreal photobooks, especially The Dream Collector (1972), but his career began earlier, in the 1960s, with commercial projects that encouraged his artistic development and anticipated his later fantastical works.

Arthur Tress: Rambles, Dreams, and Shadows (out now from Getty) looks closely at the artist’s early career, from 1968 to 1978, from his travels abroad through his return to the United States, stopping in Sweden, Russia, Appalachia, New York, San Francisco, and many other places. The images and quotations below are drawn from the exhibition catalog and take you into his world.

Tress traveled to Appalachia several times early in his career, and he became increasingly passionate about accurately representing the character of the destitute yet beautiful region and its people. Photographs curator Mazie Harris writes that the twisted branches and lonely image reflect the region’s “barren future.”

In 1969 Tress photographed “the Ramble,” known as a gay cruising ground in New York’s Central Park. But he never published this work, says photographs curator James Ganz, “because doing so could have exposed the photographer and his subjects to embarrassment or harassment.” Even the act of taking these pictures was dangerous at the time. This body of work is a deeply personal, intimate expression and probing of Tress’s identity as a gay man and also reflects much about the culture of the time and the anxieties, fears, and longings experienced by members of his community.

The image Hobby Horses, Harlem River, Bronx, New York (1970, below) is part of Tress’s series Open Space in the Inner City (1969-1971). It shows his environmentalism, which he cultivated throughout his travels, especially in his exploration of Appalachia. Having settled in New York after living in Sweden, Tress was shocked by the rampant urban blight and crowding in the city and how few open spaces there were for people to play, thrive, and live. His series helped bring attention to this widespread civic issue and was shown by institutions like the Sierra Club and the New York State Council on the Arts.

While Tress was at work on what would become his Dream Collector series, he sought the advice of famed children’s author Maurice Sendak, who is most widely known for the book Where the Wild Things Are. At the end of their visit, Tress offered Sendak the choice of one of Tress’s photographs, and Sendak picked Wild Man of the Forest, Central Park, New York (1969, below) which “evoke[s] the archetypal figure of the medieval wild man of the woods.”

Between 1972 and 1975 Tress created a series and photobook called Shadow. The work Shadow, Cannes, France (negative 1974; print 1975, below), featuring the artist and shadows cast by a sculpture of birds, appeared toward the end of the book in a section titled “Magic Flight.” Curator of photographs Paul Martineau says this picture – juxtaposed with other images of imprisoned shadows – symbolises freedom and “traces a mystical dream journey of an individual soul from the past to the present and into the future, through birth, death, and enlightenment.”

“[This] photograph of my father in a snowstorm is, in fact, a kind of surrogate self-portrait that mirrors my own hollow fearfulness about my own body’s decline and disappearance into a cold emptiness,” Tress wrote in a 2022 letter to curator Paul Martineau. [Last Portrait of My Father, New York, New York, 1978 below]

In 1970 Tress wrote about the magical properties of a photograph, and, surely, he is a visual magician, an artist possessed of a creative vision and intuition that allows him to connect to his subjects in a deep, revelatory way. Tress’s images pull you into his imagined, constructed worlds. His work is mysterious, surprising, surreal, and dreamlike. His images, the product of personal experiences and feelings, are universal in their play on and exploration of human fears, desires, and longings. He once described his series Shadow as a “shaman vision quest dream journey.”

Rachel Barth. “A Kind of Magic,” on the Getty website Nov 07, 2023 [Online] Cited 10/11/2023

Arthur Tress (American, b. 1940)
My Face in Store Window, New York, New York
1969
Gelatin silver print
Collection David Knaus
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Cemetery, Queens, New York
1969
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Boy in Burnt-Out Furniture Store, Newark, New Jersey
1969
Gelatin silver print
© Arthur Tress Archive LLC

In July 1969, while photographing the site of the Newark race riots that had occurred two summers earlier, Tress wrote to his sister that the police took him in for questioning. “They could have arrested me for being in the abandoned buildings – so I was very polite to them.”

