Posts Tagged ‘Butlins

26
Sep
13

Exhibition: ‘Un/Natural Color’ at the Santa Barbara Museum of Art, Santa Barbara, CA

Exhibition dates: 7th July – 29th September 2013

 

Many thankx to the Santa Barbara 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.

 

 

Installation photograph of the exhibition 'Un/Natural Color' at the Santa Barbara Museum of Art

Installation photograph of the exhibition 'Un/Natural Color' at the Santa Barbara Museum of Art

Installation photograph of the exhibition 'Un/Natural Color' at the Santa Barbara Museum of Art

 

Installation photographs of the exhibition Un/Natural Color at the Santa Barbara Museum of Art

 

 

This exhibition looks at the powerful relationship between colour and memory by considering photographs and the ways in which their unique colour palettes evoke specific moments of the historical past. From the pastel hues of 19th-century hand-painted portraits, to the vibrant colours of late-1930s Kodachrome transparencies, and the faded, shifted tones of snapshots from the 1970s, different kinds of colour reproduction are closely associated with the time periods that they most frequently represent. Each experiment in colour photography was originally meant to convey a sense of the natural hues of the world, but as our expectations for realistic representation have evolved, these earlier technologies for representing colour have also taken on new meaning. Today, the distinctive colours found in many vintage photographs speak as loudly to contemporary viewers about the period in which they were made as the content that they render visible. The exhibition suggests that the aesthetics of colour are closely related to the evolution of photographic technology over the past 100 years, and encourages visitors to rethink the significance of colour in contemporary photography through the lens of its multi-coloured past. This exhibition was organised by Kim Beil, an art historian who teaches at the University of California, Santa Cruz.

Text from the Santa Barbara Museum of Art website

 

Jack Delano. 'Barker at the Grounds of the Vermont State Fair, Rutland' 1941, printed 1983

 

Jack Delano (American, 1914-1997)
Barker at the Grounds of the Vermont State Fair, Rutland
1941, printed 1983
Dye transfer print
Santa Barbara Museum of Art, Gift of the Bruce Berman and Nancy Goliger Berman Collection

 

Jack Delano. 'At the Vermont State Fair, Rutland' 1941, printed 1985

 

Jack Delano (American, 1914-1997)
At the Vermont State Fair, Rutland
1941, printed 1985
Dye transfer print
Santa Barbara Museum of Art, Gift of the Bruce Berman and Nancy Goliger Berman Collection

 

William Eggleston. 'Farm truck, Memphis, Tennessee' 1972

 

William Eggleston (American, b. 1939)
Farm truck, Memphis, Tennessee
1972
Dye-transfer print

 

Leroy Grannis (American, 1917-2011) 'Greg Noll Surf Team at Duke Kahanamoku Invitational, Sunset Beach' 1966, printed 2005

 

Leroy Grannis (American, 1917-2011)
Greg Noll Surf Team at Duke Kahanamoku Invitational, Sunset Beach
1966, printed 2005
C-print, ed. 1/9
Santa Barbara Museum of Art, Museum purchase with funds provided by Janet and Michael G. Wilson

 

 

Un/Natural Color, an exhibition of colour photography from the Santa Barbara Museum of Art’s (SBMA) permanent collection, illustrates the history of colour photography since the 19th century and examines how the shifted or faded colours of old photographs can evoke moments in the historical past. Responding to the widespread use of nostalgic filters in popular photography and social media apps, such as Instagram and Twitter, this presentation enables visitors to see first-hand the historical processes that inspired the aesthetics of these digital manipulations. Despite their reputation for preserving memories and stopping time, photographs themselves are susceptible to material changes over time. These changes are often most visible in the radical colour shifts seen in old photographs, from the characteristic pink hue of snapshots from the 1950s to the yellowed borders and cool cast of prints from the 1970s. These changes also serve to complicate any simple belief in the ability of photography to faithfully represent the natural colours of the world.

While the exhibition includes a number of experimental early processes, including the chromolithographically-derived Photochrom process as well as an early Autochrome, the bulk of the imagery is drawn from the decades following the pivotal invention of Kodachrome, the first colour slide film, which was made commercially available in 1936. Because this film, as well as Kodacolor negative film (1942), was sent back to Eastman-Kodak for processing, photographers’ control over their imagery was greatly reduced, leading many art photographers to resist the transition to colour until decades later.

