Posts Tagged ‘Cactus and Photographer’s Lamp


Exhibition: ‘The Stillness of Things: Photographs from the Lane Collection’ at the Museum of Fine Arts, Boston

Exhibition dates: 27th August, 2022 – 27th February, 2023


William Henry Fox Talbot (English, 1800-1877) 'Articles of China' before 1844


William Henry Fox Talbot (English, 1800-1877)
Articles of China
Before 1844
Salt print from a paper negative
The Lane Collection



The world is a reality,
not because of the way it is,
but because
of the possibilities it presents.

Frederick Sommer



A small but vibrant posting. Beautiful still life photographs my favourite being those by Mather, Sommer, Weston, Cunningham, Sudek and Morrell.

Dr Marcus Bunyan

Many thankx to the Museum of Fine Arts, Boston for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.


This exhibition presents nearly 60 innovative photographs – all departures from the traditional still life – drawn from the MFA’s Lane Collection. Grouped thematically, the works on view span the entire history of photography, from its first introduction in England during the 1840s by William Henry Fox Talbot to the work of contemporary artists such as Adam Fuss, David Hilliard, Kenro Izu, Abelardo Morell, and Olivia Parker. Works by American modernists are prominently featured, with unexpected takes on the still life by Ansel Adams, Imogen Cunningham, Charles Sheeler, and Edward Weston – photographers better known for capturing vast landscapes and portraits of people.

One of the largest gifts in the MFA’s history, the Lane Collection was promised to the Museum in 2012. This exhibition is the latest in a series that has celebrated the single most important donation to the Museum’s photography holdings.

Text from the Museum of Fine Arts, Boston website



Margrethe Mather (American, 1886-1952) 'Water Lily' 1922


Margrethe Mather (American, 1886-1952)
Water Lily
Palladium print
The Lane Collection


Charles Sheeler (American, 1883-1965) 'Still Life' Early 1920s


Charles Sheeler (American, 1883-1965)
Still Life
Early 1920s
Gelatin silver print
The Lane Collection



Loosely organised by subject from messy desktops, kitchen utensils, and flora to empty chairs or found objects, the exhibit revels the mid-twentieth century strengths of the collection with works by modernists such as Ansel Adams, Edward Weston and especially Charles Sheeler. Sheeler pays homage to the painter Morandi with two still lifes featuring a simple ewer and ceramic vase and to Cezanne in a composition of apples. Often overlooked among the modernist masters are women such as Margaret Mather and Imogen Cunningham. Mather’s wispy pine needles and delicate water lily classically weave light, form and abstraction while Cunningham brings a geometric edge to the aloe plant she photographed on her window sill.

Suzanne Révy. “The Stillness of Things,” on the What Will You Remember website September 14, 2022 [Online] Cited 31/01/2023


Imogen Cunningham (American, 1883-1976) 'Aloe Variagata' Early 1930's


Imogen Cunningham (American, 1883-1976)
Aloe Variagata
Early 1930’s
Gelatin silver print
The Lane Collection


Charles Sheeler (American, 1883-1965) 'Cactus and Photographer's Lamp' 1931


Charles Sheeler (American, 1883-1965)
Cactus and Photographer’s Lamp
Gelatin silver print
The Lane Collection


Ansel Adams (American, 1902-1984) 'Still Life, San Francisco' about 1932


Ansel Adams (American, 1902-1984)
Still Life, San Francisco
about 1932
Gelatin silver print
The Lane Collection
© The Ansel Adams Publishing Rights Trust


Frederick Sommer (American, 1905-1999) 'Chicken Entrails' 1939


Frederick Sommer (American, 1905-1999)
Chicken Entrails
Gelatin silver print
The Lane Collection


Edward Weston (American, 1886-1958) 'Junk' 1939


Edward Weston (American, 1886-1958)
Gelatin silver print
The Lane Collection


Imogen Cunningham (American, 1883-1976) 'The Unmade Bed' 1957


Imogen Cunningham (American, 1883-1976)
The Unmade Bed
Gelatin silver print
The Lane Collection
© 2022 Imogen Cunningham Trust