Wall label

Arthur Tress (American, b. 1940)
Wild Man of the Forest, Central Park, New York
1969
Gelatin silver print
13 3/4 x 10 3/4 in.
J. Paul Getty Museum, Los Angeles
Gift of Trixy Castro
© Arthur Tress Archive LLC

While Tress was at work on what would become his Dream Collector series, he sought the advice of famed children’s author Maurice Sendak, who is most widely known for the book Where the Wild Things Are. At the end of their visit, Tress offered Sendak the choice of one of Tress’s photographs, and Sendak picked Wild Man of the Forest, Central Park, New York, which “evoke[s] the archetypal figure of the medieval wild man of the woods.”

Arthur Tress (American, b. 1940)
Woman in Railroad Yard, Brooklyn, New York
1969
From the series Open Space in the Inner City
Gelatin silver print
J. Paul Getty Museum, Los Angeles
Gift of David A. Cohen and Laurie K. Cohen
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Boy on Bike Crossing Williamsburg Bridge, New York
1969
From the series Open Space in the Inner City
Gelatin silver print
40.2 × 50cm (15 13/16 × 19 11/16 in.)
J. Paul Getty Museum, Los Angeles
Gift of Gregory V. Gooding
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Two Men Cruising, Central Park, New York
1969
From the series The Ramble
Gelatin silver print
Collection David Knaus
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Dog Walker, Central Park, New York
1969, printed 2007
From the series The Ramble
Gelatin silver print
Collection David Knaus
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Young Man in Woods, Central Park, New York
1969
Gelatin silver print
9 3/4 x 7 3/4 in.
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Boy in Central Park (Rambles), New York City
1969
Gelatin silver print
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Gay Activists at First Gay Pride Parade, Christopher Street, New York
Negative 1970
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Bruce at Dawn, Paper Flower Maker, East Village, New York
1970
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Friends Playing Cards, Sheepshead Bay, Brooklyn, New York
1970
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Boy with Root Hands, New York
1970
From the series Dream Collector
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Teenage Boys, Bronx High School of Science, Bronx, New York
1970, printed later
From the series Open Space in the Inner City
Gelatin silver print
J. Paul Getty Museum, Los Angeles
Gift of Jon and Ellen Vein Family
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Hobby Horses, Harlem River, Bronx, New York
1970
Gelatin silver print
8 7/8 x 7 13/16 in.
J. Paul Getty Museum, Los Angeles
Gift of J. Patrick and Patricia A. Kennedy
© Arthur Tress Archive LLC

The above image is part of Tress’s series Open Space in the Inner City (1969-1971). It shows his environmentalism, which he cultivated throughout his travels, especially in his exploration of Appalachia. Having settled in New York after living in Sweden, Tress was shocked by the rampant urban blight and crowding in the city and how few open spaces there were for people to play, thrive, and live. His series helped bring attention to this widespread civic issue and was shown by institutions like the Sierra Club and the New York State Council on the Arts.

Arthur Tress (American, b. 1940)
Boy with Basketball, Bronx, New York
1970
From the series The Dream Collector
Gelatin silver print
34 × 26.6cm (13 3/8 × 10 1/2 in.)
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Woman in Shopping Center Parking Lot, Lackawanna, New York
1970
From the series Open Space in the Inner City
Gelatin silver print
23.3 × 19.6cm (9 3/16 × 7 11/16 in.)
J. Paul Getty Museum, Los Angeles
Gift of J. Patrick and Patricia A. Kennedy
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Minette as Gloria Swanson in Ruins of Fox Theater, Brooklyn, New York
1971
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Boy in Tin Cone, Bronx, New York
1972
From the series The Dream Collector
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Hand on Train, Staten Island, New York
1972
From the series The Dream Collector
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Girl With Dunce Cap, P.S. 3, New York, New York
1972
From the series The Dream Collector
Gelatin silver print
26.4 × 26.4cm (10 3/8 × 10 3/8 in.)
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing Hockey Player, New York (1972, below)

Arthur Tress (American, b. 1940)
Hockey Player, New York
1972
Gelatin silver print
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Shadow, Cannes, France
Negative 1974; print 1975
Gelatin silver print,
19.4 × 19.2cm (7 5/8 × 7 9/16 in.)
J. Paul Getty Museum, Los Angeles
Gift of John V. and Laure M. Knaus
© Arthur Tress Archive LLC

Between 1972 and 1975 Tress created a series and photobook called Shadow. The above work, featuring the artist and shadows cast by a sculpture of birds, appeared toward the end of the book in a section titled “Magic Flight.” Curator of photographs Paul Martineau says this picture – juxtaposed with other images of imprisoned shadows – symbolises freedom and “traces a mystical dream journey of an individual soul from the past to the present and into the future, through birth, death, and enlightenment.”

