Posts Tagged ‘Christian Marclay

24
Aug
16

Exhibition: ‘The Memory of the Future. Photographic Dialogues between Past, Present and Future’ at the Musée de l’Elysée, Lausanne

Exhibition dates: 25th May – 28th August 2016

Curator: Tatyana Franck, Musée de l’Elysée, assisted by Lydia Dorner and Emilie Delcambre

Artists: Takashi Arai / Israel Ariño / Anna Atkins / Patrick Bailly-Maître-Grand Pierre Cordier / Bernd and Hilla Becher / Martin Becka / Binh Danh /Jayne Hinds Bidaut John Dugdale / Jean-Gabriel Eynard / Joan Fontcuberta / Dennis Gabor / Loris Gréaud / JR Idris Khan / Laure Ledoux / Gustave Le Gray / Gabriel Lippmann / Vera Lutter / Christian Marclay / Mathew Brady / Vik Muniz / Oscar Muñoz / Eadweard Muybridge / France Scully Osterman and Mark Osterman Andreas / Andreas Müller-Pohle / Florio Puenter Benjamin Recordon / Dino Simonett / Jerry Spagnoli / Joni Sternbach / James Turrell Martial Verdier / Paul Vionnet / Pierre Wetzel / Victoria Will / Nancy Wilson-Pajic

 

 

Gabriel Lippmann (colour photography) and Dennis Gabor (holograms). Eadweard Muybridge (movement) and Pierre Cordier (chemigrams). Daguerreotypes, calotypes, negatives on dry waxed paper, tintypes, ambrotypes, cyanotypes. Heliogravure, ferrotype, collage and carbon printing. 3D digitizations that “light up” the image from every angle.

What’s old is new again. Then and now, here and there. The memory of future past.

Marcus

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Many thankx to the Musée de l’Elysée for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

This exhibition is an odyssey into the history of photography where different eras are juxtaposed and where artists and their methods dialogue with each other. Through a selection of historic photographic processes and the works of contemporary artists, the spectator is encouraged to observe the influence of the past on today’s artistic creations. The exhibition The Memory of the Future proposes a three-pronged vision: that of the past with the works of the pioneers of photographic techniques, that of the present with contemporary works that revive this know-how, and that of the future with technologies that give a new perspective on the works of the past.

Through century-old processes such as daguerreotypes, calotypes, negatives on dry waxed paper, tintypes, ambrotypes, cyanotypes and including holograms, The Memory of the Future celebrates the founding fathers of photographic techniques by establishing a dialogue between them and contemporary artists. From Gabriel Lippmann to James Turrell, including Robert Cornelius and Oscar Muñoz, this exhibition brings together for the first time some one hundred works whose common thread is their ability to withstand time. The Memory of the Future also proposes a selection of works from the Musée de l’Elysée’s collections that have never before been presented to the public.

After having launched a campaign to digitize its photography books in 2014 – 1,500 books have been digitized as of this time – the Musée de l’Elysée continues to explore techniques to dematerialize its visual heritage in order to preserve and enhance it. Consistent with its ambition to not only preserve works of value but to prospect for new ones, the Musée de l’Elysée has undertaken a 3D digitization project of its works using a prototype developed by the EPFL (Ecole Polytechnique Fédérale de Lausanne). This technology of the future is presented in this exhibition in the form of a touch screen monitor.

 

 

Oscar Muñoz. 'Ante la Imagen' 2009

 

Oscar Muñoz
Ante la Imagen
2009
© Oscar Muñoz, courtesy of the artist and Mor charpentier gallery

 

 

Oscar Muñoz’s work combines photography, engraving, drawing, installation, video and sculpture, defying all attempts at categorization. Using non-conventional techniques, his work is a reflection on social concerns and addresses the themes of memory and forgetting, appearance and disappearance, loss and the insecurity of human life. In his work El Coleccionista, the artist uses a triple video projection to show a figure that is sorting, organizing and grouping what appears to be personal archives. Oscar Muñoz evokes here the ability of images to be part of multiple narratives, from one image to another, from one context to another. These images propose multiple narrations that overlap and intermingle between the past and present, memory and time.

For Ante la Imagen, Muñoz uses the portrait of the chemist Robert Cornelius (1809-1893), known for having reduced the exposure time of the photographic process of the daguerreotype and for producing one of the first self-portraits, to demonstrate the effectiveness of his method. Muñoz reproduces this portrait by engraving it on a reflecting metallic surface, like a daguerreotype. With each manipulation, the viewer sees the portrait of Cornelius superimposed on his own. The work is composed and decomposed and questions the interior multiplicity of one and the same image. Muñoz replaces this frozen image by a constantly-changing one, vulnerable to deterioration under the effect of air, like life itself.

 

3D Digitization of Jean-Gabriel Eynard. 'Charles et Mathilde Horngascher-Odier' 1845

 

3D Digitization of Jean-Gabriel Eynard
Charles and Mathilde Horngascher-Odier
1845
© Musée de l’Elysée, Lausanne

 

Gabriel Lippmann. 'Selfportrait' c. 1892

 

Gabriel Lippmann
Selfportrait
c. 1892
© Musée de l’Elysée, Lausanne

 

 

Professor of physics at the Sorbonne, a member of the French Academy of Sciences and author of many scientific works, the international renown of Gabriel Lippmann Is mainly due to his invention of color photography using the interferential method. He was awarded the Nobel Prize in physics in 1908.

In 1891, he presented his invention, which would revolutionize photography, to the public. Lippmann developed the “wave theory of light”, which held that light bodies vibrate (like sound) and that light is propagated by waves of different speeds. The variations in wavelengths lead to changes in color. To prove the validity of his theory, Lippmann worked for five years to find a method that would fix these interferences. To do so, he developed a device that made it possible to place a special photographic plate (made of layers proportional to the wavelengths) in contact with a mercury mirror, a very complicated process. The sensitive layer of an average wavelength, green, for example, has 4,000 bright points per millimeter in its thickness, separated by dark intervals. The Musée de l’Elysée has the largest collection of Lippmann prisms in the world.

 

McDonnell Douglas Corp. / Spindler & Hoyer. 'Portrait of Dennis Gabor' 1975

 

McDonnell Douglas Corp. / Spindler & Hoyer
Portrait of Dennis Gabor
1975
© Jonathan Ross Hologram Collection

 

 

Engineer and physicist, Dennis Gabor is known for having invented the hologram in 1947, for which he was awarded the Holweck prize in 1970, and then the Nobel Prize in physics in 1971. Fascinated by Abbé’s theory of the microscope and Gabriel Lippmann’s method of color photography, he studied electron optics, which led him to propose the concept of holography that he referred to as “wavefront reconstruction” at the time. The initial project consisted of an electron microscope capable of visualizing atom networks and the atoms themselves, but that was not put into practice until 20 years later, whereas the hologram as a photographic process would have to wait for the invention of the laser in the 1960s, the light source necessary for the hologram. Subsequently, Emmett Leith and Juris Upatnieks in the United States and Yuri Denisyuk in Russia contributed to the improvement of Gabor’s invention and presented three-dimensional holograms. Since then, holograms are widely know to the general public through advertising, the production of packaging materials and jewelry items.

The life-size version of the portrait of Gabor can be seen at the offices of the McDonnell Douglas Corporation in the United States, one of the first companies to have attempted to market the holograph. The reduced-size copy presented here was made several years later by Spindler & Hoyer, a German optical company.

 

Eadweard Muybridge. 'Animal Locomotion, Plate 597' 1887

 

Eadweard Muybridge
Animal Locomotion, Plate 597
1887
© Musée de l’Elysée, Lausanne

 

Christian Marclay. 'Memento (Survival of the Fittest)' 2008

 

Christian Marclay
Memento (Survival of the Fittest)
2008
© Christian Marclay, courtesy Paula Cooper Gallery, New York

 

 

A well-known filmmaker and multimedia artist, Christian Marclay made his mark on the contemporary art scene by combining the visual arts, film and musical culture. In 2007, he began a project that explores the interactions between sound and vision, as well as the manipulation and the conservation of different forms of recordings. He initiated a series together with the Graphicstudio, University of South Florida involving the use of two archaic recording systems – the cyanotype photography process and the audiotape.