Josef Sudek (Czech, 1896-1976) 'From the Window of my Atelier' 1965


Josef Sudek (Czech, 1896-1976)
From the Window of my Atelier
Gelatin silver print
The Lane Collection
© I & G Fárová Heirs


Robert Heinecken (American, 1931-2006) 'TV Dinner' 1971


Robert Heinecken (American, 1931-2006)
TV Dinner
Gelatin silver print on canvas with pastel, chalk, and resin
The Lane Collection
© The Robert Heinecken Trust


Irving Penn (American, 1917-2009) 'Gingko Leaves' 1990


Irving Penn (American, 1917-2009)
Gingko Leaves
Dye-transfer print
The Lane Collection


Abelardo Morell (Cuban, b. 1948) 'Wavy Book' 2001


Abelardo Morell (Cuban, b. 1948)
Wavy Book
Gelatin silver print
The Lane Collection
© Abelardo Morell/Courtesy Edwynn Houk Gallery, NYC


Adam Fuss (British, b. 1961) 'Butterfly' 2002


Adam Fuss (British, b. 1961)
From the series My Ghost
The Lane Collection
© Adam Fuss


David Hilliard (American, b. 1964) 'Perennial' 2006


David Hilliard (American, b. 1964)
Archival pigment print
The Lane Collection
Museum purchase with funds donated by Saundra B. Lane
© David Hilliard



Olivia Parker’s green and purple artichoke dangling from a string is a nod to the Spanish painter Juan Sánchez Cotán whose vegetable paintings depict foodstuffs hung high to keep rodents at bay. Her work is installed near two surrealist pictures by Frederick Sommer. His jarring but beautiful compositions of chicken heads and innards brim with the tension between the life sustaining nourishment the chicken may have provided and the stark reminder of our mortality. And in an ironic twist, David Hilliard’s ebullient polyptych, Perennial, features an aisle of plastic Walmart flowers that were his mother’s favorites, in striking contrast to the ephemeral flowers featured in countless still life paintings in the galleries of the museum.

Suzanne Révy. “The Stillness of Things,” on the What Will You Remember website September 14, 2022 [Online] Cited 31/01/2023


Olivia Parker (American, b. 1941) 'Artichoke' 2010


Olivia Parker (American, b. 1941)
Digital inkjet print
The Lane Collection
© Olivia Parker 2010



Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts

Opening hours:
Monday and Tuesday 10am – 5pm
Wednesday – Friday 10am – 10pm
Saturday and Sunday 10am – 5pm

Museum of Fine Arts, Boston website


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Exhibition: ‘A World of Its Own: Photographic Practices in the Studio’ at the Museum of Modern Art (MoMA), New York Part 1

Exhibition dates: 8th February – 2nd November 2014

The Edward Steichen Photography Galleries, third floor

Curators: Organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator, with Lucy Gallun, Assistant Curator, Department of Photography



Bruce Nauman (American, born 1941) 'Composite Photo of Two Messes on the Studio Floor' 1967


Bruce Nauman (American, b. 1941)
Composite Photo of Two Messes on the Studio Floor 
Gelatin silver print
40 1/2″ x 10′ 3″ (102.9 x 312.4cm)
Gift of Philip Johnson



A bumper two part posting on this fascinating, multi-dimensional subject: photographic practices in the studio, which may be a stage, a laboratory, or a playground. The exhibition occupies all MoMA’s six photography galleries, each gallery with its own sub theme, namely, Surveying the Studio, The Studio as Stage, The Studio as Set, A Neutral Space, Virtual Spaces and The Studio, from Laboratory to Playground.

