Posts Tagged ‘Beach at Coney Island

20
Dec
20

Exhibition: ‘Bruce Davidson: Brooklyn Gang’ at Cleveland Museum of Art

Exhibition dates: 25th October 2020 – 28th February 2021

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

For a few brief moments, rebels with a cause

This is one of my favourite photo essays of all time. The story Davidson tells of this male-orientated Brooklyn gang and its culture through his photographs is one of brotherhood, friendship, rivalry, love, longing, agony, depression and death at a time of utter poverty and rock ‘n roll rebellion. He produced “unflinchingly honest images of these American youths.” Now, all these years later, the photographs possess a powerful nostalgia for the era mixed with the desolation of destroyed lives and lost youth.

Davidson gets under the skin of his subjects, embeds himself firmly in their milieu. The subjects allow him to photograph their most intimate moments, seemingly free from worry or anxiety. There is an insouciance to their attitude, a knowing insouciance. In one photograph inside Helen’s Candy Store, Bob Powers stares directly and disarmingly at the camera while the girl playing with the yo-yo and the youth in the background also stare directly into the lens, forming a strong compositional triangle of the gaze. Powers said he was voted “most likely to die before I was 21 years old.” He lived with his seven siblings and alcoholic parents in a three-bedroom apartment that had a coal-powered cookstove and no hot water or central heating.

There is a dark undertone to the narrative. While there are moments of joy and happiness, you can sense the isolation and despair of these disaffected youths. Cathy O’Neal, seen in front of a cigarette machine at Coney Island, committed suicide by shotgun. Jimmie and his family were wiped out by drugs. Junior Rice became a heroin dealer. Lefty od’d in bed at 19. “He was the first in the group to die from a drug overdose… within a few years, drugs would claim the lives of many in the gang and in the neighbourhood.” In picturing their lives, the photographs gather moments (in time), enunciating how the gang members railed against the conformity and materialism of 1950s America whilst imbibing its rebellious iconography. Only occasionally does the artist pull back to show us the wider picture, the context of the action, with photographs of New York skyscrapers seen in the distance and the Statue of Liberty.

Davidson does not let his spontaneity slip. He is informed, aware, absent (but present) in all of these photographs waiting for that special moment. In the photograph above, a bird-like creature swoops down on something invisible on the ground. In informal yet tightly focused photographs – of sunbathing or walking the boardwalks of Coney Island, gang members fixing their hair, rolling up their sleeves, dead beat(s) in the back of the bus, making out in the back seat of a car, walking in the park or hooning around on the Metro – Davidson is there to capture the off-beat moments of gang existence and the members relationship to each other.

Through a superb eye, a feeling, a sensibility and connection towards the gang members desperation and isolation, universally acknowledged by the photographer himself, Davidson sets them all on the path to immortality. Do not forget, these photographs seem to be saying. For a few brief moments these people did exist, their lives were valuable, these rebels with a cause.

Dr Marcus Bunyan

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

 

One of Davidson’s best-known series, Brooklyn Gang was inspired by a news story he read about a teenage gang called the Jokers.

Davidson contacted the Jokers, one of Brooklyn’s roughest gangs, through their social worker. In the summer of 1959, Davidson roamed the streets of New York with these teens, loitered in stores that the Jokers called their own, and sunbathed with them on the beach at Coney Island. Eventually they allowed him to photograph even their most intimate, private moments. He responded by producing unflinchingly honest images of these American youths.

Gang membership was exclusively male, but the members’ girlfriends appear frequently in Davidson’s photographs. Some of the pictures depict the teenagers exploring lust and love and the boys struggling to define and prove their masculinity. Looking back at the series in 1998, Davidson said that he felt “the reason that body of work has survived is that it’s about emotion. That kind of mood and tension and sexual vitality, that’s what those pictures were really about.”

 

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The pleasures and agonies of teenage romance are captured in Bruce Davidson’s photographs of the gang’s dance parties, which were held variously in Brooklyn’s Prospect Park, at a neighbourhood school, and in members’ homes. The basement wallpaper seen here – with its fairy-tale figures, including horses, queens, knights, marionettes, and jokers – suggests a domestic setting. The event could have been a farewell party for an older gang member going off to join the army, which was a common occurrence.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 16 x 23.9cm (6 5/16 x 9 7/16 in.)
Paper: 20.3 x 25.2cm (8 x 9 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

This rooftop view in Park Slope, Brooklyn, was taken from a building in the gang’s “turf,” which was a block anchored by the intersection of 17th Street and 8th Avenue. Davidson spent the summer hanging out with the gang and photographing them. Describing his process, the artist said, “I stay a long time. … I am an outsider on the inside.” Park Slope, now one of New York’s most desirable neighbourhoods, was then a poor, mostly Irish area.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 21.9 x 14.6cm (8 5/8 x 5 3/4 in.)
Paper: 25.1 x 20.2cm (9 7/8 x 7 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Davidson contacted the Jokers, one of Brooklyn’s roughest gangs, through their social worker. In the summer of 1959, Davidson roamed the streets of New York with these teens, loitered in stores that the Jokers called their own, and sunbathed with them on the beach at Coney Island. Eventually they allowed him to photograph even their most intimate, private moments. He responded by producing unflinchingly honest images of these American youths.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The pleasures and agonies of teenage romance are captured in Bruce Davidson’s photographs of the gang’s dance parties, which were held variously in Brooklyn’s Prospect Park, at a neighbourhood school, and in members’ homes.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 16.1 x 24.1cm (6 5/16 x 9 1/2 in.)
Paper: 20.2 x 25.3cm (7 15/16 x 9 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Childhood pastimes like playing yo-yo were a thing of the distant past for 15-year-old Bob Powers, a Joker seen here leaning against a fixture in Helen’s Candy Store. He had already been in and out of the court system numerous times by 1959. Powers stabbed someone when he was 12 and had been incarcerated for bringing zip guns (homemade firearms) and chains to school, where, Powers said, he was voted “most likely to die before I was 21 years old.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The gang members, most of whom were 15 or 16 years old, thought tattoos made them look older and might help them get served at bars. Tattoos were also a demonstration of masculinity and a rite of passage. Bob Powers, seen here at age 15 displaying his first tattoo, recalled years later that “the first time you get a tattoo it’s scary. I was sitting back with a cigarette like it’s nothing. Meanwhile, it was killing me. … I got ‘Bobby’ with stars around it. … They said, ‘Get your name.’ … I hated it forever.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 61 x 50.8cm (24 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