He adopted and adapted the subject of the audiotape, which has become just about obsolete as a result of technological developments, and placed it at the center of his visual abstraction to capture the old soundtracks of hundreds of cassette tapes unfurled like so many streamers, using the cyanotype process. “We assume, because we’re able to capture sounds or images, that they will exist forever – when, in fact, obsolescence makes you feel the limit of those assumptions.” By combining these two mediums, the artist brilliantly explores the resonances between the past and present.

 

JR. 'UNFRAMED, Man Ray revu par JR, Femme aux cheveux longs, 1929, Vevey, Suisse' 2010

 

JR
UNFRAMED, Man Ray revu par JR, Femme aux cheveux longs, 1929, Vevey, Suisse
2010
© JR / Musée de l’Elysée, Lausanne

 

 

JR has “the largest art gallery in the world”. Thanks to the technique of photo collage, he freely exhibits his work on walls worldwide, thus attracting the attention of those who rarely or never go to museums. His work is a mixture of art and action and deals with commitment, freedom, identity and limits. After finding a camera in the Paris Metro in 2001, he travelled throughout Europe to meet other people whose mode of artistic expression involved the use of the walls and façades that give form to our cities. After observing the people he met and listening to their message, JR pasted their portraits up in streets and basements and on the roof tops of Paris.

JR thus creates “pervasive art” that he puts up on buildings in the Paris suburbs, on walls in the Middle East, on broken bridges in Africa and in the favelas of Brazil. These artistic actions make no distinction between the actors and the spectators. JR’s approach presented here is a mixture of the reinterpretation and recontextualization of the icons of the history of photography taken from the collections of the Musée de l’Elysée of Lausanne, which he applies to the façades of buildings in the city of Vevey. He thus crops and enlarges the photos of Robert Capa, Man Ray, Gilles Caron and Helen Levitt so that the city becomes a gigantic open-air museum.

 

Binh Danh. 'Sphinxes' (by Arthur Putnam, 1912) 2014

 

Binh Danh
Sphinxes (by Arthur Putnam, 1912)
2014
Artist and Haines Gallery courtesy, San Francisco
© Binh Danh

 

 

“Landscape is what defines me. When I am somewhere new or unfamiliar, I am constantly in dialogue with the past, present and my future self. When I am thinking about landscape, I am thinking about those who have stood on this land before me. Whoever they are, hopefully history recorded their makings on the land for me to study and contemplate.”

Born in Viet Nam, Binh Danh addresses themes of collective and personal memories, history, heritage and mortality. Known for printing his works on unconventional supports such as leaves or grass, he experiments with the photographic process of the daguerreotype in his most recent creations in order to document the history of the city of San Francisco.

Reminiscent of the work of photographic pioneers such as Eadweard Muybridge (1830-1904), Charles Marville (1813- 1879) and Eugène Atget (1857-1927), Binh Danh explores the complexities of a constantly evolving city, from the first major expansion in recent years of Silicon Valley. He places San Francisco, cliché of the culture of technology and success, in another time space in order to incite the viewer to reflect on the rapid pace of changes in a city. By choosing the daguerreotype, the artist works on the reflecting surface of the process to incorporate the spectator into his work and to thus transform it into a shared experience.

 

Paul Vionnet. 'La cure d'Etoy' 1870

 

Paul Vionnet
La cure d’Etoy
1870
Tirage sur papier aristotype
13.4 × 17.8 cm
Collection iconographique vaudoise
© Musée de l’Elysée, Lausanne

 

 

“With the exhibition The Memory of the Future. Photographic Dialogues between Past, Present and Future, the Musée de l’Elysée encourages contemporary artists to take a close look at photography as a medium, innovates as it reveals a 3D digitization technology developed by a spin-off from Lausanne’s Swiss Federal Institute of Technology (EPFL), and displays its unique visual heritage. 

The Memory of the Future. Photographic Dialogues between Past, Present and Future is the first exhibition that Director Tatyana Franck has curated at the Musée de l’Elysée. It opens up a dialogue between the work of the pioneers of photographic techniques (the past), those of contemporary artists that breathe new life into these skills (the present), and avant-garde technologies that update these early processes (the future). Works from the museum’s collections, contemporary artists and new technologies come face to face and join forces to give a brand new vision of the history of photography. The Memory of the Future aims to configure the present by reconfiguring the past in order to prefigure the future.

Techniques over time

First of all, early photographic processes such as ambrotypes, daguerreotypes, ferrotypes, cyanotypes, etc. are displayed next to works by contemporary artists who breathe life into them. The technical innovations of the past are fertile ground for contemporary art and design. The exhibition includes a waxed paper negative by Gustave Le Gray in dialogue with those by Martin Becka, while cyanotypes by Anna Atkins and Paul Vionnet converse with those by Christian Marclay, Nancy Wilson-Pajic and John Dugdale. Jean-Gabriel Eynard’s daguerreotypes from the museum’s collections are exhibited next to portraits by Takashi Arai and Patrick Bailly-Maître-Grand and landscapes by Binh Danh and Jerry Spagnoli. And as for contemporary ferrotypes, The Memory of the Future shows the work of Joni Sternbach and Jayne Hinds Bidaut as well as portraits taken by Victoria Will at the Sundance Independent Film Festival in 2014.

Works of two scientists who won a Nobel Prize and invented a photographic technique also have pride of place – a self portrait by Gabriel Lippmann (Nobel Prize in Physics in 1908) who invented color photography using the interferential method and a portrait of Dennis Gabor (Nobel Prize in Physics in 1971), the inventor of the holographic process, a photographic technique in relief – echoing a holographic picture by James Turrell, a contemporary artist primarily concerned with light. Lastly, and as a point of convergence for all these photographic processes to fix an image on to a support, the camera obscura is presented through the works of Florio Puenter, Dino Simonett and Vera Lutter. Loris Gréaud – an artist invited to present an original installation capturing the spirit of the Musée de l’Elysée by recording its shadows and light – also explores this technique.

Homage and metamorphosis 

The exhibition also presents the “mise en abyme” of iconic pictures from the history of photography reinterpreted by contemporary artists whose works examine the very notion of time or memory.

The earliest photograph in history – by Nicéphore Niépce and dating back to 1826 – is thus transformed by Joan Fontcuberta (Googlegramme Niépce, 2005) using PhotoMosaïque freeware connected online to the Google search engine, and by Andreas Müller-Pohle (Digital Scores VI). The first photographic self portrait in history – by Robert Cornelius in 1839 – is reproduced on a series of mirrors by Oscar Muñoz in 2009 to examine the paradox of the aging of the photographic support, which is, however, supposed to record an image for eternity. While Pierre Cordier pays homage to Eadweard Muybridge’s photographic breaking down of movement, Idris Khan (who took part in the reGeneration exhibition in 2005) pays homage to the iconic photographs of Bernd and Hilla Becher.

Innovating to preserve and showcase 

Having launched a campaign in 2014 to digitize its photography books – 1500 books have been scanned so far – the Musée de l’Elysée is continuing to explore techniques to dematerialize its visual heritage for conservation and promotion purposes. Launched in 2015 thanks to the Engagement Migros development fund, an ambitious three dimensional digitization project puts the Musée de l’Elysée at the forefront of museum innovation.

A venue for exhibitions, conservation and now an experimentation, as part of the exhibition La Mémoire du futur the Musée de l’Elysée is proposing for the first time a space dedicated to the presentation of digitized virtual objects from its collections. This innovative project aims to introduce new collaborative and interactive experiences using the Museum’s collections to a wide range of audiences – whether they be photography enthusiasts, curators or researchers.