Arthur Tress (American, b. 1940)
Dream Therapist, Harold Ellis, New York, New York
1975
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Girl Running Away from Dinosaur, Santa Cruz, CA
Nd
Gelatin silver print
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Last Portrait of My Father, New York, New York
1978
Gelatin silver print
15 1/8 x 14 7/8 in.
Collection of David Knaus
© Arthur Tress Archive LLC

Rachel Barth. “A Kind of Magic,” on the Getty website Nov 07, 2023 [Online] Cited 10/11/2023

Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing the work Bride and Groom, New York, New York 1970 (below)

Arthur Tress (American, b. 1940)
Bride and Groom, New York, New York
1970
From the series Theater of the Mind
Gelatin silver print
41.7 × 40.2cm (16 7/16 × 15 13/16 in.)
J. Paul Getty Museum, Los Angeles
Gift of Gregory V. Gooding
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Hermaphrodite between Venus and Mercury, East Hampton, New York
1973
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

Arthur Tress (American, b. 1940)
Self-Portrait with Lobster, Bar Harbor, Maine
1974
Gelatin silver print
17.7 x 17.7cm
Collection of the artist

Arthur Tress (American, b. 1940)
Boot Fantasy, New York
1977
Gelatin silver print
26 x 26cm
J. Paul Getty Museum, Los Angeles
Gift of David Knaus

Arthur Tress (American, b. 1940)
Superman Fantasy
1977
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

Arthur Tress (American, b. 1940)
Drill Fantasy
1977
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

Arthur Tress (American, b. 1940)
Two Men, Two Rooms
1977
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

Arthur Tress (American, b. 1940)
Band-aid Fantasy
1978
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

Arthur Tress (American, b. 1940)
Lumberjack Fantasy
1980
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

Arthur Tress (American, b. 1940)
Two Surfers, Ft. Lauderdale
1980
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Arthur Tress (American, b. 1940)
Child’s Dream of Redwood Monster, Santa Cruz, California
1971
From the series The Dream Collector
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

Child’s Dream of Redwood Monster, Santa Cruz, CA, 1971 on the cover

Arthur Tress: Rambles, Dreams, and Shadows book

Edited by James A. Ganz, with contributions by Mazie M. Harris and Paul Martineau

This richly illustrated volume is the first critical look at the early career of Arthur Tress, a key proponent of magical realism and staged photography.

Arthur Tress (b. 1940) is a singular figure in the landscape of postwar American photography. His seminal series, The Dream Collector, depicts Tress’s interests in dreams, nightmares, fantasies, and the unconscious and established him as one of the foremost proponents of magical realism at a time when few others were doing staged photography.

This volume presents the first critical look at Tress’s early career, contextualising the highly imaginative, fantastic work he became known for while also examining his other interrelated series: Appalachia: People and Places; Open Space in the Inner City; Shadow; and Theater of the Mind. James A. Ganz, Mazie M. Harris, and Paul Martineau plumb Tress’s work and archives, studying ephemera, personal correspondence, unpublished notes, diaries, contact sheets, and more to uncover how he went from earning his living as a social documentarian in Appalachia to producing surreal work of “imaginative fiction.” This abundantly illustrated volume imparts a fuller understanding of Tress’s career and the New York photographic scene of the 1960s and 1970s.

This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 31, 2023, to February 18, 2024.

James A. Ganz is senior curator in the Department of Photographs at the J. Paul Getty Museum.

“Along with several others of his cohort, Arthur Tress spearheaded the resurgence of the directorial mode in the 1970s, as well as his generation’s engagement with previously taboo subject matter. With his unique blend of documentary and surrealist approaches, he has made a major contribution to his medium.”

