Exhibition dates: 14th April – 6th September 2015
Man Ray (Emmanuel Radnitsky) (American, 1890-1976)
Untitled (Smoke)
1928
Gelatin silver print
24.6 x 19.8cm (9 11/16 x 7 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Man Ray Trust ARS-ADAG
These days, photography can be anything your imagination, concept and process desires…
Whether that makes for interesting / lasting (ie. memorable) / good, (post)photographic outcomes is up to you to decide.
Marcus
Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Chargesheimer (Karl Heinz Hargesheimer) (German, 1924-1971)
Picturesque
1949
Gelatin silver print
49.5 x 39.6cm (19 1/2 x 15 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© Museum Ludwig, Cologne
Henry Holmes Smith (American, 1909-1986)
Man and Woman
1976
Dye imbibition print
33.2 x 26.2cm (13 1/16 x 10 5/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Smith Family Trust
© J. Paul Getty Trust
Edmund Teske (American, 1911-1996)
Leaves on Glass, Topanga Canyon, California
1952; print 1960s
Gelatin silver duotone solarized print
35.4 x 27.9cm (13 15/16 x 11 in.)
The J. Paul Getty Museum, Los Angeles
© Edmund Teske Archives/Laurence Bump and Nils Vidstrand, 2001
Alison Rossiter (American, b. 1953)
Gevaert Gevarto 47, exact expiration date unknown, about 1960s, processed 2013 (#37)
2013
Four gelatin silver print
Each image: 10.8 x 8.3cm (4 1/4 x 3 1/4 in.)
Courtesy of the artist and Yossi Milo Gallery, New York
© Alison Rossiter
Chris McCaw (American, b. 1971)
Sunburned GSP #202 (San Francisco Bay)
2008
Gelatin silver print
37.5 x 47.6cm (14 3/4 x 18 3/4 in.)
Santa Barbara Museum of Art, Museum Purchase
© Chris McCaw
Pierre Cordier (Belgian, b. 1933)
Chemigram II
1976
Gelatin silver print
23.8 x 17.9cm (9 3/8 x 7 1/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2015 Artists Rights Society (ARS), New York / SABAM, Brussels
From its very beginnings in the 19th century, photography has been shaped by the desire of the artist to continually explore and expand its possibilities through experimentation. Taking that spirit of invention and discovery as a point of departure, some artists today have chosen to distill photography to its most essential components of light-sensitivity and the chemical processing of photographic papers, challenging viewers to see the medium anew. Light, Paper, Process: Reinventing Photography, on view at the Getty Center April 14-September 6, 2015, features the work of seven contemporary artists – Alison Rossiter, Marco Breuer, James Welling, Lisa Oppenheim, Chris McCaw, John Chiara, and Matthew Brandt – all of whom have created inventive photographs that reveal aspects of their making (or unmaking).
The artists in the exhibition utilize an extensive array of practices – often achieved through trial and error, accident, or chance – that shift the understanding of photography from a medium that accurately records the world to one that revels in its materiality. Whether they use handmade cameras or none at all, work with expired papers or toxic chemicals, the images remain latent until processed, fixed, or otherwise coaxed from the paper.
“Each of the artists in this exhibition engages in some way with the process by which the photographic medium captures and transmutes light into a two-dimensional image on paper,” says Timothy Potts, director of the J. Paul Getty Museum. “But rather than seeing this process as something to be ‘perfected,’ or even neutralised, they exploit its ability to be manipulated and deconstructed, thus collapsing process and product into a single creative activity. I am particularly pleased that the Getty Museum Photographs Council has provided funds to acquire works by Matthew Brandt, Marco Breuer, John Chiara, and Allison Rossiter for our permanent collection that are included in the exhibition.”