The review of this exhibition “When a Form Is Given Its Room to Play” by Roberta Smith on the New York Times website (6th February 2014) damns with faint praise. The show is a “fabulous yet irritating survey” which “dazzles but often seems slow and repetitive.” Smith then goes on to list the usual suspects: “And so we get professional portraitists, commercial photographers, lovers of still life, darkroom experimenters, artists documenting performances and a few generations of postmodernists, dead and alive, known and not so, exploring the ways and means of the medium. This adds up to plenty to see: around 180 images from the 1850s to the present by some 90 photographers and artists. The usual suspects here range from Julia Margaret Cameron to Thomas Ruff, with Laszlo Moholy-Nagy, Lucas Samaras, John Divola and Barbara Kasten in between.” There are a few less familiar and postmodern artists thrown in for good measure, but all is “dominated by black-and-white images in an age when colour reigns.” The reviewer then rightly notes the paucity of “postmodern photography of the 1980s, much of it made by women, that did a lot to reorient contemporary photo artists to the studio. It is a little startling for an exhibition that includes so many younger artists dealing with the artifice of the photograph (Ms. Belin, for example) to represent the Pictures Generation artists with only Cindy Sherman, James Casebere and (in collaboration with Allan McCollum) Laurie Simmons” before finishing on a positive note (I think!), noting that the curators “had aimed for a satisfying viewing experience, which, these days, is something to be grateful for.”


Just to have the opportunity to view an exhibition of this quality, depth and breadth of concept would be an amazing thing. Even a third of the number of photographs (say 60 works) that address this subject at any one of the major institutions around Australia would be fantastic but, of that, there is not a hope in hell.

Think Marcus, think… when was the last major exhibition, I mean LARGE exhibition, at a public institution in Australia that actually addressed specific ISSUES and CONCEPTS in photography (such as this), not just putting on monocular exhibitions about an artists work or exhibitions about a regions photographs? Ah, well… you know, I can’t really remember. Perhaps the American Dreams exhibition at Bendigo Art Gallery, but that was a GENERAL exhibition about 20th century photography with no strong investigative conceptual theme and it was imported from George Eastman House.

Here in Australia, all we can do is look from afar, purchase the catalogue and wonder wistfully what the exhibition actually looks like and what we are missing out on. MoMA sent me just 10 images media images. I have spent hours scouring the Internet for other images to fill the void of knowledge and vision (and then cleaning those sometimes degraded images), so that those of us not privileged enough to be able to visit New York may gain a more comprehensive understanding of what this exhibition, and this multi-faceted dimension of photography, is all about. It’s a pity that our venerable institutions and the photography curators in them seem to have had a paucity of ideas when it comes to expounding interesting critiques of the medium over the last twenty years or so. What a missed opportunity.

Dr Marcus Bunyan

Many thankx to MoMA for allowing me to publish six of the photographs in the posting. The rest of the images were sourced from the Internet. Please click on the photographs for a larger version of the image.



Installation view of the exhibition 'A World of Its Own: Photographic Practices in the Studio' at the Museum of Modern Art (MoMA), New York


Installation view of the exhibition A World of Its Own: Photographic Practices in the Studio at the Museum of Modern Art (MoMA), New York


Surveying the Studio

Uta Barth (American, born 1958) 'Sundial (07.13)' 2007


Uta Barth (American, born 1958)
Sundial (07.13)
Chromogenic colour prints
each 30 x 28 1/4″ (76.2 x 71.8cm)
The Photography Council Fund


Geta Brâtescu (Romanian, born 1926) 'The Studio. Invocation of the Drawing' (L'Atelier. Invocarea desenului) 1979


Geta Brâtescu (Romanian, 1926-2018)
The Studio. Invocation of the Drawing (L’Atelier. Invocarea desenului)
Gelatin silver prints with tempera on paper
33 1/16 x 27 9/16″ (84 x 70cm)
Modern Women’s Fund



Geta Brătescu was a Romanian visual artist with works in drawing, collage, photography, performance, illustration and film. In 2008, Brătescu received an honorary doctorate from the Bucharest National University of Arts for “her outstanding contributions to the development of contemporary Romanian art”. Brătescu was artistic director of literature and art magazine Secolul 21. A major retrospective of her work was held at the National Museum of Art of Romania in December 1999. In 2015 Brătescu’s first UK solo exhibition was held at the Tate Liverpool. In 2017, she was selected to represent Romania at the 57th Venice Biennale.