~ A. D. Coleman, photography critic and historian

264 pages
9 1/2 x 11 inches
17 color and 198 b/w illustrations
ISBN 978-1-60606-861-8
hardcover

Getty Publications
Imprint: J. Paul Getty Museum

Arthur Tress: Rambles, Dreams, and Shadows book cover

Arthur Tress: Rambles, Dreams, and Shadows pp. 30-31

Arthur Tress: Rambles, Dreams, and Shadows pp. 40-41

Arthur Tress: Rambles, Dreams, and Shadows pp. 82-83

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

Opening hours:
Daily 10am – 5pm

The J. Paul Getty Museum website

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Exhibition: ‘Dream States: Contemporary Photographs and Video’ at the Metropolitan Museum of Art, New York

Exhibition dates: 16th May – 30th October 2016

Manuel Alvarez Bravo (Mexican, 1902-2002)
La Buena Fama Durmiendo (The Good Reputation Sleeping)
1939, printed c. 1970s
Gelatin silver print
Mat: 16 × 20 in. (40.6 × 50.8cm)
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1973

The best fun I had with this posting was putting together the first twelve images. They seem to act as ‘strange attractors’, a feeling recognised by the curators of the exhibition if you view the first installation photograph by Anders Jones, below.

Marcus

Many thankx to photographer Anders Jones and the Duggal website for allowing me to publish the installation photographs in the posting.

Artists have always turned to dreams as a source of inspiration, a retreat from reason, and a space for exploring imagination and desire. In the history of photography, dreams have been most closely associated with the Surrealists, who pushed the technical limits of the medium to transform the camera’s realist documents into fantastical compositions. Whereas their modernist explorations were often bound to psychoanalytic theories, more recently contemporary photographers have pursued the world of sleep and dreams through increasingly open-ended works that succeed through evocation rather than description.

This exhibition takes a cue from the artists it features by displaying a constellation of photographs that collectively evoke the experience of a waking dream. Here, a night sky composed of pills, a fragmented rainbow, a sleeping fairy-tale princess, and an alien underwater landscape illuminate hidden impulses and longings underlying contemporary life. Drawn entirely from The Met collection, Dream States features approximately 30 photographs and video works primarily from the 1970s to the present.

Text from the Metropolitan Museum of Art

Anselm Kiefer (German born Donaueschingen, b. 1945)
Brünnhilde Sleeps
1980
Acrylic and gouache on photograph
23 x 32 7/8in. (58.4 x 83.5cm)
Denise and Andrew Saul Fund, 1995
© Anselm Kiefer

Near the end of Wagner’s second opera of the Ring Cycle, Die Walküre (The Valkyrie), the Valkyrie Brünnhilde, having attempted to help the sibling lovers Siegmund and Sieglinde against their father’s wishes, is punished for her betrayal. Wotan puts her to sleep and surrounds her with a ring of fire (she will be awakened in turn by her nephew Siegfried, the incestuous son of Siegmund and Sieglinde, in the third opera of the cycle).

Kiefer portrays the dormant Brünnhilde as French actress Catherine Deneuve in François Truffaut’s film Mississippi Mermaid, using a photograph he snapped in a movie house in 1969. In the film, Deneuve plays a deceitful mail-order bride who comes to the island of Réunion to marry a plantation owner, played by Jean-Paul Belmondo. Aside from the parallels of love and betrayal in both the Ring Cycle and Truffaut’s film, Kiefer thought the choice of Deneuve for Brünnhilde both ironic and amusing: she was for him “the contrary of Brünnhilde. Very slim, very French, very cool, very sexy,” hinting that no man would go through fire to obtain Wagner’s corpulent, armoured Valkyrie.

Eugène Atget (French, Libourne 1857-1927 Paris)
Versailles
1924-25
Salted paper print from glass negative
Image: 17.5 x 21.9cm (6 7/8 x 8 5/8 in.)
Sheet: 18 × 21.9cm (7 1/16 × 8 5/8 in.)
Mat: 40.6 × 50.8cm (16 × 20 in.)
Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005

From 1898 until his death in 1927, Atget exhaustively documented the remains of Old Paris: the city’s streets, monuments, interiors, and environs. Among the last entries in this self-directed preservationist effort was a series of images of landscapes and sculpture in the parks of Saint-Cloud and Versailles. Here, the photographer records a statue of a sleeping Ariadne, the mythical Cretan princess abandoned by her lover Theseus on the island of Naxos. Atget’s simultaneously realistic and otherworldly photographs inspired the Surrealist artist Man Ray, who reproduced four of them in a 1926 issue of the journal La Révolution Surréaliste, thus presenting the elder photographer as a modernist forerunner.