Thanks to the Engagement Migros development fund, Innovation partner of the Musée de l’Elysée, the public is invited to experimentally test the first 3D digitizations carried out in partnership with the start-up Artmyn, created at EPFL’s Audiovisual Communications Laboratory (LCAV) led by Martin Vetterli. It will thus be possible to look at the works in 3D with unprecedented precision, but above all, to make the different textures of which they are composed appear on screen by lighting up the digital replicas from any angle.

This new technology comes in the form of a scanner made up of a dome on which are fixed several small lamps of precisely-adjusted intensity that switch on and off in turn depending on each picture scanned. We are returning to an ancient theory of vision that imagined the eye’s projection towards the world, allowing the spectator once again to become an actor in the photographic experience,” explains Martin Vetterli in the exhibition catalogue.

Preliminary work was carried out with the Collections Department to select the processes that would most benefit from this scanning technology – heliogravure, ambrotype, ferrotype, collage and carbon printing. The first results will be presented in the exhibition. A tactile device supplemented by a video tour of the work presents a collage by René Burri from the René Burri Foundation housed at the Musée de l’Elysée. Rendered in real time and very high resolution, the images that have been cut out and superimposed by the artist can be freely explored so that the visitor can appreciate the visual richness of the work. Visitor experience appraisal is an integral part of the project to optimize presentation techniques and create a digital experimentation area in the museum.

The active participation of visitors to the Museum is an essential step for this first test phase: the interactions and different perceptions of the benefits of the prototype presented will be taken into account for the purpose of developing teaching and learning tools that will subsequently be used to refine and expand the user’s experience and to develop a digital, educational discovery space within the exhibition areas.”

Press release from the Musée de l’Elysée

 

Paul Vionnet. 'Lausanne, le pont Chauderon en construction' 1904

 

Paul Vionnet
Lausanne, le pont Chauderon en construction
1904
Tirage au gélatino-bromure d’argent
39.5 × 23.0 cm
Collection iconographique vaudoise
© Musée de l’Elysée, Lausanne

 

 

Paul Vionnet, a local photographic pioneer, is at the origin of the Iconographic Collection of the Canton of Vaud. This collection, devoted to the history of the Vaud, is at the very foundation of the creation of the Musée de l’Elysée in 1985 as a museum dedicated to the image. During his childhood, Paul Vionnet spent his vacations at his grandparents’ home in Aubonne and was a frequent visitor of Adrien Constant Delessert (1806-1876), a neighbor and renowned Vaud photographer. During his stays there in 1845, Delessert taught him photographic techniques and the calotype.

Fascinated by the sciences, nature and his canton, Paul Vionnet took it upon himself to collect the greatest number of iconographic documents possible concerning the history, landscapes and monuments of the region for the purpose of enriching the collection of the Historical Monuments Service in Lausanne. The documents that he was not able to acquire himself were reproduced using photography. Following in his father’s footsteps, he was ordained pastor in 1856, and assigned to Granges de Sainte-Croix, near Aubonne, and then to Pampigny in 1858. He nevertheless continued to take photographs, having since adopted the wet collodion technique, documenting landscapes and monuments during his free time.

He retired in 1896 and founded the Collection historiographique vaudoise that would house his documents. In 1903, Paul Vionnet bequeathed his private collection to the canton of Vaud, forming the fifth section of the Musée Cantonal des Antiquités. He was named assistant curator, and several years later, the municipality commissioned him to take the photographs for Lausanne à travers les âges.

 

Anna Atkins. 'Adiantum tenerum (Jamaica)' c. 1852

 

Anna Atkins
Adiantum tenerum (Jamaica)
c. 1852
© Wilson Centre for Photography

 

 

A British photographer considered to be the first woman to create a photograph, Anna Atkins is also known to have published the first books on botany illustrated with cyanotypes. Passionately interested in science and art, she became a member of the Botanical Society of London in 1839 and realized that the photographic process could be used to obtain precise and detailed botanical images and to provide information at all levels of a society increasingly eager for knowledge.

Anna Atkins drew her inspiration from the inventor of photography, William Henry Fox Talbot (1800-1877), and from a close family friend, John Herschel (1792- 1871), a scientist known for the invention and the improvement of the cyanotype. She subsequently developed the process on her own that would allow her to obtain authentic and inexpensive photographic reproductions and that would make her part of the great tradition of her teachers. In 1843, she published her work, British Algae: Cyanotype Impressions, the first volume of which preceded the famous work of Talbot, The Pencil of Nature, by several months. In 1853, she applied the same process to ferns and published Cyanotypes of British and Foreign Ferns, a page of which is presented here.

 

Anonymous. 'Portrait of a young girl' 1860-1870

 

Anonymous
Portrait of a young girl
1860-1870
© Musée de l’Elysée, Lausanne

 

John Dugdale. 'The Clandestine Mind' 1999

 

John Dugdale
The Clandestine Mind
1999
© The John Dugdale Studio

 

John Dugdale. 'Mourning Tulips' 1999

 

John Dugdale
Mourning Tulips
1999
© The John Dugdale Studio

 

 

John Dugdale’s interest in photography goes back to his childhood when he received his first camera at the age of 12 and dreamed of becoming one of the major photographers of the 20th century. After a brilliant career as a fashion photographer, the year 1993 marked the turning point in the life of the artist who lost his sight following a stroke and CMV retinitis. Dugdale nevertheless refused to give up photography and began to take an interest in 19th century photographic techniques, using his family and friends as assistants. He discovered the large format and decided to use the cyanotype process, considering it to be the most direct and the easiest to use.

In his blue works, he portrays his everyday life by reversing the roles. Dugdale poses with a simplistic spirituality that could appear to be in contradiction with the 21st century. Generally posing in the nude, he considers that “life is transient. Once you leave this world, you fly into the universe without clothes. I want people to learn you cannot protect yourself by hiding behind clothes.”

Thanks to its low toxicity, the use of this process allows him to be involved in the printing of his photographs. His sensitivity to historic techniques emphasizes the poetry of his work and the transitory nature of time and place. In the hopes of sharing his experience and his healing, Dugdale creates a new body of art by “showing the beauty of life and how one should act around illness.”

 

Jerry Spagnoli. 'Glass 10/9/12' 2012

 

Jerry Spagnoli
Glass 10/9/12
2012
© Jerry Spagnoli

 

 

When the photographer Jerry Spagnoli discovered a daguerreotype at a flea market, he described it as the most perfect photograph he had ever seen, a discovery that would influence the rest of his work. After familiarizing himself with the process in his studio in San Francisco, the artist experimented with it using equipment from the 19th century and studying the effects obtained in order to understand the technical aspects as well as the visual and expressive potential.

By studying the body and the roots of photographic imagination in his series Anatomical Studies, the portrait, objects and contemporary street scenes, events and non-events in his series The Last Great Daguerreian Survey of the Twentieth Century, Spagnoli attempts to highlight the qualities of the daguerreotype – uniqueness, richness of detail – through the four series presented here, in order to allow a contemporary public to rediscover its virtues. It is also a way for him to approach the optical essence of photography. “With other processes the material substrate of the image can be intrusive, but when you look at a daguerreotype, there is a transparency to the depiction as if you were looking through the lens itself.”

 

Vik Muniz. 'The Steerage (After Alfred Stieglitz)' 2000

 

Vik Muniz
The Steerage (After Alfred Stieglitz)
2000
from the Pictures of Chocolate series

 

 

Non-conformist reproductions of masterpieces, trompe-l’œil, ephemeral homages… It is difficult to put a label on the work of Vik Muniz. Starting off as a sculptor, he became widely known in 1997 as a result of his series Pictures of Chocolate, an example of which is presented here, and again in 2006 through his series Pictures of Junk and by his film Waste Land that was released in 2014. For the past 20 years, the artist, fascinated by the power of the image and optics, has transformed all sorts of unusual raw materials into works of art. He then uses photography to immortalize the works that he creates with these materials.

In Steerage after Alfred Stieglitz, Muniz uses chocolate as the medium to pay tribute to one of the modern pioneers of photography, Alfred Stieglitz. He involves the spectator and forces him to take a new look at a painting or a photograph that has been seen time and time again and that has become commonplace despite its beauty. Vik Muniz encourages the public to look at and to decipher his compositions, as well as to use their other senses to transform his flat reproductions into original and three-dimensional works.