The exhibition begins with an overview of 20th-century practices that were experimental in nature, featuring works by Man Ray, László Moholy-Nagy, Nathan Lerner, Edmund Teske, and others. The renewed interest of artists of this period in techniques such as camera-less photograms, chemigrams, and solarisation serves as inspiration for today’s artists. Each of the subsequent galleries in the Getty Museum’s Center for Photographs will be dedicated to the work of one of the seven featured contemporary artists, and follows a progression from abstract, camera-less works to representative images made with custom-built cameras.
“This exhibition is an excellent opportunity to feature the work of living artists alongside earlier photographs from our permanent collection,” says Virginia Heckert, department head of the Getty Museum’s Department of Photographs and curator of the exhibition. “By focusing on work of a more experimental nature, visitors will be reminded that the exploration of materiality and process has been an important aspect of photography since its inception and continues to motivate and inspire artists working with the medium today.”
Alison Rossiter (American, born 1953) takes a minimalist approach to the materials she uses to create her photographic works. She does not use a camera, film, or light, but instead only uses unprocessed sheets of expired gelatin silver paper and photographic chemicals in the darkroom. Through the simple acts of immersing or dipping a sheet of paper in developer or pouring and pooling developer onto the paper’s surface, she achieves a rich array or results. Some suggest faint impressions of primitive mark-making, others resemble landscapes, and still others call to mind abstract painting of the mid-20th-century.
Working since the early 1990s without a camera or film, Marco Breuer (German, born 1966) subjects light-sensitive paper to various acts that abrade, burn, or scrape away the emulsion layer. Completely nonrepresentational, his “photographs” look like no others; they elicit the hues and textures of rare metals, mineral deposits, or oil spills, and display marks ranging from fine incisions and abrasions to scar-like burns and gashes. His deliberate misuse of black-and-white and photographic papers is the starting point for a negotiation between the paper as recording material, the hand, and the tools employed.
James Welling (American, born 1951) spent the first ten years of his career exploring painting, sculpture, performance art, video art, conceptual art, and installation before he committed to thinking of himself as a photographer. For the past four decades, he has explored photography, from documentary to experimental, with and without a camera, using black-and-white, colour, and Polaroid films and papers, as well as digital files and printing. Since 1995 he has worked increasingly with colour, filters, and camera-less photography. Three bodies of recent work presented in the exhibition include variations on the photogram, chemigram, and printing-out process.
Influenced by her background in structural/materialist filmmaking, Lisa Oppenheim (American, born 1975) is interested in exploring the ways in which a photograph can record both its subject and the process by which it was made. In three bodies of work dating from 2010 to present, she enlists the very entities depicted in the negatives – the sun, the moon, and smoke / fire – in the act of exposing them. Although they sound scientific, the titles of two of these bodies of work, Heliograms and Lunagrams, are made up, combining the name of the camera-less photogram technique and the source of light by which the enlarged negatives have been contact-printed.
Chris McCaw (American, born 1971) establishes an immediate, visceral relationship between his subject, the sun, and his process, which involves loading photographic paper directly into the camera. The photographs in his Sunburn series record the sun’s movement, which literally sears its path into the paper in the form of dots, lines, or arcs, depending on its position, the weather conditions, and the length of the exposure(s). McCaw uses customised cameras outfitted with vintage military lenses pointed directly at the sun to function like a magnifying glass that burns through the emulsion layer and paper base, leaving behind singe marks and solarised passages.
John Chiara’s (American, born 1971) large-scale colour prints convey a hands-on – rather than pristine, mechanised – aesthetic. For the past decade his subjects have been both uninhabited landscapes and the built environment. He works with large custom-built cameras that he loads with colour photographic paper that he then processes himself by pouring chemicals into a six-foot-long section of PVC sewer pipe, sealing the tube, and then rolling it back and forth on the floor. Irregular streaks and drips characterise his prints, as do areas of overexposure and underexposure, flare from light leaks, and unevenly saturated colours.