One of the gang members – Bob Powers – suggested that Davidson follow him to a rooftop on the gang’s block. “I remember thinking,” said Davidson, “‘This kid’s going to throw me off the roof and then rob me,’ but he’s pointing down at the stickball game (an informal form of baseball played in the street) and saying, ‘Get that,’ and saying: ‘Oh, there’s the Statue of Liberty. You can see it through all these television antennas.'”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The gang members were very concerned with their appearance, although they did not have much money to spend on grooming or clothes. “If you see a picture of me,” said former gang member Bob Powers, “the broken tooth, my teeth were green because I didn’t go to the dentist. We never had any money even though my father worked. … We used Vaseline petroleum jelly to make our hair stick like iron in a pompadour. We combed our hair constantly, wore sunglasses, and all thought we were Marlon Brandos.”

The Jokers’ slicked-back pompadours … and their clothing echoed the greaser style, a rebellious youth subculture that was promoted by cinematic antiheroes of the era. Role models included Marlon Brando’s portrayal of a motorcycle gang member in The Wild One (1953) and James Dean as a troubled teen in Rebel without a Cause (1955). The “bad boy” image flouted the aspirational role model of the time, the upwardly mobile white-collar worker in a business suit and short haircut.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Petey, a Jokers member who looks out the second-story window here, was injured in that fight. Petey’s best friend, fellow Jokers member Bob Powers, walks by the house. Housing in the gang’s neighbourhood, the then-impoverished Park Slope, Brooklyn, was overcrowded and rundown. Powers lived with his seven siblings and alcoholic parents in a three-bedroom apartment that had a coal-powered cookstove and no hot water or central heating.

 

 

One of the most highly respected and influential American documentary photographers of the past half century, Bruce Davidson spent several months photographing the daily lives of a teenage street gang for his 1959 series Brooklyn Gang. A new exhibition in the Cleveland Museum of Art’s Mark Schwartz and Bettina Katz Photography Gallery, Bruce Davidson: Brooklyn Gang features 50 black-and-white photographs from that series, which are part of a recent anonymous gift to the museum of extensive selections from the artist’s archives. The exhibition is on view now through February 28, 2021.

Brooklyn Gang was Davidson’s first major project after joining the distinguished photo agency Magnum and was the fruit of several months spent immersing himself in the daily lives of the Jokers, one of the many teenage street gangs worrying New York City officials at the time. He recorded the teenagers’ pleasures and frustrations as they attempted to define masculinity and mimic adult behaviour. The photographs reflect the group’s camaraderie but also their alienation from societal norms. While many officials and commentators at the time saw the gangs as evidence of social deterioration resulting from poverty, others regarded them as the most visible manifestations of a socially disengaged generation of males – rebels without a cause.

“Bruce Davidson: Brooklyn Gang presents an intimate portrayal of the teens’ lives,” said William Griswold, director of the Cleveland Museum of Art. “Davidson was an outsider, but one who spent so much time with the gang that he became, as he liked to say, ‘an outsider on the inside.’ Davidson offered an independent look at the lives of these disadvantaged youths; this view of society was quite different from the age of visual and social homogenisation of the 1950s presented in mainstream magazines such as Life and Look and predicts the social turmoil of the 1960s.”

The images reflect the time Davidson spent with the teens hanging out on street corners and in the local candy store and accompanying them to the beach at Coney Island with their girlfriends. Included are several sets of variant images, affording a rare glimpse into Davidson’s working process.

“Despite a more than ten-year age difference, Davidson describes recognising his own repression in his subjects and feeling a connection to their desperation,” said Barbara Tannenbaum, the CMA’s chair of prints, drawings, and photographs and curator of photography.

Press release from the Cleveland Museum of Art

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 40.6 x 50.8cm (16 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The museum owns several groups of images from the series taken during the same shoot at Coney Island. They provide a rare glimpse of the artist’s selection process (see 2018.688, 2018.696, 2018.697, 2018.701, 2018.706, and 2018.735). The size of these prints, and the fact that the artist printed them long after they were shot, suggest he considered all four images worthwhile. In an exhibition print, the white marks on the woman’s cheek here, made by dust on the negative, would have been covered up with ink or dye, a process known as spotting. This may be a work print, made to aid in decisions on exactly how to print this picture. It has become one of the better-known images from Brooklyn Gang.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