 

Pierre Cordier. 'Photo-Chimigramme 17/6/76 I "Hommage à Muybridge 1972"' 1976

 

Pierre Cordier
Photo-Chimigramme 17/6/76 I “Hommage à Muybridge 1972”
1976
© Pierre Cordier

 

 

Pierre Cordier is a Belgian artist known as the father of the chemigram and for its development as a means of artistic expression. In 1956, writing a dedication with nail polish on photographic paper to a young German woman, Pierre Cordier discovered what he later called the chemigram. This technique “combines the physics of painting (varnish, oil, wax) and the chemistry of photography (photosensitive emulsion, developer and fixer), without the use of a camera or enlarger, and in full light.”

He worked for 30 years as a lecturer on the history of photography at the École Nationale des Arts Visuels in Brussels. When he gave up photography in 1968 to devote himself exclusively to the chemigram, he wanted to pay tribute to the great photography pioneers – Muybridge in 1972 and Marey in 1975. The Homage to Muybridge presented here was inspired by Allan Porter, chief editor of the Swiss revue Camera, one of the most prominent revues in the history of photography. In the issue of Camera of October 1972, we can read: “Cordier used Muybridge’s famous sequence, The Horse in Motion, which he transformed in three different ways: 1. Still subject and mobile camera. 2. Mobile subject and still camera. 3. Subject and camera, both mobile. He then combined the three sequences into one and treated it according to the photochemigram process.”

 

Andreas Muller-Pohle. 'Digital scores V (after Nicephore Niepce)' 2001

 

Andreas Muller-Pohle
Digital scores V (after Nicephore Niepce)
2001
Inkjet print
10 7/8 in x 11 in; mat: 16 1/8 in x 20 1/8 in; paper: 12 1/8 in x 12 1/8 in

 

 

Andreas Müller-Pohle is one of the key figures involved in the ontological as well as the representational nature of photography. Since the 1990s, he has reflected on the radical changes in the essence of technical images. His first artistic project focused on questions of photographic perception and on the recycled photograph.

In the mid-1990s, Müller-Pohle began to explore the use of digital, genetic and political codes. He is one of the first artists to have broken down and translated the analog and the digital codes of images. In his series Digital Scores (after Nicéphore Niépce), he takes us back to the origin of analog photography by translating the photograph of Niépce, View from the Window at Le Gras (taken from a window of his house in 1826), into alphanumeric code. The complete binary transcription of this photograph is then distributed over eight panels.

 

Martin Becka. 'Le Parc' 2002

 

Martin Becka
Le Parc
2002
© Martin Becka

 

 

After studying photography, Martin Becka worked as a print developer for the Sepia Agency before becoming an independent news photographer. As of the beginning of the 1980s, he began doing research on the history of photography and the pre-industrial photographic processes that he incorporated into his personal creative work. By using traditional processes to photograph ultramodern cities like Dubai and business districts such as La Défense in Paris, the artist proposes a sort of “archeology of the present”, making the spectator reflect on the period in which he lives, the future, and the multiplication of images at a time when their reproducibility is unlimited. He sees photography as a means to “bend time in every possible direction.”

In his installation Le Parc (the André Citroën Public Park in Paris), Becka establishes a dialogue between the past and the present by paying homage to the photographic work of Alfred-Nicolas Normand (1822-1909) and the dry waxed paper negative process developed in 1851 by Gustave Le Gray (1820-1884). By choosing this century-old technique that requires an approach to work that is radically different from those currently in vogue, he is able to obtain negatives with a density adapted to a presentation by transparency and to create and control movement and unique atmospheres. Becka thus encourages the spectator to reflect on the notion of the photographic object.

 

Bernd and Hilla Becher. 'Gas Tank: Essen-Karnap D' 1973

 

Bernd and Hilla Becher
Gas Tank: Essen-Karnap D
1973

 

Bernd And Hilla Becher. 'Gasbehälter bei Wuppertal (Gas tank near Wuppertal)' 1966

 

Bernd And Hilla Becher
Gasbehälter bei Wuppertal (Gas tank near Wuppertal)
1966

 

 

Born during the period of industrial archeology, the Bechers’ work consists, in the words of Pierre Restany, “of an optical pilgrimage at the roots of the industrial world”. The couple proposes a way do see industrial architecture by taking an approach based on inventory methodology. Their work is a reflection on the creation of heritage and raises the question of the heritage value of industrial objects, which is inseparable from their artistic value.

With a focus on archiving and industrial memory, Bernd and Hilla Becher’s approach consists of establishing a detailed inventory and keeping track of industrial structures by photographing sites threatened by obsolescence and often abandoned. The series Gas Tanks includes nine photographs from the period between 1965 and 1973, taken according to the extremely stringent protocol that is characteristic of their work (frontal view, centering of the subject, mid-height, absence of light, etc.). The composition of each portrait is standardized and identical, with emphasis on the frontal aspect and the monumentality of industrial constructions classified according to their functionality and form.

Taking advantage of the extremely reproducible nature of the photograph, the Bechers reveal the massive diffusion and production of images that contribute to erasing our memories of their origins and their authors. In doing so, they observe a civilization on the decline and highlight the production of an era, vestiges of the human imagination and life.

 

Idris Khan. 'Every ... Bernd and Hilla Becher Spherical Type Gasholder' One panel triptych, 2003

 

Idris Khan
Every … Bernd and Hilla Becher Spherical Type Gasholder
One panel triptych, 2003
Lambda Digital C print mounted on aluminium
20½ x 26½ inches

 

Idris Khan. 'Every ... Bernd and Hilla Becher Prison Type Gasholder' 2004

 

Idris Khan
Every … Bernd and Hilla Becher Prison Type Gasholder
2004
Lambda Digital C print mounted on aluminium
80 × 65 inches

 

 

“I try to capture the essence of the building – something that’s been permanently imprinted in someone’s mind, like a memory.”

Idris Khan is fascinated by the photographic medium. Fuelled by images and influential theoretical essays on the history of photography, he reappropriates the works that had an impact on him and subjects them to a series of transformations in order to see them from a different perspective. His work is a reflection on the passage of time, the accumulation of experiences and, as such, the decrease of unique moments. In his series Homage…, he presents rephotographed works, enlarged and superimposed in multiple layers. He uses digital tools to play with the opacity of the layers so as to strengthen the mystery of the original objects whose layering reveals new details. The work Homage to Bernd Becher shown here reproduces and compiles the photographs that correspond to the Bechers’ typology in order to celebrate the vestiges of these vanished industrial infrastructures.

Fascinated by the ability of the photographic medium to capture the soul as well as the body image, Idris Khan, in his series Rising Series… After Eadweard Muybridge “Human and Animal Locomotion”, pays homage to Muybridge’s early scientific experiments using the camera to sequentially record human and animal movement. Beyond the tribute paid to photography that is defined here as a compilation of knowledge, Idris Khan positions himself with respect to a medium laden with history and with a bright future ahead of it.

 

Victoria Will. 'Kristen Stewart' 2014

 

Victoria Will
Kristen Stewart
2014
© Victoria Will

 

 

Kristen Stewart poses for a tintype (wet collodion) portrait at The Collective and Gibson Lounge, during the 2014 Sundance Film Festival in Park City, Utah. (Photo by Victoria Will/Invision/AP)

Victoria Will began her career as a staff photographer for the New York Post. Specialized at the time in portraits and fashion, her photographs were disseminated worldwide by the magazines W, the New York Times and Vogue. When she was invited for the fourth time to the Sundance Film Festival, an American independent film festival, she decided to try something new and to replace her digital reflex camera with the century-old tintype process to make portraits of movie stars. Following her success, she renewed the experience in the following years and gradually improved this complex technique.