Robert Frank (American, 1924-2019)
Fourth of July, Coney Island
1958
Gelatin silver print
Image: 26 x 35.6 cm (10 1/4 x 14 in.)
Mat: 47 × 57.2cm (18 1/2 × 22 1/2 in.)
Purchase, Alfred Stieglitz Society Gifts, 2002
© 2005 Robert Frank

As he traveled around the country in 1955-1956 making the photographs that would constitute his landmark book, The Americans, Frank’s impression of America changed radically. He found less of the freedom and tolerance imagined by postwar Europeans, and more alienation and racial prejudice simmering beneath the happy surface. His disillusionment is poignantly embodied in this image of a disheveled African-American man disengaged from the crowd and asleep in a foetal position amid the debris of an Independence Day celebration on Coney Island.

This was one of the last still photographs Frank made before he devoted his creative energy to filmmaking in the early 1960s. As such, it may be interpreted as an elegy to still photography; the lone figure functions as a surrogate for Frank himself, as he turned his back on Life – like photojournalism to concentrate on the more personal, dreamlike imagery of his films.

Shannon Bool (Canadian, b. 1972)
Vertigo
2015
Gelatin silver print
Image: 7 13/16 × 11 13/16 in. (19.8 × 30cm)
Gift of Shannon Bool and Daniel Faria Gallery, 2015
© Shannon Bool

This photogram – made without a camera by placing a collage of transparencies on a photosensitive sheet of paper and exposing it to light – is part of a series portraying psychoanalysts and their patients. Here, a patient on a Freudian couch is seen from above; the figure, sheathed in patterns of Maori origin, appears to come apart at the seams under the analyst’s scrutiny.

Nan Goldin (American, born Washington, D.C., 1953)
French Chris on the Convertible, NYC
1979
Silver dye bleach print
Image: 50.8 x 61cm (20 x 24in.)
Mat: 63.5 × 81.3cm (25 × 32 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2001
© Nan Goldin Courtesy Matthew Marks Gallery

Following in the tradition of Robert Frank and Helen Levitt, Goldin is her generation’s greatest practitioner of the “snapshot aesthetic” in photography – the intimate, diaristic mode that yields images that, in the right hands, are both spontaneous and carefully seen, tossed off and irreducibly right. In this early work, the artist has captured her friend as a Chatterton of the Lower East Side, lying across the back of a blue convertible with shirt open, eyes closed, and an empty can of Schaeffer beer by his side instead of arsenic – a contemporary vision of glamorous surrender for our own time.

Arthur Tress (American, b. 1940)
Boy in Flood Dream, Ocean City, New Jersey
1972
Gelatin silver print
Mat: 18 × 18 in. (45.7 × 45.7cm)
Gift of the artist, 1973

In the late 1960s, Tress began audio-recording children recounting their dreams and nightmares. He then collaborated with the young people, who acted out their tales for the camera, and published the resulting surreal images in the 1972 book The Dream Collector. Many of the children shared common nightmare scenarios such as falling, drowning, and being trapped, chased by monsters, or humiliated in the classroom. Here, a young boy clings to the roof of a home that has washed ashore as if after a flood. The desolate landscape evokes the sort of non-place characteristic of dreams and conveys feelings of loneliness and abandonment.