Matthew Brandt (American, born 1982) has created diverse bodies of work, some of which are realised with photographic means and others that are more tangentially related to photographic images, techniques, or ideas. He may begin with a photograph that he has made with a 4 x 5-inch view camera, a digital camera, or his iPhone, one that he has sourced from archives in public libraries, or one that he has clicked and dragged from Ebay. His fascination with early photographic processes has led him to experiment with salted paper prints, gum bichromate prints, and heliographs, examples of which will be on view. Brandt’s interest in both photographic/visual and the physical/material forms of representation has led him to bring the two together, incorporating physical elements from his subjects into his photographic representations of them.
Light, Paper, Process: Reinventing Photography, is on view April 14-September 6, 2015 at the J. Paul Getty Museum, Getty Center. The exhibition is curated by Virginia Heckert, department head of the Museum’s Department of Photographs. A related publication of the same title will be produced by Getty Publications.
Press release from the J. Paul Getty Museum website
Alison Rossiter (American, b. 1953)
Haloid Platina, exact expiration date unknown, about 1915, processed 2010
2010
Gelatin silver print
Image (each): 21.6 x 16.5cm (8 1/2 x 6 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter
Alison Rossiter (American, b. 1953)
Fuji gaslight, exact expiration date unknown, about 1920s, processed 2010
2010
Gelatin silver print
30.5 x 25.4cm (12 x 10 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter
Alison Rossiter (American, b. 1953)
Kilbourn Acme Kruxo, exact expiration date unknown, about 1940s, processed 2013
2013
Gelatin silver print
12.7 x 17.8cm (5 x 7 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter
Marco Breuer (German, b. 1966)
Untitled (Heat/Gun)
2001
Gelatin silver paper, burned
27.9 x 21.6cm (11 x 8 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Marco Breuer
Marco Breuer (German, b. 1966)
Untitled (C-62)
2002
Chromogenic paper, exposed and abraded
35.6 x 27.9cm (14 x 11 in.)
Courtesy of the artist and Yossi Milo Gallery, New York
© Marco Breuer
Marco Breuer (German, b. 1966)
Spin (C-824)
2008
Chromogenic paper, embossed and scratched
34.6 x 27cm (13 5/8 x 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Marco Breuer
James Welling (American, b. 1951)
Water
2009
Chromogenic print
60.3 x 50.2cm (23 3/4 x 19 3/4 in.)
Courtesy of the artist and Regen Projects, Los Angeles
© James Welling
James Welling (American, b. 1951)
Water
2009
Chromogenic print
58.7 x 49.5cm (23 1/8 x 19 1/2 in.)
Courtesy of the artist and Regen Projects, Los Angeles
© James Welling
James Welling (American, b. 1951)
Chemical
2013
Chemigram on chromogenic paper
35.6 x 27.9cm (14 x 11 in.)
Courtesy of the artist and David Zwirner, New York/London
© James Welling
Lisa Oppenheim (American, b. 1975)
Heliograms July 8, 1876 / October 16, 2011
2011
Gelatin silver print exposed with sunlight, toned
30 x 27.9cm (11 13/16 x 11 in.)
The J. Paul Getty Museum, Los Angeles
© Lisa Oppenheim
Lisa Oppenheim (American, b. 1975)
A Handley Page Halifax of No. 4 Group flies over the suburbs of Caen, France, during a major daylight raid to assist the Normandy land battle. 467 aircraft took part in the attack, which was originally intended to have bombed German strongpoints north of Caen, but the bombing area was eventually shifted nearer the city because of the proximity of Allied troops to the original targets. The resulting bombing devastated the northern suburbs, 1944/2012
2012
Gelatin silver print
Framed (approx.): 71.1 x 86.4 cm (28 x 34 in.)
Overall: Five gelatin silver prints (photograms)
Overall (approx.): 24 × 110″ (61 × 279.4 cm)
The Museum of Modern Art, New York. Fund for the Twenty-First Century
Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY
© Lisa Oppenheim
Lisa Oppenheim (American, b. 1975)
A Handley Page Halifax of No. 4 Group flies over the suburbs of Caen, France, during a major daylight raid to assist the Normandy land battle. 467 aircraft took part in the attack, which was originally intended to have bombed German strongpoints north of Caen, but the bombing area was eventually shifted nearer the city because of the proximity of Allied troops to the original targets. The resulting bombing devastated the northern suburbs, 1944/2012 (detail)
2012
Gelatin silver print
Framed (approx.): 71.1 x 86.4 cm (28 x 34 in.)