Overcoming the difficulties of the process, its sensitivity to time and the danger of the chemical products involved, the photographer successively made portraits in 7 to 8 minutes of actors such as Vincent Cassel, Robert Redford, Jennifer Connelly, Spike Lee and Ethan Hawke. “What I love about the process is how raw it is,” says Victoria. “We live in an age of glossy magazines and overly retouched skin. But there is no lying with tintypes. You can’t get rid of a few wrinkles like in Photoshop.”

Both the photographer and her public “appreciate the honesty of these photographs. Development leaves a lot of room for the unexpected: we discover a face that we thought was familiar while being the contrary of digital portraits. The stages in the darkroom contribute to the idea of creating something unique and refreshing.”

 

 

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10
Aug
16

Exhibition: ‘Emanations: The Art of the Cameraless Photograph’ at the Govett-Brewster Art Gallery/Len Lye Centre, New Plymouth, New Zealand Part 2

Exhibition dates: 29th April – 14 August 2016

Curator: Geoffrey Batchen

 

 

Part 2 of a posting on this wonderful exhibition – Emanations: The Art of the Cameraless Photograph – at the Govett-Brewster Art Gallery/Len Lye Centre, New Plymouth, New Zealand.

While there is no doubt as to the quality and breadth of the work on display, nor how it has been curated or installed in these beautiful contemporary spaces, I question elements of the conceptual rationale that ground the exhibition. While curator Geoffrey Batchen correctly notes that “artists are coming back to the most basic and elemental chemistry of photography, hands on, making unique images where there is a direct relationship between the thing being imaged and then image itself” as a response to the dematerialisation of the image that occurs in a digital environment and the proliferation of reproductions of digital images his assertion in a Radio New Zealand interview that the cameraless photograph has a direct relationship to the world, unmediated – through the unique touch of the object on the photographic paper – is an observation that seems a little disingenuous.

Batchen observes in the quotation below, “it’s as if nature represents itself, completely unmediated and directly. In some ways … [this] is far more realist, far more true to the original object than any camera picture could be.” Note how he qualifies his assertion and position by the statement “in some ways”. The reality of the situation is that every photograph is mediated to one degree or another, whether through the use of the camera, the choice of developer, photographic paper, size, perspective and so forth. The physicality of the actual print and the context of capture and display are also mediated, in each instance and on every occasion. Every photograph is mediated through the choices of the photographer, even more so in the production of cameraless photographs (what to choose to photograph, where to position the object, what to draw with the light) because the artist has the ultimate control on what is being pictured (unlike the reality of the world). To say that cameraless photographs have a more direct and unmediated relationship to the world than analogue and digital photographs could not be further from the truth – it is just that the taxonomic system of ordering “reality” is of a different order.

Batchen further states in the Radio new Zealand interview that “in these photographs the object is still there, that’s the strange thing about cameraless photographs. There is a sense of presentness to this kind of photograph. … Cameraless photographs seem to exist in a kind of eternal present, and in that sense they complicate our understanding both of photography but also to the world that is being represented here.”

This is a contentious observation that argues for some special state of being that exists within the cameraless photograph which I believe does not exist. I argue that EVERY photograph possesses the POSSIBILITY of a sense of presentness of the object being photographed (whether it be landscape, portrait, street, abstract, etc…). It just depends whether the photographer is attuned to what is present before their eyes, whether they are attuned to the mediation of the camera and whether the print reveals what has been captured in the negative. Minor White’s “revelation of spirit”. A “hands on” process does not guarantee a more meaningful form of photographic authenticity,  or cameraless photographs possess some inherent authentic reality (the appeal to the aura of the object, Benjamin), any more than analogue or digitally reproduced photographs do. They are all representations of a mediated reality in one form or another. Some photographs will simply not capture that “presence” no matter how hard you try, be they cameraless or not. Further, every photograph exists in an eternal present, bringing past time to present and, in the process of existence, transcending time. In this regard, to claim special status for cameraless photographs is a particularly incongruous and elliptical argument, an argument which posits an obfuscation of the theoretical history of photography.

Dr Marcus Bunyan for Art Blart

PS. I particularly love Len Lye’s work for its visual dexterity and robustness.

.
Many thankx to the Govett-Brewster Art Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images are photographed by Bryan James.

 

 

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“You assume that the image caught by the camera is “the” image, but of course a camera is ultimately a device – about from the Renaissance on – in which perspective is organised within a box using a lens, based on a principle that light travels in straight lines. So what you get when you use a camera is a mediated image, an image constructed according to certain conventions developed during the Renaissance and beyond in which the world is developed … according to the rules of perspective, and we’ve learnt to accept those rules as, as reality itself. But … when you put an object directly onto a piece of paper without any mediation [of a machine], it’s as if nature represents itself, completely unmediated and directly. In some ways … [this] is far more realist, far more true to the original object than any camera picture could be.”

.
Geoffrey Batchen

 

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Christian Marclay and at right, Hiroshi Sugimoto

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

Installation view of Christian Marclay’s Large Cassette Grid No. 6, 2009 (left) and Allover (Rush, Barbra Streisand, Tina Turner, and Others), 2008 (right)

 

Christian Marclay (US) 'Large Cassette Grid No. 6' 2009

 

Christian Marclay (US)
Large Cassette Grid No. 6
2009
Cyanotype photograph

 

Christian Marclay (US) 'Allover (Rush, Barbra Streisand, Tina Turner, and Others)' 2008

 

Christian Marclay (US)
Allover (Rush, Barbra Streisand, Tina Turner, and Others)
2008
Cyanotype photograph

 

Using hundreds of cassette tapes bought in thrift stores, Christian Marclay has scattered the entangled strands of the tapes across large sheets of specially prepared blueprint paper, deliberately adopting the “action painter” techniques of Jackson Pollock and similar artists. He then exposed them, sometimes multiple times, under a high-powered ultraviolet lamp. In other cases, the cassettes themselves were stacked in translucent grids to make a minimalist composition.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Christian Marclay and at right, Hiroshi Sugimoto

 

Walead Beshty (Switzerland/US) 'Two Sided Picture (RY), January 11, 2007, Valencia, California, Fujicolor Crystal Archive, 2007'

 

Walead Beshty (Switzerland/US)
Two Sided Picture (RY), January 11, 2007, Valencia, California, Fujicolor Crystal Archive, 2007
Chromogenic photograph

 

In the series from which this work comes American photographic artist Walead Beshty cut and folded sheets of photographic paper into three-dimensional forms and then exposed each side to a specific colour of light, facilitating the production of multi-faceted prints with the potential to exhibit every possible colour combination. The trace of this process remains visible, with the original folds transformed into a network of contours on the surface of the print.

 

Installation view of Hiroshi Sugimoto (Japan/US) 'Lightning Fields 168' 2009

 

Installation view of
Hiroshi Sugimoto (Japan/US)
Lightning Fields 168
2009

 

Hiroshi Sugimoto (Japan/US) 'Lightning Fields 168' 2009

 

Hiroshi Sugimoto (Japan/US)
Lightning Fields 168
2009
Gelatin silver photograph

 

Hiroshi Sugimoto’s photographs of static electricity were inspired by his unsuccessful efforts to banish such discharges from the surface of his negatives during the printing process. Sugimoto decided instead to try and harness such discharges for the purposes of image making. Utilizing a Van der Graaf generator, he directed as many as 40,000 volts onto metal plates on which rested unexposed film. He soon changed tactics when he discovered that immersing the film in saline water during the discharge gave much better results.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Andreas Müller-Pohle Digital Scores (after Nicéphore Niépce) 1995, and to the right in the second and third images, Susan Purdy

 

In 1995 the German artist Andreas Müller-Pohle took the digital code generated by a scan of the supposed “first photograph,” Nicéphore Niépce’s 1827 heliograph View from the window at Le Gras, and spread it across eight panels as a messy swarm of numbers and computer notations. Each of Müller-Pohle’s separations represents an eighth of a full byte of memory, a computer’s divided remembrance of the first photograph. The Scores are therefore less about Niépce’s photograph than about their own means of production (as the title suggests, they bear the same abstracted relation to an image as sheet music has to sound). We see here, not a photograph, but the new numerical rhetoric of digital imaging.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of Ian Burn (Australia/US) Xerox book # 1, 1968 from the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