In this photograph, gang member Bob Powers talks with friends in one of the many Coney Island bathhouses where people could change, shower, or swim in pools. “We’d come down on a Friday and sometimes we’d stay the whole weekend till Monday, down on the beach, me, Lefty, Junior,” Powers recalled. “The girls would stay too… We would light fires and bury all the cans of beer. I remember stealing cars and driving down there. We’d drive the car under the boardwalk and bring it right onto the bay and leave it there.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 50.8 x 61cm (20 x 24 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Shown here on the Coney Island boardwalk, from left to right, are gang members Junior Rice, Bob Powers, and Lefty, who “was a pretty tough guy in the gang and then he went to jail for about a year,” according to Powers. “He came out and he just lost it. He wasn’t the same guy. Something happened and nobody knew what. … We protected him a bit, but he caught a couple of bad beatings and lost his reputation. He ate a lot of pills one night and never woke up. His mother found him dead. OD’d in bed at 19. He was the first in the group to die from a drug overdose.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 16.1 x 24.1 cm (6 5/16 x 9 1/2 in.)
Paper: 20.2 x 25.3 cm (7 15/16 x 9 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

This print is vintage – made soon after the picture was shot – and its 8 x 10-inch size was typical of the period and preferred for making reproductions for magazines and books. As photography began gaining acceptance into the gallery and museum world in the 1980s, larger prints became the norm. The museum also owns an unusually large print of the same image, made in the 1990s or 2000s, which was created to be exhibited in galleries and museums. The two may look the same on the computer screen, but do not feel the same when viewed in real life.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 15.8 x 24.1 cm (6 1/4 x 9 1/2 in.)
Paper: 20.1 x 25.4 cm (7 15/16 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

After a day at the beach at Coney Island, the teens “would take the long bus ride back to their neighbourhood,” remembered Bruce Davidson. “As they sat in the rear of the bus, the sunlight burned through the windows, giving them an angelic glow. They would drift into their dreams and awake alert to the mean streets awaiting them.”

 

 

Bruce Davidson

Barbara Tannenbaum

Curator of Photography

A hot topic in the 1950s, gangs were avidly analysed by sociologists, the press, and artists. Gordon Parks’s photographs of a young black Harlem gang leader were published in Life magazine in 1948. The musical West Side Story, which pitted a Polish gang against a Puerto Rican one, debuted on Broadway in 1957. The following year, a seven-part series in the New York Times analysed the social, economic, and psychological causes of this juvenile delinquency.

In the summer of 1959, Bruce Davidson went to Brooklyn to meet and photograph a teenage street gang called the Jokers. Davidson’s series Brooklyn Gang provided an in-depth view into the daily activities of an Irish and Polish gang whose turf was a block in the impoverished Park Slope neighbourhood. The Jokers were teenagers who were mostly students at the neighbourhood Catholic school or dropouts. They shoplifted and fought with members of rival gangs in rumbles that involved bricks, bats, knives, and occasionally zip (homemade) guns.

At age 25, Davidson was an outsider to them. He had been raised in a Jewish family in suburban Chicago and held an MFA in photography from Yale University. His images were being published in major magazines, and he had just joined Magnum, a distinguished, artist-run photographic agency. The Jokers’ role models were the greasers, a rebellious youth subculture promoted by cinematic antiheroes such as Marlon Brando’s motorcycle gang member in The Wild One (1953) and James Dean’s troubled teen in Rebel without a Cause (1955). The gang members’ “bad boy” image, replete with Vaseline-slicked pompadours and blue-collar clothing, flouted the era’s aspirational role model of an upwardly mobile white-collar worker in a business suit and short haircut.

Davidson did not sport a pompadour, but making a living as a freelance photojournalist was itself a rebellion against the nine-to-five office world. He spent the summer with the Jokers, hanging out on street corners, in the local candy store, and on the beach at Coney Island. His images reflect their alienation and anxieties but also their camaraderie. The boys explore male bonding rituals and act out their visions of maleness and adulthood. They may roughhouse, but gang ethics dictated that they were not to hurt each other. Real violence was reserved for rival gangs and, like their criminal acts, was not shown by Davidson.

He did capture the teens’ early experiences with lust and love. The Lothario in the back seat of a car is Lefty, of whom Bob Powers, a gang member who wrote a memoir 40 years later, remarked, “We never thought he was good-looking, but all the girls loved him.” This well-known image of Lefty is joined in the exhibition by three others from that same make-out session. Together they form an almost cinematic progression. Several other groups of related images of events are also included in the exhibition. These rare glimpses into the artist’s shooting and editing processes are all drawn from the recent anonymous gift to the museum of 367 works from Davidson’s archive, selections that span his 70-year career.

Davidson was careful not to pass judgment in his Brooklyn Gang photographs. The youngsters’ hairstyles, tattoos, and underage drinking, smoking, and sex were considered ruinous behaviour at the time. The memoirs of Bob Powers and the reminiscences of other members give the Jokers’ story a dark tone. The best-known image in the series, taken in front of a cigarette machine at Coney Island, shows Artie Giammarino, who later became a transit police detective, and Cathy O’Neal, whom the boys considered “beautiful like Brigitte Bardot.” Cathy is seen here at age 13 or 14, around the time she began dating the “coolest” of the gang, Junior Rice. At 14 she got pregnant. Though they were both under the legal age, they married. They later divorced, and Junior became a heroin dealer and user; within a few years, drugs would claim the lives of many in the gang and in the neighbourhood. Years after their divorce, Cathy committed suicide by shotgun.