Man Ray (American, 1890-1976) 'Laboratory of the Future' 1935


Man Ray (American, 1890-1976)
Laboratory of the Future
Gelatin silver print
9 1/16 x 7″ (23.1 x 17.8cm)
Gift of James Johnson Sweeney


Charles Sheeler (American, 1883-1965) 'Cactus and Photographer's Lamp, New York' 1931


Charles Sheeler (American, 1883-1965)
Cactus and Photographer’s Lamp, New York
Gelatin silver print
9 1/2 x 6 5/8″ (23.5 x 16.6cm)
Gift of Samuel M. Kootz



Bringing together photographs, films, videos, and works in other mediums, A World of Its Own: Photographic Practices in the Studio examines the ways in which photographers and artists using photography have worked and experimented within the four walls of the studio space, from photography’s inception to today. Featuring both new acquisitions and works from the Museum’s collection that have not been on view in recent years, A World of Its Own includes approximately 180 works, by approximately 90 artists, such as Berenice Abbott, Uta Barth, Zeke Berman, Karl Blossfeldt, Constantin Brancusi, Geta Brătescu, Harry Callahan, Robert Frank, Jan Groover, Barbara Kasten, Man Ray, Bruce Nauman, Paul Outerbridge, Irving Penn, Adrian Piper, Edward Steichen, William Wegman, and Edward Weston.

The exhibition considers the various roles played by the photographer’s studio as an autonomous space; depending on the time period, context, and the individual motivations (commercial, artistic, scientific) and sensibilities of the photographer, the studio may be a stage, a laboratory, or a playground. Organised thematically, the display unfolds in multiple chapters. Throughout the 20th century, artists have explored their studio spaces using photography, from the use of composed theatrical tableaux (in photographs by Julia Margaret Cameron or Cindy Sherman) to neutral, blank backdrops (Richard Avedon, Robert Mapplethorpe); from the construction of architectural sets within the studio space (Francis Bruguière, Thomas Demand) to chemical procedures conducted within the darkroom (Walead Beshty, Christian Marclay); and from precise recordings of time and motion (Eadweard Muybridge, Dr. Harold E. Edgerton) to amateurish or playful experimentation (Roman Signer, Peter Fischli / David Weiss). A World of Its Own offers another history of photography, a photography created within the walls of the studio, and yet as groundbreaking and inventive as its seemingly more extroverted counterpart, street photography.”

Text from the MoMA website


The exhibition is divided into 6 themes each with its own gallery space:

  1. Surveying the Studio
  2. The Studio as Stage
  3. The Studio as Set
  4. A Neutral Space
  5. Virtual Spaces
  6. The Studio, from Laboratory to Playground


The Studio as Stage

Unidentified photographer (French?) 'Untitled' c. 1855


Unidentified photographer (French?)
c. 1855
Albumen silver print from a wet-collodion glass negative
9 3/16 × 6 1/8″ (23.4 × 15.5cm)
Gift of Paul F. Walter
Museum of Modern Art Collection


Cecil Beaton (British, 1904-1980) 'Edith Sitwell' 1927


Cecil Beaton (British, 1904-1980)
Edith Sitwell
Gelatin silver print
11 1/2 × 9 5/8″ (29.3 × 24.5 cm)
Gift of Paul F. Walter
© 2022 Estate of Cecil Beaton


George Platt Lynes (American, 1907-1955) 'Untitled' 1941


George Platt Lynes (American, 1907-1955)
Gelatin silver print
7 5/8 x 9 5/8″ (19.2 x 24.4cm)
Anonymous gift


Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71


Lucas Samaras (American, born Greece 1936)
Auto Polaroid
Eighteen black-and-white instant prints (Polapan), with hand-applied ink
Each 3 3/4 x 2 15/16″ (9.5 x 7.4cm)
Overall 14 5/8 x 24″ (37.2 x 61cm)
Gift of Robert and Gayle Greenhill


Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71 (detail)

Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71 (detail)

Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71 (detail)


Lucas Samaras (American, born Greece 1936)
Auto Polaroid (details)
Eighteen black-and-white instant prints (Polapan), with hand-applied ink
Each 3 3/4 x 2 15/16″ (9.5 x 7.4cm)
Overall 14 5/8 x 24″ (37.2 x 61cm)
Gift of Robert and Gayle Greenhill


Julia Margaret Cameron (British, 1815-1879) 'Madonna with Children' 1864


Julia Margaret Cameron (British, 1815-1879)
Madonna with Children
Albumen silver print
10 1/2 x 8 5/8″ (26.7 x 21.9cm)
Gift of Shirley C. Burden


Julia Margaret Cameron (British, 1815-1879) 'Untitled (Mary Ryan?)' c. 1867


Julia Margaret Cameron (British, 1815-1879)
Untitled (Mary Ryan?)
c. 1867
Albumen silver print
13 3/16 x 11″ (33.5 x 27.9cm)
Gift of Shirley C. Burden


Nadar (Gaspard-Félix Tournachon) (French, 1820-1910) Adrien Tournachon (French, 1825-1903) 'Pierrot Surprised' 1854-55


Nadar (Gaspard-Félix Tournachon) (French, 1820-1910)
Adrien Tournachon (French, 1825-1903)
Pierrot Surprised
Albumen silver print
11 1/4 x 8 3/16″ (28.6 x 20.8cm)
Suzanne Winsberg Collection. Gift of Suzanne Winsberg


Maurice Tabard (French, 1897-1984) 'Untitled' 1929


Maurice Tabard (French, 1897-1984)
Gelatin silver print
6 9/16 x 6 1/2″ (16.7 x 16.5cm)
Gift of Robert Shapazian


Edward Steichen (American, born Luxembourg. 1879-1973) 'Anna May Wong' 1930


Edward Steichen (American, born Luxembourg. 1879-1973)
Anna May Wong
Gelatin silver print
16 9/16 x 13 7/16″ (42.1 x 34.1cm)
Gift of the artist



“Taking people away from their natural circumstances and putting them into the studio in front of a camera did not simply isolate them, it transformed them. Sometimes the change was subtle; sometimes it was great enough to be almost shocking. But always there was transformation.”

~ Irving Penn 1974


Cindy Sherman (American, born 1954) 'Untitled #131' 1983


Cindy Sherman (American, b. 1954)
Untitled #131
Chromogenic colour print
35 x 16 1/2″ (89 x 41.9cm)
Joel and Anne Ehrenkranz Fund


The Studio as Set

Barbara Kasten (American, born 1936) 'Construct I-F' 1979


Barbara Kasten (American, b. 1936)
Construct I-F
Colour instant print (Polaroid Polacolor)
9 1/2 x 7 1/2″ (24.0 x 19.0cm)
Acquired through the generosity of Wendy Larsen


Barbara Kasten (American, born 1936) 'Construct NYC 17' 1984


Barbara Kasten (American, born 1936)
Construct NYC 17
Silver dye bleach print
29 3/8 x 37 1/16″ (74.7 x 94.1cm)
Gift of Foster Goldstrom


James Casebere (American, born 1953) 'Subdivision with Spotlight' 1982


James Casebere (American, b. 1953)
Subdivision with Spotlight
Gelatin silver print
14 13/16 x 18 15/16″ (37.6 x 48.1cm)


Francis Bruguière (American, 1879-1945) 'Light Abstraction' c. 1925


Francis Bruguière (American, 1879-1945)
Light Abstraction
c. 1925
Gelatin silver print
9 15/16 x 7 15/16″ (25.2 x 20.2cm)
Gift of Arnold Newman



Francis Joseph Bruguière (15 October 1879 – 8 May 1945) was an American photographer.