Installation view of the exhibition Dream States: Contemporary Photography and Video at the Metropolitan Museum of Art featuring at lower right, Nan Goldin’s French Chris on the Convertible, NYC (1979)
Photo: Anders Jones

Sophie Calle (French, born Paris, 1953)
Gloria K., first sleeper. Anne B., second sleeper
1979
Gelatin silver prints
Image: 12.6 x 18.4cm (4 15/16 x 7 1/4in.)
Mat: 35.6 × 43.2cm (14 × 17 in.)
Gift of the artist and Olivier Renaud-Clement, in memory of Gilles Dusein, 2000
© Sophie Calle

While obviously indebted to the deadpan photo-text combinations of Conceptualism, Calle’s art is as purely French at its core as the novels of Marguerite Duras and the films of Alain Resnais – an intimate exploration of memory, desire, and obsessive longing. The artist’s primary method involves a perfectly calibrated interplay between narrative and image, both of which steadily approach their object of desire only to find another blind spot-that which can never be captured through language or representation.

This work is the first segment of Calle’s first work, The Sleepers (1979), in which the artist invited twenty-nine friends and acquaintances to sleep in her bed consecutively between April 1 and April 9, during which time she photographed them once an hour and kept notes recording each encounter. All the elements of Calle’s art-from the voyeuristic inversion of the private sphere (rituals of the bedroom) and the public (the book or gallery wall) to the use of serial, repetitive structures-are present here in embryonic form.

Paul Graham (British, b. 1956)
Senami, Christchurch, New Zealand
2011
Chromogenic print
Image: 44 1/4 in. × 59 in. (112.4 × 149.9cm)
Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel and Hideyuki Osawa Gift, 2015

Graham’s series, Does Yellow Run Forever?, juxtaposes three groups of photographs: rainbows arcing over the Irish countryside, the facades of pawn-and-jewellery shops in New York, and tender studies of his partner asleep. The thematic links between the images (the rainbow’s mythical pot of gold, the sparkling objects in the Harlem window display, and a sleeping dreamer) may seem obvious, even pat, but Graham’s photographs transmute those clichés into a constellation of deep feeling. These luminous vignettes evoke a sense of longing and pathos, the quest for something permanent amid the illusory and devalued.

Peter Hujar (American, Trenton, New Jersey 1934-1987 New York)
Girl in My Hallway
1976
Gelatin silver print
Image: 37 x 37.1cm (14 9/16 x 14 5/8 in.)
Mat: 63.5 × 63.5cm (25 × 25 in.)
Purchase, Alfred Stieglitz Society Gifts, 2006
© The Peter Hujar Archive, L.L.C.

Brassaï (French born Romania, Brașov 1899-1984 Côte d’Azur)
A Vagrant Sleeping in Marseille
1935, printed 1940s
Gelatin silver print
Image: 17.2 x 23.3cm (6 3/4 x 9 3/16in.)
Mat: 43.2 × 35.6cm (17 × 14 in.)
Gift of the artist, 1980
Copyright © Gilberte Brassaï

The inevitable suggestion that the homeless, hungry man sprawled on the sidewalk might be dreaming of a finely dressed and improbably large salad links Brassaï’s photograph to the work of the Surrealists. Although he frequently depicted thugs, vagrants, and prostitutes, he did so without judgment or political motive; his were pictures meant to delight or perplex the eye and mind-not to prompt a social crusade.

Installation view of the exhibition Dream States: Contemporary Photography and Video at the Metropolitan Museum of Art showing at left, Paul Graham’s Gold Town Jewellery, East Harlem, New York (2012); and at right, Paul Graham’s Senami, Christchurch, New Zealand (2011), both from the series Does Yellow Run Forever?
Photo by Anders Jones

The psychological fluidity of the medium has been noted before by the Met. In 1993, to celebrate its purchase of the Gilman Collection, the curator Maria Morris Hambourg chose to call her exhibition The Waking Dream. The title came from Keats’s “Ode to a Nightingale” and suggested, in Hambourg’s words, “the haunting power of photographs to commingle past and present, to suspend the world and the artist’s experience of it in unique distillations.”

Conceptual latitude can benefit curators, giving them plenty of room to manoeuvre in making their selections, or it can be a detriment if a loose framework has so many sides that it won’t support an argument.

Dream States suffers from the latter, even though the leeway of the title allows splendid pictures in disparate styles to be displayed together. Organised by associate curator Mia Fineman and assistant curator Beth Saunders around a theme that isn’t notably pertinent or provocative, the show has no discernible reason for being. It isn’t stocked with recent purchases – fewer than ten of the works entered the collection in this decade – and it isn’t tightly edited. To quality for inclusion here a photograph need only depict someone lying down or with eyes closed. A “dream state” seems to be loosely defined. It can be as a starry or cloudless sky; a tree-less landscape; inverted or abstract imagery; or something blurry.