Davidson would always remain an outsider to the gang, but his working process allowed for intimacy and trust to grow between the gang members and the photographer. By the end of the summer, Davidson realised that he and the Jokers were all considered outsiders in the conformist, materialistic 1950s. “I could see my own repression in them, and I began to feel a connection to their desperation,” he remembered. “I began to feel their isolation and even my own.”

Cleveland Art, Fall 2020

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 61 x 50.8 cm (24 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Although most of the gang members’ time was spent in their neighbourhood of Park Slope, Brooklyn, the Jokers sometimes took excursions. Few had access to cars, so most travel was by bus and subway. The subway fare of 15 cents – the equivalent of $1.33 today – would take them anywhere in New York City. Here a gang member and his girlfriend wait for a train on the neighbourhood subway platform. The beach at Coney Island was a favourite summer destination for the gang.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

“We used to hang out in [Brooklyn’s] Prospect Park all the time,” recalled Jokers member Bob Powers. “We did a lot of drinking and sleeping overnight in the park. … The cops with their bats would push us along, tell us to move. We were very defiant. If we moved, we moved ten feet. Then they had to tell us to move another ten feet. We’d kind of like move around in a circle and come back to where we originally started. The cops were mean at that time, but then we weren’t the best of kids either.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 13.9 x 17.6cm (5 1/2 x 6 15/16 in.)
Image: 11.4 x 16.9cm (4 1/2 x 6 5/8 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The Jokers roughhoused and fought among themselves but were not allowed to hurt each other. Real violence was reserved for those in other gangs or occasionally for civilians. “Did we fight with chains and pipes and knives? Yeah,” gang member Bob Powers reminisced years later. “Did people get stabbed? Yeah, people got stabbed. And people got their heads cracked open with bats.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The gang member making out in the back seat of a car on the way home from Coney Island is Lefty, identifiable by his tattoo. “We always wondered why the girls liked him,” recalled Jokers member Bob Powers. “We never thought he was good-looking, but all the girls loved him. It was amazing.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 61 x 50.8 cm (24 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Jimmie, an older member of the gang, watched over the younger members with his brother Johnny. In 1998, Jokers member Bob Powers recalled, “Later, the whole family, all six of them … died, wiped out, mostly from drugs. It’s amazing because at this particular time, if you see Jimmie, he’s like the ‘Fonz,’ like James Dean – handsome. He was good-looking, he had the women, and he was always working on cars.”

 

 

Cleveland Museum of Art
11150 East Boulevard
Cleveland, Ohio 44106

Opening hours:
Tuesdays, Thursdays, Saturdays, Sundays 10.00am – 5.00pm
Wednesdays, Fridays 10.00am – 9.00pm
Closed Mondays

Cleveland Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

06
Oct
12

Exhibition: ‘George Bellows’ at the National Gallery of Art, Washington

Exhibition dates: 10th June – 8th October 2012

 

George Bellows. 'Stag at Sharkey's' 1909

 

George Bellows (American, 1882-1925)
Stag at Sharkey’s
1909
Oil on canvas
92 x 122.6cm (36 1/4 x 48 1/4 in.)
The Cleveland Museum of Art, Hinman B. Hurlbut Collection

 

 

What a joy it is to be able to post this work!

Bellows is one of my favourite artists. The energy and vigour of his work is outstanding, whether it be crashing waves on a rocky shore, the straining musculature of the male body in the boxing paintings and drawings or the more subtle renditions of colour and atmosphere in his portraits and cityscapes. There are hints of the darkness of Goya (especially in the painting The Barricade, 1918 / Francisco Goya, The Third of May 1808, 1814), the frontality of the portraits of Bronzino (with an added air of vulnerability) and, towards the end of his life, portends of what might have been had he lived – the simplification of line, form and colour in works such as Dempsey and Firpo (1924, below), reminiscent of, but distinct from, the work of his friend Edward Hopper.

Bellows use of colour, light and form is extra ordinary. His use of chiaroscuro is infused with colour and movement, the volume of his modelling of the subjects depicted transcending their impressionistic base. The “shading” of his work is as much psychological as physical: the looming darkness of the buildings in Pennsylvania Station Excavation (1909, below), the churning foam of the desolate sea shore or the pensive look of Emma in the Purple Dress (1919, below). His understanding of the construction of the picture plane is exemplary. Note the use of diagonals and horizontals used in the construction of most of his paintings and drawings, especially the upraised hands, extended feet in his boxing portraits.

One can only wonder what this incredible artist would have achieved had he lived into the 1960s like his friend Edward Hopper. For me he remains an absolute hero of mine. From the first time I ever saw his work (and I have only ever seen it in reproduction, imagine seeing it in the flesh!) I fell in love with his sensibility, his love of the world and the people in it. I cannot explain it more fundamentally than that. A love affair where his work touched my heart and that, really, is the greatest compliment that you can give an artist. That their art moves you.

Dr Marcus Bunyan

.
Many thankx to the National Gallery of Art, Washington for allowing me to publish the reproductions of the paintings in this posting. Please click on the photographs for a larger version of the image.