Un/Natural Color includes rarely-seen colour work by two notable documentary photographers of the Depression era, Jack Delano and Marion Post Wolcott. Both worked for the Farm Security Administration (a government program associated with the New Deal) and made limited use of colour film while on assignment documenting the effects of the Great Depression on rural American. Very few (if any) of these images were reproduced in the popular press, however, owing to the difficulty and cost of reproducing colour photographs, and to colour photography’s overwhelming association with commercial advertising at this time (as in Elmar Ludwig and Edmund Nägele’s image of the popular resort chain, Butlin’s).

The art establishment at large expressed little interest in colour photography until the mid-1970s, following the inclusion of colour work in two groundbreaking exhibitions: Stephen Shore’s vernacular landscapes in New Topographics: Photographs of a Man-Altered Landscape at the George Eastman House in Rochester, NY (1975) and the solo exhibition of William Eggleston’s colour photography at the Museum of Modern Art, NY (1976). Both of these important photographers are represented in Un/Natural Color, as well as work by photographers exploring similar uses of colour to record everyday American scenes, including Jeff Brouws, Jim Dow, and Joel Meyerowitz.

Prior to the 1970s, some tentative forays into colour photography were made by art photographers primarily known for their work in black-and-white (notably Harry Callahan), but colour was more often derided for its populist associations and was typically allied with either snapshot photography or advertising and Hollywood. The negative connotation that colour photography had acquired over the years in the art world was critical to its adoption by photographers like Shore and Eggleston, who used it to challenge conventional expectations for photographic art and to force viewers to look with new eyes at the familiar world around them.

An image such as Greg Noll Surf Team at Duke Kahanamoku Invitational, Sunset Beach by Leroy Grannis highlights the powerful ability of colour photography to summon a unique historical moment. It is not just the classic haircut and short surf trunks sported by the surf legend, Greg Noll, that situates this photograph in the 1960s. Colour photography at this time typically recorded colour in a highly saturated, though fairly uniform manner, leaving some aspects of this photograph looking flat, rather than mimicking the subtle modulation of tone that is more commonly associated with the perception of depth by human vision.

The characteristic manner by which different colour processes represent the colours of the world, as well as the changes that such colour photographs suffer over time, are powerful indicators of the photograph’s history. When we look at colour photographs, all of these markers are brought to bear on our interpretation of their subjects, leading us to question: what is natural colour anyway?

Press release from the Santa Barbara Museum of Art website

 

Roman Freulich. 'Gloria Swanson' Nd

 

Roman Freulich (American, born Poland 1898-1974)
Gloria Swanson
Nd
Dye transfer print
Santa Barbara Museum of Art, Gift of Judith Caditz, Allan M. Caditz, Ellen Joan Abramson and Norman Abramson

 

William Edwin Gledhill (Canadian, 1888-1976) 'Amanda Duff' 1935

 

William Edwin Gledhill (Canadian, 1888-1976)
Amanda Duff
1935
Dye transfer print
Santa Barbara Museum of Art, Gift of Keith Gledhill

 

Elmar Ludwig and Edmond Nagele. 'The Indoor-Heated Pool, Butlin’s Mosney' Nd

 

Elmar Ludwig (German, b. 1935) and Edmund Nägele (German, b. 1942)
The Indoor-Heated Pool, Butlin’s Mosney
Nd

 

William Henry Jackson. 'Colorado Railway Mountain View' 1898

 

William Henry Jackson (American, 1843-1942)
Colorado Railway Mountain View
1898
Photochrom
Santa Barbra Museum of Art, Museum purchase

 

2010.6.3-Jackson-WEB

 

William Henry Jackson (American, 1843-1942)
Colorado Grand Canyon of the Arkansas
1898
Photochrom
Santa Barbara Museum of Art, Museum purchase

 

Saul Leiter. 'Snow' 1960

 

Saul Leiter (American, 1923-2013)
Snow
1960

 

 

Santa Barbara Museum of Art
1130 State Street, Santa Barbara, CA

Opening hours:
Tuesday – Sunday 11am – 5pm
Thursday Evenings 5 – 8pm

Santa Barbara Museum of Art website

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12
Feb
12

Exhibition: ‘Daniel Meadows: Early Photographic Works’ at the National Science and Media Museum, Bradford

Exhibition dates: 30th September 2011 – 19th February 2012

 

Daniel Meadows. '25th wedding anniversary party. Farnborough Park, Kent. August 1985'

 

Daniel Meadows (British, b. 1952)
25th wedding anniversary party. Farnborough Park, Kent. August 1985
from Suburbia, 1984-1987
Gelatin silver print
© Daniel Meadows

 

 

In the 1970s, Daniel Meadows was at the forefront of the independent photography movement. His practice is complex, passionate and sometimes deeply autobiographical.