Richard B. Woodward. “Dream States: Contemporary Photography and Video @Met,” on the Collector Daily website July 11, 2016 [Online] Cited 06/10/2016

Jack Goldstein (American born Canada, 1945-2003)
The Pull
1976
Chromogenic prints
Frame: 76.2 x 101.6cm (30 x 40 in.) each
Purchase, The Buddy Taub Foundation Gift and Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2009
© The Estate of Jack Goldstein

Born in the postwar baby boom, Goldstein grew up surrounded by the products of the rapidly expanding media culture-movies, television, newspapers, magazines, and advertisements of all kinds. Young artists such as Goldstein went on to be educated in the rigorous and reductive principles of Minimal and Conceptual art during the 1970s but knew from personal experience that images shape our sense of the world and who we are, rather than vice versa; they made their art reflect that secondhand relationship to reality.

In this early work, Goldstein has lifted, or “appropriated,” images of a deep sea diver, a falling figure, and a spaceman from unknown printed sources – isolating them from their original contexts and setting them at a very small scale against monochromatic backgrounds (green for sea, blue for sky, and white for space), as if the viewer were seeing them from a great distance. Because the viewer is unlikely to have seen such figures firsthand, that distance is not merely spatial but also epistemological in nature-the images trigger memories based not on original encounters but on reproductions of experience. The Pull – Goldstein’s only photographic work in a career that spanned painting, performance, film, and sound recordings – was included in “Pictures,” a seminal 1977 exhibition at Artist’s Space in New York, which also introduced the public to other young artists making use of appropriation, such as Sherrie Levine, Robert Longo, and Troy Brauntuch.

Sarah Anne Johnson (Canadian, b. 1976)
Glitter Bomb
2012
Chromogenic print with glitter and acrylic paint
Sheet: 29 7/8 in. × 53 in. (75.9 × 134.6cm)
Purchase, Funds from Various Donors in memory of Randie Malinsky, 2016
© Sarah Anne Johnson

Johnson works primarily with photography but also employs a variety of other media – sculpted figurines, dioramas, paint, ink, and bursts of glitter – to amplify the emotional power of her images. Glitter Bomb belongs to a series exploring the bacchanalian culture of summer music festivals. At once ominous and ecstatic, the image evokes the blissed-out mind-set of young revellers taking part in a modern-day rite of passage.

Oliver Wasow (American, b. 1960)
Float
1984-2008, printed 2009
Inkjet prints
Frame: 17.3 x 22.3cm (6 13/16 x 8 3/4 in.)
Overall: 116.8 x 152.4cm (46 x 60 in.)
Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2010
© Oliver Wasow

Wasow has a long-standing fascination with science fiction, apocalyptic fantasies, and documentation of unidentified flying objects. In his many pictures of mysterious floating disks and orbs, the artist courts doubt by running found images through a battery of processes, including drawing, photocopying, and superimposition, to create distortions. The resulting photographs play with the human propensity to invest form with meaning, offering just enough detail to spur the imagination.

Fred Tomaselli (American born Santa Monica, California, 1956)
Portrait of Laura
2015
Gelatin silver print with graphite
Image: 16 in. × 19 15/16 in. (40.6 × 50.6cm)
Mat: 24 3/4 × 25 3/4 in. (62.9 × 65.4cm)
Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016
© Fred Tomaselli

This “portrait” of the artist’s wife, Laura, belongs to an ongoing series he calls “chemical celestial portraits of inner and outer space.” Tomaselli creates likenesses based on each sitter’s astrological sign and the star map for his or her date of birth. Placing sugar and pills on photographic paper and exposing it to light, he produces a photogram of the corresponding constellation and names the stars after the various drugs the subject remembers consuming, from cold medicine to cocaine. The result is an unconventional map of identity that cleverly weds the mystical and the pharmacological.