 

George Bellows. 'Both Members of This Club' 1909

 

George Bellows (American, 1882-1925)
Both Members of This Club
1909
Oil on canvas
133 x 177.8cm (52 3/8 x 70 in.)
National Gallery of Art, Washington, Chester Dale Collection

 

George Bellows. 'The White Hope' 1921

 

George Bellows (American, 1882-1925)
The White Hope
1921
Lithograph
37.4 x 47.6cm (14 3/4 x 18 3/4 in.)
National Gallery of Art, Washington, Andrew W. Mellon Fund

 

George Bellows. 'Counted Out, No.1' 1921

 

George Bellows (American, 1882-1925)
Counted Out, No.1
1921
Lithograph
31.8 x 28.5cm (12 1/2 x 11 1/4 in.)
National Gallery of Art, Washington, Andrew W. Mellon Fund

 

George Bellows. 'Dempsey through the Ropes' 1923

 

George Bellows (American, 1882-1925)
Dempsey through the Ropes
1923
Black crayon
54.61 x 49.85cm (21 1/2 x 19 5/8 in.)
Lent by The Metropolitan Museum of Art, Rogers Fund, 1925

 

George Bellows. 'Dempsey and Firpo' 1924

 

George Bellows (American, 1882-1925)
Dempsey and Firpo
1924
Oil on canvas
129.5 x 160.7cm (51 x 63 1/4 in.)
Whitney Museum of American Art, New York, Purchase, with funds from Gertrude Vanderbilt Whitney
© Photograph by Sheldan C. Collins

 

 

When George Bellows died at the age of forty-two in 1925, he was hailed as one of the greatest artists America had yet produced. In 2012, the National Gallery of Art will present the first comprehensive exhibition of Bellows’ career in more than three decades. Including some 130 paintings, drawings, and lithographs, George Bellows will be on view in Washington from June 10 through October 8, 2012, then travel to The Metropolitan Museum of Art, New York, November 15, 2012, through February 18, 2013, and close at the Royal Academy of Arts, London, March 16 through June 9, 2013. The accompanying catalogue will document and define Bellows’ unique place in the history of American art and in the annals of modernism.

“George Bellows is arguably the most important figure in the generation of artists who negotiated the transition from the Victorian to the modern era in American culture,” said Earl A. Powell III, director, National Gallery of Art. “This exhibition will provide the most complete account of his achievements to date and will introduce Bellows to new generations.”

 

Works in the exhibition

Mentored by Robert Henri, leader of the Ashcan School in New York in the early part of the 20th century, George Bellows (1882-1925) painted the world around him. He was also an accomplished graphic artist whose illustrations and lithographs addressed a wide array of social, religious, and political subjects. The full range of his remarkable artistic achievement is presented thematically and chronologically throughout nine rooms in the West Building.

The exhibition begins with Bellows’ renowned paintings and drawings of tenement children and New York street scenes. These iconic images of the modern city were made during an extraordinary period of creativity for the artist that began shortly after he left his hometown of Columbus, Ohio, for New York in 1904. Encouraged by Henri, his teacher at the New York School of Art, Bellows sought out contemporary subjects that would challenge prevailing standards of taste, depicting the city’s impoverished immigrant population in River Rats (1906, private collection) and Forty-Two Kids (1907, Corcoran Gallery of Art).

In addition to street scenes, Bellows painted more formal studio portraits of New York’s working poor. These startling, frank subjects – such as Paddy Flannigan (1908, Erving and Joyce Wolf) – reflect the artist’s profound understanding of the realist tradition of portraiture practiced by such masters as Diego Velázquez, Frans Hals, Edouard Manet, and James McNeill Whistler.

Bellows’ early boxing paintings chronicle brutal fights; to circumvent a state ban on public boxing, they were organised by private clubs in New York at that time. In his three acclaimed boxing masterpieces – Club Night (1907, National Gallery of Art), Stag at Sharkey’s (1909, Cleveland Museum of Art), and Both Members of This Club (1909, National Gallery of Art) – Bellows’ energetic, slashing brushwork matched the intensity and action of the fighters. These works will be on view together for the first time since 1982.

The series of four paintings Bellows devoted to the Manhattan excavation site for the Pennsylvania Railroad Station – a massive construction project that entailed razing two city blocks – focuses mainly on the subterranean pit in which workmen toiled. Never before exhibited together, these works range from a scene of the early construction site covered in snow in Pennsylvania Station Excavation (1909, Brooklyn Museum) to a view of the monumental station designed by McKim, Mead, and White coming to life in Blue Morning (1909, National Gallery of Art).

Bellows was fascinated with the full spectrum of life of the working and leisure classes in New York. From dock workers to Easter fashions paraded in the park, he chronicled a variety of subjects and used an array of palettes and painting techniques, from the cool grays and thin strokes of Docks in Winter (1911, private collection) to the jewel-like, encrusted surfaces of Snow-Capped River (1911, Telfair Museum of Art). While Bellows portrayed the bustling downtown commercial district of Manhattan in his encyclopaedic overview New York (1911, National Gallery of Art), he more often depicted the edges of the city near the shorelines of the Hudson and East Rivers in works such as The Lone Tenement (1909, National Gallery of Art) and Blue Snow, The Battery (1910, Columbus Museum of Art).

The artist visited Monhegan Island off the coast of Maine for the first time in 1911 and returned to Maine every summer from 1913 to 1916. In 1913 alone he created more than 100 outdoor studies. His seascapes account for half his entire output as a painter, with the majority done after the 1913 Armory Show. Shore House (1911, private collection) and The Big Dory (1913, New Britain Museum of American Art) are among Bellows’ most important seascapes and pay homage to his great American predecessor, Winslow Homer (1836-1910).

In 1912 Bellows started working more consistently as an illustrator for popular periodicals such as Collier’s and Harper’s Weekly, and in 1913 for the socialist magazine The Masses. These illustration assignments led him to record new aspects of American life ranging from sporting events to religious revival meetings, as seen in The Football Game (1912, Hirshhorn Museum and Sculpture Garden) and Preaching (Billy Sunday) (1915, Boston Public Library). Along with Bellows’ more affordable and widely available lithographs (he installed a printing press in his studio in 1916), the published illustrations broadened the audience for his work.