In the 1960s a number of artists sought to distil artwork from the new imaging technologies becoming commonly available. Ian Burn, an Australian artist then living in New York, made a series of Xerox Books in 1968 in which he churned out 100 copies of a blank sheet of white paper on a Xerox 660 photocopying machine, copying each copy in turn until the final sheet was filled with the speckled visual noise left by the machine’s own imperfect operations.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with in foreground display case, Herbert Dobbie’s illustrated cyanotype books New Zealand Ferns (148 Varieties) 1880, 1882, 1892 and background, the cyanotypes of Anna Atkins

 

Herbert Dobbie, a railway station master and amateur botanist who emigrated to New Zealand from England in 1875, made cyanotype contact prints of specimens of all 148 known species of fern in his new country in 1880 and sold them in album form. Dobbie was responding to a fashion for collecting and displaying ferns among his local audience, a fashion driven in part by a nostalgia for a pre-modern style of life and in part by a developing nationalism. The end result is a group of images that hover somewhere between science and art, between popular aesthetic enjoyment and commercial profit.

 

Anna Atkins (UK) 'Untitled' (from the disassembled album 'Cyanotypes of British and Foreign Flowering Plants and Ferns') c. 1854

 

Anna Atkins (UK)
Untitled (from the disassembled album Cyanotypes of British and Foreign Flowering Plants and Ferns)
c. 1854
Cyanotype photographs

 

The English photographer Anna Atkins issued albums of cyanotype prints of seaweed and algae from 1843, and these are often regarded as the earliest photographic books.

In the 1850s, Atkins collaborated with her friend Anne Dixon to produce at least three presentation albums of cyanotype contact prints, including Cyanotypes of British and Foreign Ferns (1853) and Cyanotypes of British and Foreign Flowering Plants and Ferns (1854). These albums included examples from places like Jamaica, New Zealand and Australia – a reminder that, for an English observer, all these places were but an extension of home, a part of the British Empire. These cyanotypes look as if they were made yesterday, offering a trace from the past that nevertheless always remains contemporary.

 

William Henry Fox Talbot (1800-1877) 'Lace' c. 1845

 

William Henry Fox Talbot (UK, 1800-1877)
Floral patterned lace
c. 1845
Salted paper print
23.0 x 18.8 cm (irregular)

 

During the 1850s, William Henry Fox Talbot focused his energies on the invention of a way of producing photographic engravings on metal plates, so that permanent ink on paper imprints could be taken from them. In April 1858, having found a way to introduce an aquatint ground to the process, he filed a patent for a system which he called photoglyphic engraving.

Talbot described his invention in terms of an ability to make accurate photographic impressions without a camera: “The objects most easily and successfully engraved are those which can be placed in contact with the metallic plate, – such as the leaf of fern, the light feathery flowers of a grass, a piece of lace, etc. In such cases the engraving is precisely like the object; so that it would almost seem to any one, before the process was explained to him, as if the shadow of the object had itself corroded the metal, – so true is the engraving to the object.”

This photograph was made using the calotype process, patented in 1841 by its inventor, the English gentleman William Henry Fox Talbot. The increased exposure speeds allowed by the process made it easier to print positive photographs from a negative image, so that multiple versions of that image could be produced. In this case, a positive photograph has been made from a contact print of a piece of lace.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery featuring Len Lye’s cameraless photographic portraits

 

Len Lye (NZ) 'Georgia O'Keeffe' 1947

 

Len Lye (NZ)
Georgia O’Keeffe
1947
Courtesy of the Len Lye Foundation Collection
Govett-Brewster Art Gallery/Len Lye Centre

 

Len Lye (NZ) 'Le Corbusier' 1947

 

Len Lye (NZ)
Le Corbusier
1947
Courtesy of the Len Lye Foundation Collection and Archive
Govett-Brewster Art Gallery/Len Lye Centre

 

Lye’s subjects included notable artists such as Joan Miró, Hans Richter, and Georgia O’Keeffe (who brought some deer antlers to the shoot), the architect Le Corbusier, the jazz musician Baby Dodds, the scientist Nina Bull, and the writer W. H. Auden. But they also included a baby and a young woman who remain unnamed; Lye’s new partner, Ann Hindle; and Albert Bishop, a plumber who had come by to do some repairs. (Referencing the history of “silhouette” art)

 

Len Lye (NZ) 'Marks and Spencer in a Japanese Garden (Pond People)' 1930

 

Len Lye (NZ)
Marks and Spencer in a Japanese Garden (Pond People)
1930
Courtesy of the Len Lye Foundation Collection and Archive
Govett-Brewster Art Gallery/Len Lye Centre

 

Len Lye’s earliest cameraless photographs were made around 1930 as he settled into the London art scene and before he emerged as a leading figure in experimental cinema. His practice was eclectic during this period. He exhibited paintings, batiks, photographs and sculpture as part of the Seven and Five Society, Britain’s leading avant-garde group. During a visit to Mallorca with his friends Robert Graves and Laura Riding, Lye made a number of photograms with plasticine and cellophane shapes arranged over the photographic paper. Two of these, Self-Planting at Night (Night Tree) and Watershed, were exhibited in the 1936 International Surrealist Exhibition in London.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery featuring James Cant’s Six Signed Artist’s Prints 1948

 

James Cant (Australia) 'The struggle for life' 1948

 

James Cant (Australia)
The struggle for life
1948
Cliché verre print (cyanotype blueprint from one hand-drawn glass plate)
35 x 29.6 cm sheet

 

A number of Australian artists, some working in Melbourne and some in London, issued prints in the 1940s and early 50s using architectural blueprint (or cyanotype) paper, perhaps because, during the deprivations that attended the aftermath of World War Two, it was a cheap and available material for this purpose. James Cant, an artist interested in both Surrealism and Australian Aboriginal art, brought the two together in his designs for a portfolio of Six Signed Artist’s Prints that he issued in a print run of 150 in 1948. Each image was painted on a sheet of glass and then this glass was contact printed onto the blueprint paper to create a photograph.

In August 1834, while resident in Geneva, William Henry Fox Talbot had a friend make some drawings on sheets of varnished glass exposed to smoke, using an engraver’s needle to scratch through this darkened surface. The procedure came to be known as cliché verre.

 

Kilian Breier. 'Kilian Breier: Fotografik 1953-1990' 1991 (cover)

 

Kilian Breier
Kilian Breier: Fotografik 1953-1990 (cover)
1991

 

The German artist Kilian Breier began making abstract photographs in the 1950s, some by folding his photographic paper and others by allowing rivulets of developer to flow across and stain it. A 1991 exhibition catalogue, Kilian Breier: Fotografik 1953-1990, gave the artist an opportunity to make a provocative gesture in line with his dedication to the self-generated image; he included in it a loose unfixed piece of signed photographic paper that continues to develop every time it is exposed to light. It therefore inhabits the book that protects it like a ghost, unable to be seen but nonetheless always present.

 

Max Dupain (Australia) 'Untitled rayograph [with water]' 1936

 

Max Dupain (Australia)
Untitled rayograph [with water]
1936
Gelatin silver photograph

 

The Australian modernist photographer Max Dupain was a great admirer of the work of Man Ray. In 1935 Dupain reviewed a book of the American’s photographs for The Home magazine in Sydney, declaring that “He is alone. A pioneer of the 20th century who has crystallised a new experience in light and chemistry.” With this book as his inspiration, Dupain himself made a number of experimental cameraless photographs in the later 1930s.