Francis Bruguière was born in San Francisco, California, to Emile Antoine Bruguière (1849-1900) and Josephine Frederikke (Sather) Bruguière (1845-1915). He was the youngest of four sons born into a wealthy banking family and was privately educated. His brothers were painter and physician Peder Sather Bruguière (1874-1967), Emile Antoine Bruguiere Jr. (1877-1935), and Louis Sather Bruguière (1882-1954), who married wealthy heiress Margaret Post Van Alen. He was also a grandson of banker Peder Sather. His mother died in the 1915 sinking of the British ocean liner SS Arabic by a German submarine.

In 1905, having studied painting in Europe, Bruguière became acquainted with photographer and modern art promoter Alfred Stieglitz (who accepted him as a Fellow of the Photo-secession), and set up a studio in San Francisco, recording in a Pictorialist style images of the city after the earthquake and fire; some of them were reproduced in a book called San Francisco in 1918. He co-curated the photographic exhibition at the 1915 Panama-California Exposition in San Diego, and nine of his photographs were included in The Evanescent City (1916) by George Sterling.

In 1918, following the decline of the family fortune, he moved to New York City where he made his living by photographing for Vanity Fair, Vogue, and Harper’s Bazaar. Soon he was appointed the official photographer of the New York Theatre Guild. In this role he photographed the British stage actress Rosalinde Fuller, who was debuting in What’s in a Name? (1920), and she partnered him for the rest of his life.

Throughout his life, Bruguière experimented with multiple-exposure, solarization (years ahead of Man Ray), original processes, abstracts, photograms, and the response of commercially available film to light of various wavelengths. Until his one-man show at the Art Centre of New York in 1927, he showed this work only to friends. In the mid-1920s, he planned to make a film called The Way, depicting stages in a man’s life, to be played by Sebastian Droste with Rosalinde doing all the female parts. To obtain funding, Bruguière took photographs of projected scenes, but Droste died before filming started; so we are left with only the still pictures.

In 1927 they moved to London, where Bruguière co-created the first British abstract film, Light Rhythms, with Oswell Blakeston. Long thought to have been lost, it has now been recovered. During World War II, he returned to painting.

Text from the Wikipedia website


Jaromír Funke (Czech, 1896-1945) 'Composition' c. 1925


Jaromír Funke (Czech, 1896-1945)
c. 1925
Gelatin silver print
9 1/4 × 11 9/16″ (23.4 × 29.3cm)
Acquired through the generosity of Blanchette Hooker Rockefeller
© 2022 Miloslava Rupešová



Jaromír Funke (1 August 1896 – 22 March 1945) was a leading Czech photographer during the 1920s and 1930s.

Funke was recognised for his “photographic games” using mirrors, lights, and insignificant objects, such as plates, bottles, or glasses, to create unique works. In his still life imagery he created abstracts of forms and shadows reminiscent of photograms. His work was regarded as logical, original and expressive in nature. A typical feature of Funke’s work would be the “dynamic diagonal.”

Text from the Wikipedia website


Paul Outerbridge (American, 1896-1958) 'Images de Deauville' 1936


Paul Outerbridge (American, 1896-1958)
Images de Deauville
Tri-colour carbro print
15 3/4 x 12 1/4″ (40 x 31.1cm)
Gift of Mrs. Ralph Seward Allen



Shozo Kitadai, Kiyoji Otsuji
Untitled from the portfolio APN (Asahi Picture News)
Gelatin silver print, printed 2003
7 1/2 × 5 9/16″ (19 × 14.2cm)
Gift of Shigeru Yokota
© 2022 Seiko Otsuji


Irving Penn (American, 1917-2009) 'Three Steel Blocks, New York' 1980


Irving Penn (American, 1917-2009)
Three Steel Blocks, New York
Platinum/palladium print
13 1/4 × 20 11/16″ (33.6 × 52.5cm)
Acquired through the generosity of Lily Auchincloss
© The Irving Penn Foundation


Elad Lassry (Israeli, born 1977) 'Nailpolish' 2009


Elad Lassry (Israeli, b. 1977)
Chromogenic colour print
14 1/2 x 11 1/2″ (36.8 x 29.2cm)
Fund for the Twenty-First Century



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Phone: (212) 708-9400

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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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