Bellows supported the United States’ entry into World War I, resulting in an outpouring of paintings, lithographs, and drawings in 1918. For this extensive series, he relied on the published accounts of German atrocities in Belgium found in the 1915 Bryce Committee Report commissioned by the British government. The paintings evoke the tradition of grand public history paintings, as seen in Massacre at Dinant (1918, Greenville County Museum of Art), while the drawings and lithographs recall Francisco de Goya’s 18th-century print series The Disasters of War.

Bellows’ late works on paper survey modern American life, from the prisons of Georgia to the tennis courts of Newport, and highlight complex relationships between his various media. Taken from direct experience as well as fictional accounts, they range in tone from lightly satirical and humorous (Business-Men’s Bath, 1923, Boston Public Library) to profoundly disturbing and tragic (The Law Is Too Slow, 1922-1923, Boston Public Library).

In Emma at the Piano (1914, Chrysler Museum of Art), Bellows depicts his wife and lifelong artistic muse. His portraits of women constitute a larger body of work than his more famous boxing paintings. They cover all stages of life and include both the naive, youthful Madeline Davis (1914, Lowell and Sandra Mintz) and the more refined, matronly Mrs. T in Wine Silk (1919, Cedarhurst Center for the Arts).

The show will end with paintings in a variety of styles made in 1924, the year before the artist’s sudden death from appendicitis. Painted in Bellows’ studio in rural Woodstock, New York, these last works, including Dempsey and Firpo (1924, Whitney Museum of American Art), Mr. and Mrs. Philip Wase (1924, Smithsonian American Art Museum), and The White Horse (1922, Worcester Art Museum), will prompt visitors to contemplate the artist Bellows might have become had he lived into the 1960s, as did his friend and contemporary Edward Hopper (1882-1967).

Press release from the National Gallery of Art website

 

 

George Bellows (American, 1882-1925) 'River Rats' 1906

 

George Bellows (American, 1882-1925)
River Rats
1906
Oil on canvas

 

George Bellows (American, 1882-1925) 'Forty-two Kids' 1907

 

George Bellows (American, 1882-1925)
Forty-two Kids
1907
Oil on canvas
106.7 × 153cm (42 × 60 1/4 in.)
Corcoran Collection (Museum Purchase, William A. Clark Fund)
National Gallery of Arts, Washington
Open access

 

George Bellows. 'Beach at Coney Island' 1908

 

George Bellows (American, 1882-1925)
Beach at Coney Island
1908
Oil on canvas
106.7 x 152.4cm (42 x 60 in.)
Private collection

 

George Bellows (American, 1882-1925) 'Blue Morning' 1909

 

George Bellows (American, 1882-1925)
Blue Morning
1909
Oil on canvas
86.3cm (33.9 in) x 111.7cm (43.9 in)
National Gallery of Art
Chester Dale Collection

 

George Bellows (American, 1882-1925) 'New York' 1911

 

George Bellows (American, 1882-1925)
New York
1911
Oil on canvas
106.7 x 152.4cm (42 x 60 in.)
National Gallery of Art
Collection of Mr. and Mrs. Paul Mellon

 

George Bellows (American, 1882-1925) Bellows. 'Shore House' 1911

 

George Bellows (American, 1882-1925)
Bellows Shore House
1911
Oil on canvas
Private collection

 

George Bellows (American, 1882-1925) 'The Big Dory' 1913

 

George Bellows (American, 1882-1925)
The Big Dory
1913
Oil on panel
18 in (45.7cm) x 22 in (55.8cm)
New Britain Museum of American Art
Harriet Russell Stanley Fund

 

George Bellows. 'Riverfront, No. 1' 1914

 

George Bellows (American, 1882-1925)
Riverfront, No. 1
1914
Oil on canvas
115.3 x 160.3cm (45 3/8 x 63 1/8 in.)
Columbus Museum of Art, Museum Purchase, Howald Fund
Public domain

 

George Bellows (American, 1882-1925) 'Preaching (Billy Sunday)' c. 1915-1923

 

George Bellows (American, 1882-1925)
Preaching (Billy Sunday)
c. 1915-1923
Crayon, ink, and wash on paper
Boston Public Library
Public domain

 

 

“I like to paint Billy Sunday, not because I like him, but because I want to show the world what I do think of him. Do you know, I believe Billy Sunday is the worst thing that ever happened to America? He is Prussianism personified. His whole purpose is to force authority against beauty. He is against freedom, he wants a religious autocracy, he is such a reactionary that he makes me an anarchist.” – GB, in “Touchstone,” p. 270. The artist’s intent to satirise Billy Sunday was evident to almost everyone but the evangelist himself. An earlier depiction of Billy Sunday in action is seen in “The Sawdust Trail” (M. 48) done in 1916 (below). (Mason)

Text from the Digital Commonwealth website

 

George Bellows (American, 1882-1925) 'The Saw Dust Trail' 1916

 

George Bellows (American, 1882-1925)
The Saw Dust Trail
1916
Oil on canvas
Milwaukee Art Museum, Layton Art Collection

 

 

The catalog quotes Bellows: “I paint Billy Sunday… to show the world what I do think of him. Do you know, I think Billy Sunday is the worst thing that ever happened to America? He is death to imagination, to spirituality, to art.”