Bea Nettles (American, born Gainesville, Florida, 1946)
Mountain Dream Tarot: A Deck of 78 Photographic Cards
1975
Photographically illustrated tarot cards
Purchase, Dorothy Levitt Beskind Gift, 1977

The idea to create a set of photographic tarot cards came to Nettles in a dream during the summer of 1970, while she was on an artist’s residency in the mountains of North Carolina. She subsequently reinterpreted the ancient symbolism of the traditional tarot deck, enlisting friends and family members as models for photographs that she augmented with hand-painted additions. In 2007 the image Nettles created for the Three of Swords card was used as the disc graphic for Bruce Springsteen’s album Magic.

Installation view of the exhibition Dream States: Contemporary Photography and Video at the Metropolitan Museum of Art showing Bea Nettles’ Mountain Dream Tarot: A Deck of 78 Photographic Cards (1975)
Photo: Anders Jones

Artists often turn to dreams as a source of inspiration, a retreat from reason, and a space for exploring imagination and desire. In the history of photography, dream imagery has been most closely associated with the Surrealists, who used experimental techniques to bridge the gap between the camera’s objectivity and the internal gaze of the mind’s eye. While those modernist explorations were often bound to psychoanalytic theories, other photographers have pursued the world of sleep and dreams through deliberately open-ended works that succeed through evocation rather than description. The exhibition Dream States: Contemporary Photographs and Video presents 30 photographs and one video drawn from The Met collection, all loosely tied to the subjective yet universal experience of dreaming. The exhibition is on view at the Museum from May 16 through October 30, 2016.

Many of the works take the surrender of sleep as their subject matter. In photographs by Robert Frank, Danny Lyon, and Nan Goldin, recumbent figures appear vulnerable to the wandering gaze of onlookers, yet their inner worlds remain out of reach. Images of bodies floating and falling conjure the tumultuous world of dreams, and landscapes are made strange through the camera’s selective vision. Highlights include photographs by Paul Graham from his recent series Does Yellow Run Forever (2014); images from Sophie Calle’s earliest body of work, The Sleepers (1979), in which she invited friends and acquaintances to sleep in her own bed while she watched; and Anselm Kiefer’s Brünnhilde Sleeps (1980), a hand-painted photograph featuring French actress Catherine Deneuve recast as a Wagnerian Valkyrie. Also featured are recently acquired works by Shannon Bool, Sarah Anne Johnson, Jim Shaw, and Fred Tomaselli.

Dream States: Contemporary Photographs and Video is organised by Mia Fineman, Associate Curator; and Beth Saunders, Curatorial Assistant in the Department of Photographs at The Metropolitan Museum of Art.

Text from the Metropolitan Museum of Art

Grete Stern (Argentinian born Germany, 1904-1999)
Sueño No. 1: “Articulos eléctricos para el hogar” (Dream No. 1: “Electrical Household items”)
c. 1950
Gelatin silver print
Image: 26.6 x 22.9cm (10 1/2 x 9 in.)
Frame: 63.5 x 76.2cm (25 x 30 in.)
Twentieth-Century Photography Fund, 2012

In 1948 the Argentine women’s magazine Idilio introduced a weekly column called “Psychoanalysis Will Help You,” which invited readers to submit their dreams for analysis. Each week, one dream was illustrated with a photomontage by Stern, a Bauhaus-trained photographer and graphic designer who fled Berlin for Buenos Aires when the Nazis came to power. Over three years, Stern created 140 photomontages for the magazine, translating the unconscious fears and desires of its predominantly female readership into clever, compelling images. Here, a masculine hand swoops in to “turn on” a lamp whose base is a tiny, elegantly dressed woman. Rarely has female objectification been so erotically and electrically charged.

Adam Fuss (British, b. 1961)
From the series “My Ghost”
1999
Gelatin silver print
184.9 x 123.3cm (72 13/16 x 48 9/16 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2000
© Adam Fuss

With his large-scale photograms, Fuss has breathed new life into the cameraless technique that became the hallmark of modernist photographers such as Man Ray and László Moholy-Nagy in the 1920s. He created this image by blowing thick clouds of smoke over a sheet of photographic paper and exposing it to a quick flash of light. Evoking the wizardry of a medieval alchemist, Fuss fixes a permanent image of evanescence.

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