 

Běla Kolářová (Czechoslovakia) 'Pecky broskve' (z 'cyklu' Stopy) 'Peach Stones' (From 'Traces' series) 1961

 

Běla Kolářová (Czechoslovakia)
Pecky broskve (z cyklu Stopy)
Peach Stones
(From Traces series)
1961
Gelatin silver photograph from an artificial negative

 

Taking up photography in 1956 during the Cold War, the Czech artist Běla Kolářová wrote about the need to photograph things normally beneath the notice of photography, the negligible detritus of everyday life. Her initial experiments along these lines involved the making of prints from what she called “artificial negatives.” Collecting all sorts of discarded items (onion peels, peach pits), she either placed her scraps directly on celluloid or embedded them in a layer of paraffin, projecting the resulting image onto bromide paper using an enlarger. Kolářová also began to produce photographic images by placing her light-sensitive paper on a record turntable, rotating it at varying speeds, and allowing the light to produce a series of overlapping and wavy concentric circles.

 

Installation view of György Kepes

 

Installation view of
György Kepes (Hungary/Germany/US)
Black, great and white light composition, 1949
Black and white calligraphy, 1951
Fluid patterns, 1938
(Calligraphic light), 1948
Optical transformation, 1938
Hieroglyphic body, 1942
(Magnetic pattern), 1938
Gelatin silver photographs (printed c. 1977)

 

The Hungarian-born artist György Kepes moved to the United States in the late 1930s, where he published a series of interdisciplinary books concerned with the “language of vision.” Informed by his study of psychological theory, Kepes particularly favoured the cameraless photograph as offering a kind of universal language, stressing the need for images that combined “transparency and interpenetration… the order of our time is to knead together the scientific and technical knowledge required, into an integrated whole on the biological and social plane.” Even when they appear to be abstractions, Kepes’s own photograms were intended as an expression of the interdependence of natural and manmade structures and as an advocacy for the interrelationship of art, science, and technology.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the work of Herbert Matter (left), Chargesheimer (centre), and Roger Catherineau (right)

 

Herbert Matter (Switzerland/France/US) 'Untitled' c. 1939-43

 

Herbert Matter (Switzerland/France/US)
Untitled
c. 1939-43
Gelatin silver photograph

 

Born in Switzerland, Herbert Matter studied with Fernand Léger in Paris before working there and in Switzerland as a graphic designer, incorporating photographic images into his many posters. In 1935 he moved to the United States, involving himself in the design and art world he found there, with a special interest in the work of abstract painters. He produced a number of experimental photographs in this period, deliberately designed to break with what he called “the chains of documentation.” These included a calligraphic image made in 1944 by tracing brush strokes on a wet emulsion plate charged by an electrical current and a series of sinuous, painterly photographs, perhaps made by pouring chemicals on sheets of glass already marked with a resist and then printing from them.

 

 

Chargesheimer (Germany) 'Scenarium' 1961

 

Chargesheimer (Germany)
Scenarium
1961
Gelatin silver chemigram

 

In 1961, the German artist Karl-Heinz Hargesheimer, who went by the single name of Chargesheimer, published a limited-edition book titled Lichtgrafik [Light Graphic]. He described the ten unique prints gathered in it as photochemische Malereien or “photo-chemical paintings,” inducing their strange combinations of gestural calligraphic marks and organic-looking surface using only developer and fixer on gelatin silver photographic paper.

 

Roger Catherineau (France) 'Photogramme' 1957

 

Roger Catherineau (France)
Photogramme
1957
Gelatin silver photograph

 

Starting in the 1950s, French artist Roger Catherineau drew on his interest in sculpture and dance to produce sinuous, layered photograms that look more like graphics than paintings. Their ambiguous depths were made even more elusive by the addition of coloured inks to their surfaces.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Marco Breuer and at right, Lynn Cazabon

 

Installation view of Danica Chappell (Australia) 'Slippery Image #1' 2014-15 'Slippery Image #2' 2014-15 and 'Traversing Edges & Corners (Orange #9)' 2014 'Traversing Edges & Corners (Orange #10)' 2014 tintype

 

Installation view of
Danica Chappell (Australia)
Slippery Image #1, 2014-15
Slippery Image #2, 2014-15
Daguerreotype

Danica Chappell (Australia)
Traversing Edges & Corners (Orange #9), 2014
Traversing Edges & Corners (Orange #10), 2014
Tintype

 

The work of Australian artist Danica Chappell brings together the formal experiments of early modernist avant-garde groups, such as the Russian Constructivists and the German Bauhaus, with some of photography’s earliest techniques, resulting in geometrically patterned daguerreotypes and tintypes. These patterns of light and shadow animate the surface of Chappell’s metallic photographs, while also recording her work in the darkroom, her negotiation of radiation, object, body and time.

 

Installation view of Lynn Cazabon (US) 'Diluvian' 2010-13

 

Installation view of
Lynn Cazabon (US)
Diluvian
2010-13
40 unique silver gelatin solar photographs

 

Diluvian, by American artist Lynn Cazabon, comprises a grid of unique contact prints, with their imagery and the means of its production both being directly generated by the work’s subject matter. Embedded in a simulated waste dump, covered with discarded cell phones and computer parts as well as organic material, expired sheets of gelatin silver paper were sprayed with baking soda, vinegar and water, sandwiched under a heavy sheet of glass, and left in direct sunlight for up to six hours, four prints at a time. The chemical reactions that ensued left visual traces – initially vividly coloured and then gradually fading when fixed – of our society’s flood of toxic consumer items, produced by the decomposing after-effects of those very items.

 

Installation view of works by Marco Breuer

 

Installation view of
Marco Breuer (Germany/US)
Untitled (C-1378), 2013
Untitled (C-1598), 2014
Chromogenic paper, embossed/burned/scraped

Marco Breuer (Germany/US)
Untitled (C-1526), 2014
Chromogenic paper, burned/scraped

Marco Breuer (Germany/US)
Untitled (C-1338), 2013
Chromogenic paper, burned

 

By folding, scoring, burning, scouring, abrading, and/or striking his pieces of photographic paper, German-born, US-based artist Marco Breuer coaxes a wide range of colours, markings and textures from his chosen material. Both touched and tactile, Breuer’s photographs have become surrogate bodies, demonstrating the same fragility and relationship to violence as any other organism. And like any other body, they also bear the marks of time, not of a single instant from the past, like most photographs, but rather of a duration of actions that have left accumulated scars.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at centre, the work of Anne Noble

 

Anne Noble (New Zealand) 'Bruissement: Bee Wing Photograms #10' 2015

 

Anne Noble (New Zealand)
BruissementBee Wing Photograms #10
2015
Pigment print on Canson baryta paper
320 x 110 cm
Courtesy of the artist, Wellington

 

In recent times, the New Zealand artist Anne Noble has made a number of works that address the calamitous collapse of the global honeybee population. In these two cameraless photographs, cascading vertically down the wall like Chinese scroll paintings, we get to see the imprint of thousands of detached bee wings, their determined hum stilled by disease, human interference and a toxic ecology. The haunting beauty of these delicate traceries and strange shadows is also a warning. A beekeeper herself, Noble looks at bees as a living system under stress but also as a model for our own society; as she says, “what is happening to the bees we are likely doing to ourselves.”

 

Installation view of works by Alison Rossiter

Installation view of works by Alison Rossiter

 

Installation views of
Alison Rossiter
(US)
Agfa Cykora, expired January 1942, processed 2013
Eastman Kodak Velox, expired March 1919a, processed 2014
Eastman Kodak Medalist E2, expired September 1956, processed 2010
Eastman Kodak Velox, expired March 1919b, processed 2014
Eastman Kodak PMC No.11, expired September 1937, processed 2013
Defender Argo, exact expiration date unknown, ca. 1910, processed 2013
Velox T4, expiry date October 1, 1940, processed 2008
Unique gelatin silver photographs

 

Since 2007, American photographic artist Alison Rossiter has been buying old expired packets of unexposed film at auction or on the internet, some of them dating from as early as 1900. She then develops these sheets in her darkroom with no further exposure to light, never quite sure what the resulting object-image will look like. The one inscribed Velox T4, expiry date October 1, 1940, for example, was developed in 2008, and displays a Mark Rothko-like grid of pale impressions on a dark ground. These are the chemical traces left behind by the wrapping paper that once protected it from light. We’re looking, then, at an exposure – to chemicals as well as to leaked light – of approximately seventy years.