 

George Bellows. 'Tennis at Newport' 1920

 

George Bellows (American, 1882-1925)
Tennis at Newport
1920
Oil on canvas
109.2 x 137.2cm (43 x 54 in.)
James W. and Frances G. McGlothlin

 

George Bellows. 'Return of the Useless' 1918

 

George Bellows (American, 1882-1925)
Return of the Useless
1918
Oil on canvas
149.9 x 167.6cm (59 x 66 in.)
Courtesy Crystal Bridges Museum of American Art, Bentonville

 

George Bellows. 'The Barricade' 1918

 

George Bellows (American, 1882-1925)
The Barricade
1918
oil on canvas
124.8 x 211.5cm (49 1/8 x 83 1/4 in.)
Birmingham Museum of Art, Museum purchase with funds provided by the Harold and Regina Simon Fund, the Friends of American Art, Margaret Gresham Livingston, and Crawford L. Taylor, Jr.

 

 

George Bellows

American, 1882-1925

Throughout his childhood in Columbus, Ohio, George Bellows divided much of his time between sports and art. While attending Ohio State University, he created illustrations for the school yearbook and played varsity baseball and basketball. After college Bellows rejected an offer for a professional athletic career with the Cincinnati Reds baseball team, instead pursuing a career as an artist.

In opposition to his father’s wishes, Bellows enrolled in the New York School of Art in 1904. There Bellows elected to study not with the popular and flamboyant William Merritt Chase, but rather with the unorthodox realist Robert Henri. Henri led a radical group of artists, including John Sloan and William Glackens, who exhibited under the name “The Eight.” Although Bellows was elected to the National Academy of Design, he rejected the superficial portrayal of everyday life promoted by the academies. Instead he and his colleagues emphasised the existing social conditions of the early twentieth century, especially in New York. Because their subjects were considered crude and at times even vulgar, critics dubbed them the Ashcan school. Bellows never became an official member of The Eight, but his choice of subjects – docks, street scenes, and prizefights – were typical of the group. Unlike the members of The Eight, Bellows’ enjoyed popular success during his lifetime, particularly with the boxing images that demonstrate his passionate interest in sports and a bold understanding of the human figure.

 

George Bellows. 'Pennsylvania Station Excavation' 1909

 

George Bellows (American, 1882-1925)
Pennsylvania Station Excavation
1909
Oil on canvas
79.38 x 97.16cm (31 1/4 x 38 1/4 in.)
Brooklyn Museum, A. Augustus Healy Fund

 

George Bellows. 'The Lone Tenement' 1909

 

George Bellows (American, 1882-1925)
The Lone Tenement
1909
Oil on canvas
123.2 x 153.4 x 12.7cm (48 1/2 x 60 3/8 x 5 in.)
National Gallery of Art, Washington, Chester Dale Collection

 

George Bellows. 'Rain on the River' 1908

 

George Bellows (American, 1882-1925)
Rain on the River
1908
Oil on canvas
81.3 x 96.5cm (32 x 38 in.)
Museum of Art, Rhode Island School of Design, Providence, Jesse Metcalf Fund
© Photography by Erik Gould, courtesy of the Museum of Art, Rhode Island School of Design, Providence

 

George Bellows. 'Blue Snow, The Battery' 1910

 

George Bellows (American, 1882-1925)
Blue Snow, The Battery
1910
Oil on canvas
86.4 x 111.8cm (34 x 44 in.)
Columbus Museum of Art, Museum Purchase, Howald Fund

 

George Bellows. 'Shore House' 1911

 

George Bellows (American, 1882-1925)
Shore House
1911
Oil on canvas
101.6 x 106.7cm (40 x 42 in.)
Private collection

 

George Bellows (American, 1882-1925) 'Men of the Docks' 1912

 

George Bellows (American, 1882-1925)
Men of the Docks
1912
Oil on canvas
Randolph College, founded as Randolph-Macon Women’s College, 1891, Lynchburg

 

George Bellows. 'Summer Surf' 1914

 

George Bellows (American, 1882-1925)
Summer Surf
1914
Oil on board
62.6 x 72.7 x 4.8cm (24 5/8 x 28 5/8 x 1 7/8 in.)
Delaware Art Museum, Wilmington

 

George Bellows. 'Forth and Back' 1913

 

George Bellows (American, 1882-1925)
Forth and Back
1913
Oil on panel
38.1 x 49.5cm (15 x 19 1/2 in.)
Private collection

 

George Bellows. 'Churn and Break' 1913

 

George Bellows (American, 1882-1925)
Churn and Break
1913
Oil on panel
45.7 x 55.9cm (18 x 22 in.)
Columbus Museum of Art, Gift of Mrs. Edward Powell

 

George Bellows. 'An Island in the Sea' 1911

 

George Bellows (American, 1882-1925)
An Island in the Sea
1911
Oil on canvas
87 x 112.7cm (34 1/4 x 44 3/8 in.)
Columbus Museum of Art, Museum Purchase, Howald Fund

 

George Bellows. 'Emma in the Purple Dress' 1919

 

George Bellows (American, 1882-1925)
Emma in the Purple Dress
1919
Oil on panel
128.27 x 107.95 x 8.89cm (50 1/2 x 42 1/2 x 3 1/2 in.)
Los Angeles County Museum of Art, Gift of Raymond J. and Margaret Horowitz
© Digital Image (C) 2009 Museum Associates / LACMA / Art Resource, NY

 

George Bellows. 'Emma in the Black Print' 1919

 