Overall: Five gelatin silver prints (photograms)
Overall (approx.): 24 × 110″ (61 × 279.4 cm)
The Museum of Modern Art, New York. Fund for the Twenty-First Century
Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY
© Lisa Oppenheim
Oppenheim produces experimental films and photograms (photographs made without a camera). In Smoke and related works she uses the techniques of documentary photography to call the premises of the genre into question. She begins with the photo-sharing site Flickr, as a source for images of fire caused by natural or industrial disasters or bombing attacks (such as those over occupied France during World War II), and outputs segments of these pictures to create digital negatives. She then exposes photographic paper through the negatives, using firelight instead of the typical darkroom enlarger as a light source, then develops the photographic paper in solarol, a specially designed developer that creates a solarised effect, reversing lights and darks. The schism between the optical expressiveness of the pictures and the scientism of the captions (which are long, descriptive, and include the date and location of the event), shows that one’s understanding of the world is partial, that photography can only represent the world, and that the documentary genre is ultimately fraught with uncertainty.
Gallery label from New Photography 2013, September 14, 2013 – January 6, 2014, Museum of Modern Art website.
Chris McCaw (American, b. 1971)
Sunburned GSP #609 (San Francisco Bay)
2012
Gelatin silver paper negatives
76.1 x 101.6cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles
Chris McCaw (American, b. 1971)
Sunburned GSP #555 (San Francisco Bay)
2012
Gelatin silver paper negative
20.3 x 25.4cm (8 x 10 in.)
Courtesy of Stephen Wirtz Gallery San Francisco
© Chris McCaw
Chris McCaw (American, b. 1971)
Poly-optic #10
2012
Gelatin silver paper negative
20.3 x 25.4cm (8 x 10 in.)
Collection of Leslie, Judith and Gabrielle Schreyer, Courtesy of Stephen Wirtz Gallery
© Chris McCaw
John Chiara (American, b. 1971)
Longview at Panorama
2007
Dye destruction photograph on Ilfochrome paper
50.8 x 40.6cm (20 x 16 in.)
Rose Gallery and Von Lintel Gallery
© John Chiara
John Chiara (American, b. 1971)
Grandview at Elysian
2012
Dye destruction photographs on Ilfochrome paper
Each image: 85.1 x 71.1cm (33 1/2 x 28 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Trish and Jan de Bont
© John Chiara
John Chiara (American, b. 1971)
Starr King: 30th: Coral
2013
Dye destruction photograph on Ilfochrome paper
83.8 x 71.1cm (33 x 28 in.)
Kerstin Morehead
© John Chiara
John Chiara (American, b. 1971)
Sierra at Edison
2012
Chromogenic photograph on Kodak Professional Endura Metallic paper
127 x 182.9cm (50 x 72 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© John Chiara
Matthew Brandt (American, b. 1982)
00036082-3 “Mathers Department Store, Pasadena, 1971”
2013
Gum bichromate print with dust from AT&T parking structure level 2
110.5 x 143.5cm (43 1/2 x 56 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the artist and M+B
© Matthew Brandt, Source image courtesy of the Los Angeles Public Library Photo Collection
Matthew Brandt (American, b. 1982)
Rainbow Lake, WY A4
Negative 2012; print 2013
Chromogenic print, soaked in Rainbow Lake water
76.2 x 101.6cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Matthew Brandt
Matthew Brandt (American, b. 1982)
Rainbow Lake, WY A20
Negative 2012; print 2013
Chromogenic print, soaked in Rainbow Lake water
76.2 x 101.6cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Matthew Brandt
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