Daniel Meadows’ early work broke with tradition and infused the medium with new energies and ways of seeing. Between 1971 and 1987, he produced an astonishing record of urban society in Britain, working in a uniquely collaborative way through his interviews with – and writing about – his subjects.

Text from the National Science and Media Museum website

.
Many thankx to the National Media Museum, Bradford for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All pictures are copyright © Daniel Meadows except for the June Street, Salford which is copyright © Daniel Meadows and Martin Parr.

Daniel Meadows: Edited Photographs from the 70s and 80s authored by Val Williams

 

Daniel Meadows and Martin Parr. 'Untitled' from 'June Street, Salford', February-April 1973

 

Daniel Meadows (British, b. 1952) and Martin Parr (British, b. 1952)
Untitled
from June Street, Salford, February-April 1973
Gelatin silver print
© Daniel Meadows and Martin Parr

 

Daniel Meadows (British, b. 1952) and Martin Parr (British, b. 1952) From the series 'June Street, Salford', photographed in Salford 1973

 

Daniel Meadows (British, b. 1952) and Martin Parr (British, b. 1952)
From the series June Street, Salford, photographed in Salford
1973
Gelatin silver print
© Daniel Meadows and Martin Parr

 

Daniel Meadows. 'Brighton, Sussex. May 1974' from 'the Free Photographic Omnibus', 1973-1974

 

Daniel Meadows (British, b. 1952)
Brighton, Sussex. May 1974
from the Free Photographic Omnibus, 1973-1974
Gelatin silver print
© Daniel Meadows

 

Daniel Meadows. 'Barrow-in-Furness, Cumbria'. Left: identified as James O'Connor. Right: David Balderstone. November 1974

 

Daniel Meadows (British, b. 1952)
Barrow-in-Furness, Cumbria
Left: identified as James O’Connor. Right: David Balderstone
November 1974
from the Free Photographic Omnibus, 1973-1974
Gelatin silver print
© Daniel Meadows

 

Daniel Meadows (British, b. 1952) From 'the Free Photographic Omnibus' portrait series, photographed in Hulme, Manchester 1974

 

Daniel Meadows (British, b. 1952)
From the Free Photographic Omnibus portrait series, photographed in Hulme, Manchester
1974
Gelatin silver print
© Daniel Meadows

 

Daniel Meadows (British, b. 1952) From the series 'National Portraits: Now & Then'

 

Daniel Meadows (British, b. 1952)
From the series National Portraits: Now & Then, mother and son Susie and Peter Gatesy, Brighton, Sussex 1974 and London 2000
Gelatin silver print
© Daniel Meadows

 

Daniel Meadows (British, b. 1952) From the series 'National Portraits: Now & Then'

 

Daniel Meadows (British, b. 1952)
From the series National Portraits: Now & Then, twin brothers Michael (left) and Peter McParland, Barrow-in-Furness, Cumbria, 1974 and 1995
Gelatin silver print
© Daniel Meadows

 

Daniel Meadows. 'The Free Photographic Omnibus' 1974

 

Daniel Meadows (British, b. 1952)
The Free Photographic Omnibus
1974
from the Free Photographic Omnibus, 1973-1974
© Daniel Meadows

 

Daniel Meadows. 'Untitled' from 'Butlin's Filey, Yorkshire', July-August 1972

 

Daniel Meadows (British, b. 1952)
Untitled
from Butlin’s Filey, Yorkshire, July-August 1972
© Daniel Meadows

 

Daniel Meadows (British, b. 1952) 'The Dome of Fun and Fortune' 1972

 

Daniel Meadows (British, b. 1952)
The Dome of Fun and Fortune
1972
From the series Butlin’s by the Sea, Filey, Yorkshire
© Daniel Meadows

 

 

The National Science and Media Museum presents the first retrospective of the career of Daniel Meadows – photographer, documentarian, digital storyteller and unofficial co-founder of a uniquely British photography movement. Daniel Meadows was one of a group of photographers who spearheaded the independent photography movement in the early 1970s, breaking with tradition and infusing the medium with new energies and ways of seeing. His practice is complex, passionate and sometimes deeply autobiographical.