George Bellows (American, 1882-1925)
Emma in the Black Print
1919
Oil on canvas
101.9 x 81.9cm (40 1/8 x 32 1/4 in.)
Museum of Fine Arts, Boston, Bequest of John T. Spaulding
© Photograph (C) 2012 Museum of Fine Arts, Boston

 

George Bellows. 'Mrs. T in Wine Silk' 1919

 

George Bellows (American, 1882-1925)
Mrs. T in Wine Silk
1919
Oil on canvas
121.9 x 96.5cm (48 x 38 in.)
Cedarhurst Center for the Arts, Mt. Vernon, Gift of John R. and Eleanor R. Mitchell, 1973

 

George Bellows. 'Margarite' 1919

 

George Bellows (American, 1882-1925)
Margarite
1919
Oil on panel
81.28 x 66.04cm (32 x 26 in.)
Private collection

 

George Bellows (American, 1882-1925) 'Emma at the Piano' 1914

 

George Bellows (American, 1882-1925)
Emma at the Piano
1914
Oil on panel
73cm (28.7 in) x 94cm (37 in)
Chrysler Museum of Art Blue
Gift of Walter P. Chrysler, Jr.

 

George Bellows. 'Paddy Flannigan' 1908

 

George Bellows (American, 1882-1925)
Paddy Flannigan
1908
Oil on canvas
76.8 x 63.5cm (30 1/4 x 25 in.)
Erving and Joyce Wolf

 

George Bellows (American, 1882-1925) 'Frankie, The Organ Boy' 1907

 

George Bellows (American, 1882-1925)
Frankie, The Organ Boy
1907
The Nelson-Atkins Museum of Art, Kansas City
Purchase, acquired through the bequest of Ben and Clara Shlyen

 

George Bellows (American, 1882-1925) 'Little Girl in White (Queenie Burnett)' 1907

 

George Bellows (American, 1882-1925)
Little Girl in White (Queenie Burnett)
1907
158 x 87cm (62 3/16 x 34 1/4 in.)
National Gallery of Arts, Washington
Collection of Mr. and Mrs. Paul Mellon
Open access

 

 

Advised by his friend and teacher Robert Henri to select subjects that reflected the realism of modern urban life, George Bellows portrayed the recreational activities of New York City’s lower-class children in such paintings as River Rats (1906, private collection), and Forty-two Kids (1907). In 1907 he painted two full-length portraits of individual children: Little Girl in White and Frankie the Organ Boy (both now at the Nelson-Atkins Museum of Art, Kansas City, MO). Unlike his late 19th-century predecessors, who popularised the street urchin genre by representing well-scrubbed, idealised children playing with pets or engaged in entrepreneurial activities, Bellows portrayed his subjects in a bluntly realistic manner. The subject of this painting, Queenie Burnett, was the artist’s laundry delivery girl. Her underprivileged background is evident in her gaunt face, exaggeratedly large eyes, unkempt hair, and ungainly figure.

This was Bellows’s first figural work to be exhibited around the country – it was included in 15 public exhibitions during his lifetime – and he was awarded the first Hallgarten Prize when the painting was shown at the National Academy of Design in 1913.

Text from the National Gallery of Art website

 

George Bellows (American, 1882-1925) 'Business-Men's Bath' 1923

 

George Bellows (American, 1882-1925)
Business-Men’s Bath
1923
Lithograph
16 1/2 × 11 3/4in. (41.9 × 29.8cm)
Boston Public Library

 

George Bellows (American, 1882-1925) 'The Law Is Too Slow' 1922-1923

 

George Bellows (American, 1882-1925)
The Law Is Too Slow
1922-1923
Boston Public Library
Print Department, Albert H. Wiggin Collection

 

Based upon a 1903 newspaper story, dateline Wilmington, Delaware, about a black man who burns at the stake while a mob of perpetrators stand and watch.

 

George Bellows (American, 1882-1925) 'The White Horse' 1922

 

George Bellows (American, 1882-1925)
The White Horse
1922
Oil on canvas
86.6cm (34.1 in) x 111.7cm (44 in)
Worcester Art Museum

 

George Bellows (American, 1882-1925) 'Mr. and Mrs. Phillip Wase' 1924

 

George Bellows (American, 1882-1925)
Mr. and Mrs. Phillip Wase
1924
Oil on canvas
Smithsonian American Art Museum
Gift of Paul Mellon

 

 

George Bellows spent summers in Woodstock, New York, where Mrs. Wase worked as a cleaning woman and her husband was a gardener. Bellows chose to show the couple stiffly posed and strangely detached from one another. Mrs. Wase’s face shows the worries of a lifetime, and Mr. Wase stares off into the distance, as if thinking of another time or place. Between them, a portrait, perhaps of Mrs. Wase as a bride, hangs on the wall. Their clothes match the shadowy gray of the parlour. Bellows painted suggestions of a brilliantly green summer day beyond the closed shutters, as if to emphasise the distance between youthful optimism and the resignation of old age. The artist experimented with new ways to paint portraits throughout his career, and from 1915 to 1920 he exhibited with the National Association of Portrait Painters, whose mission was to separate from ​”the tiresomely conventional and perfunctory portrait.” (Myers, “‘The Most Searching Place in the World’: Bellows and Portraiture,” in Quick et al., The Paintings of George Bellows1992)

Text from the Smithsonian American Art Museum website

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Monday – Saturday 10.00am – 5.00pm
Sunday 11.00am – 6.00pm

National Gallery of Art website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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

Join 2,711 other followers

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

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

January 2021
M T W T F S S
 123
45678910
11121314151617
18192021222324
25262728293031

Archives

Categories