Between 1971 and 1987, he produced an astonishing record of urban society in Britain, working in a uniquely collaborative way through his interviews with – and writing about – his subjects. Meadows is a documentarist and an exceptional storyteller. He reveals historic and culturally significant aspects of people’s lives, dating from the 1970s to the present day. This exhibition displays photographic works alongside oral testimonies by some of the people featured in the photographs and Digital Stories.

Meadows’ practice developed at Manchester Polythechnic, where he trained alongside fellow photographers Martin Parr, Brian Griffin, Charlie Meecham and Peter Fraser. Together they spearheaded a new documentary movement intent on establishing an independent method for making and disseminating photographs, outside the existing conventions of commercial practitioners and photojournalists. Meadows’ resulting work displays complexity and passion, and confers a personal and sometimes deeply autobiographical imprint. During his career he has produced an astonishing record of urban British society, working in a uniquely collaborative way, through photography, digital stories and recorded interviews, to capture extraordinary aspects of everyday life.

His career began in 1972, when he opened a photographic studio in a former barber’s shop in the Moss Side area of Manchester. The Shop on Greame Street features residents from the district who posed for a portrait which they then received free of charge. None has been previously exhibited, and a selection will be on public display for the first time from October.

Two further early projects are also included in the exhibition, both undertaken in partnership with Martin Parr. June Street, 1973, is an intimate portrayal of working class households in an area of Salford, which have since been demolished. Butlin’s by the Sea, 1972, presents a fascinating record of the holiday camp in Filey, North Yorkshire, just after the heyday of this style of British resort.

In 1973, Meadows, aged 21, also bought a 25-year-old Leyland PD1 double-decker bus for £360.20. He removed the seats to make space for a darkroom and living quarters and named it the Free Photographic Omnibus. He spent 14 months taking his Greame Street studio philosophy of free portraits on tour around England. Original photographs from the journey appear in the retrospective, along with a selection from a follow-up project in which Meadows sought out his Photobus subjects more than 20 years later to re-photograph them for National Portraits: Now and Then, 1995 – 2000.

Other notable works displayed include Decline in the Cotton Industry, 1975 – 1978, Welfare State International, 1976 – 1983, and Nattering in Paradise, 1984 – 1987. The gallery will also screen a selection of Meadows’ Digital Storytelling films. Condensing personal stories into two-minute features of approximately 250 heartfelt words and 12 images, he created “multimedia sonnets from the people”, leading American commentator J.D Lasica to call him “one of the icons of the Digital Storytelling movement.”

This exhibition and the accompanying publication is the product of research by Professor Val Williams as part of an ongoing study into British photography of 1970s and 1980s at the University of the Arts London. It is preceded by the research project, The New British Photography, 1968-1981, funded by the Arts and Humanities Research Council.

Together Val Williams and Daniel Meadows have brought to light the photographer’s incredible archive of prints and negatives, along with ephemera and audio recordings. They have unearthed unpublished and sometimes forgotten treasures which add to a remarkable document – a dramatic, moving and empathetic evocation of a recognisable, yet increasingly alien era.

Press release from the National Science and Media Museum website

 

 

Daniel Meadows: Early Photographic Work

 

 

Daniel Meadows (British, b. 1952)
Foster mother and children
1972
from the free photographic studio on Greame Street, Moss Side, Manchester, February-April 1972
Gelatin silver print
© Daniel Meadows

 

 

Daniel Meadows (British, b. 1952)
Portrait of Angela Loretta Lindsey, aged 8, with her brother Mark Emanuel Lindsey
1972
from the free photographic studio on Greame Street, Moss Side, Manchester, February-April 1972
Gelatin silver print
© Daniel Meadows

 

 

Daniel Meadows (British, b. 1952)
Hell’s Angels
1972
from the free photographic studio on Greame Street, Moss Side, Manchester, February-April 1972
Gelatin silver print
© Daniel Meadows

 

 

Daniel Meadows (British, b. 1952)
Untitled
1972
from the free photographic studio on Greame Street, Moss Side, Manchester, February-April 1972
Gelatin silver print
© Daniel Meadows

 

Daniel Meadows (British, b. 1952) From 'The Shop on Greame Street' portrait series, Moss Side, Manchester 1972

 

Daniel Meadows (British, b. 1952)
From The Shop on Greame Street portrait series, Moss Side, Manchester
1972
Gelatin silver print
© Daniel Meadows

 

 

National Science and Media Museum
Bradford,
West Yorkshire,
BD1 1NQ

Opening hours:
Tuesday to Sunday 10.00 – 18.00

National Science and Media Museum website

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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, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor 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.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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