 

Installation view works by Matt Higgins

 

Installation view of
Matt Higgins (Australia)
Untitled 134-5, 2014
Untitled 254-5, 2014
Untitled 287-5, 2014
Untitled 292-5, 2014
Unique chemigram on gelatin silver photographic paper

 

Australian artist Matt Higgins makes what are called ‘chemigrams,’ created by the interplay of various manual and chemical processes on a single sheet of photographic paper or film. Higgins also uses resists to help create his patterned surfaces, from soft organic substances such as apple syrup to industrial compounds such as epoxy enamel. He thereby returns photography to its historical roots: the desire to coax images from a chemical reaction to light.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

 

Govett-Brewster Art Gallery/Len Lye Centre
Queen St, New Plymouth, New Zealand
Phone: +64 6 759 6060
Email: info@govettbrewster.com

Opening hours:
Wednesday, Friday – Monday
10am – 6pm
Thursday 10am – 9pm

Govett-Brewster Art Gallery/Len Lye Centre website

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31
Jul
16

Exhibition: ‘Emanations: The Art of the Cameraless Photograph’ at the Govett-Brewster Art Gallery/Len Lye Centre, New Plymouth, New Zealand Part 1

Exhibition dates: 29th April – 14 August 2016

Curator: Geoffrey Batchen

 

 

This is how best a contemporary art exhibition can show the work to advantage. Just gorgeous!

The well curated, comprehensive content is complemented by a beautifully paced hang nestled within stunning contemporary art spaces. Labels are not just plonked on the wall, but are discretely displayed on horizontal shelves next to the work – accessible but so as not to interrupt the flow of the work. Coloured walls add to the ambience of the installation and act as an adjunct to the colours of the art. Beautiful modernist contemporary display cabinets keep the spaces fresh and vibrant.

A discussion of the content of the exhibition to follow in part 2 of the posting.

Marcus

.
Many thankx to the Govett-Brewster Art Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images are photographed by Bryan James.

 

 

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“Exploring the art of cameraless photography, encompassing historical, modern and contemporary works. Emanations: The Art of the Cameraless Photograph is the first comprehensive survey of cameraless photography held anywhere in the world, presenting more than 200 examples, from 1839 – when photography’s invention was announced – through to contemporary artists. We present the most complete study of cameraless photography to date, focusing on the cameraless mode from the 1830s through to today and offering a global perspective on this way of working.

The theme of the exhibition is inspired by artist Len Lye’s cameraless photographs from 1930 and 1947, and it’s the first time all 52 of Lye’s photograms have been seen together. Emanations is an opportunity to put Lye’s photographic work in a suitably global context, surrounded by his predecessors, contemporaries and successors. Emanations includes many masterpieces of photographic art and showcases the talents of some of the world’s leading contemporary photographic artists.

The exhibition has work by photographic pioneers William Henry Fox Talbot and Anna Atkins, important modernist photographers Man Ray and László Moholy-Nagy, and many of today’s most significant photographic artists including Walead Beshty, Marco Breuer, Liz Deschenes, Joan Fontcuberta, Christian Marclay, Thomas Ruff, and Hiroshi Sugimoto. Emanations also includes work by both senior and emerging Australian and New Zealand artists, from Anne Noble and Anne Ferran to Andrew Beck and Justine Varga.

The exhibition presents artwork by more than 50 artists hailing from New Zealand, Australia, Japan, Poland, Czechoslovakia, Hungary, France, Germany, Italy, England, Canada and the United States. Almost every photographic process is included in the exhibition – photogenic drawings, calotypes, daguerreotypes, and tintypes, as well as gelatin silver, chromogenic and ink-jet photographic prints, photocopies, verifax and thermal prints.

The exhibition is accompanied by a major book by the same name and on the same theme, co-published by the Govett-Brewster Art Gallery and DelMonico Books/Prestel, based in New York and Munich. The book contains 184 full-page colour plates and a 25,000 word essay by Geoffrey Batchen. The Govett-Brewster is also publishing another book reproducing all the cameraless photographs by Len Lye, along with an essay by Wystan Curnow.

Emanations is curated by Geoffrey Batchen, Professor of Art History at Victoria University of Wellington, and a world-renowned historian and curator of photography.”

Text from the Govett-Brewster Art Gallery website

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Andrew Beck ‘Double Screen’ 2016 part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Andrew Beck ‘Double Screen’ 2016 part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Andrew Beck ‘Double Screen’ 2016 part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views of
Andrew Beck (Canada/New Zealand)
Double Screen
2016
Glass, acrylic paint, gelatin silver photographs

 

In the 1930s, László Moholy-Nagy made art that combined a cameraless photograph, plexiglass and paint. New Zealand artist Andrew Beck works in a similar way to produce sculptural installations that complicate our expectations of the relationship between light and shadow, the natural and the artificial, images and objects, art and reality. He forces us to look very closely at what we are seeing, and even to critically reflect on the act of seeing itself.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Anne Ferran and at right, Joyce Campbell

 

Installation view of Joyce Campbell ‘LA Bloom’ 2002 part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of
Joyce Campbell (New Zealand/US)
LA Bloom
2002
Cibachrome photographs
Courtesy of the artist, Auckland

 

In 2002 the New Zealand photographer Joyce Campbell decided to conduct a microbial survey of Los Angeles, a city in which she lives for part of each year. She swabbed the surfaces of plants and soil from twenty-seven locations chosen out of her Thomas Guide to the city. She then transferred each sample onto a sterilized plexiglass plate of agar and allowed it to grow as a living culture. The cibachrome positive colour contact prints she subsequently made from these plates resemble abstract paintings and yet also offer a critical mapping of the relative fertility of this particular urban landscape, revealing its dependence on the politics of water distribution.

 

Installation view of Aldo Tambellini (Italy/US) 'Videograms' 1969

 

Installation view of
Aldo Tambellini
(Italy/US)
Videogram, 1969
Videogram, 1969
Videogram, 1969
Videogram, 1969
Gelatin silver photographs

 

Although raised in Italy, Aldo Tambellini was working in New York in 1969 when he manipulated the cathode ray tube of a TV set into the shape of a spiral (for this artist, a universal sign of energy) and exposed sheets of light-sensitive paper by laying them over its screen. The calligraphic inscriptions that resulted made his paper look as if it had been scorched from the inside out. These ‘videograms,’ as Tambellini called them, highlight the chaos and chance operations that lurk just beneath the surface of technology’s apparent rationality.

 

Installation view of Shaun Waugh (New Zealand) 'ΔE2000 1.1' 2014 part of the exhibition of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Shaun Waugh (New Zealand) 'ΔE2000 1.1' 2014 part of the exhibition of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Shaun Waugh (New Zealand) 'ΔE2000 1.1' 2014 part of the exhibition of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views of
Shaun Waugh (New Zealand)
ΔE2000 1.1
2014
24 Agfa boxes with mounted solid colour inkjet photographs

 

This work by New Zealand artist Shaun Waugh began with the purchase of empty boxes that once held Agfa photographic paper. Waugh then took readings of all four sides of the inside lip of each box lid using a spectrophotometer, employing this data and Photoshop to generate a solid orange-red inkjet print. The box lid is used to frame a two-dimensional version of itself, bringing analogue and digital printing into an uncomfortably close proximity to create a memorial to a kind of photography that is now defunct. Hung salon style, like so many small paintings, Waugh’s work manages to turn the photograph inside out, and thus into something other than itself.

 

Wall text from the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Wall text from the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery with, at left, Anne Ferran and, at right, Adam Fuss

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Anne Ferran and at right, Adam Fuss

 

Installation view of the work of Anne Ferran

 

Installation view of
Anne Ferran (Australia)
Untitled, 1998
Untitled, 1998
Untitled, 1998
Untitled (baby’s petticoat), 1998
Untitled (collar), 1998
Untitled (baby’s bonnet), 1998
Untitled (sailor suit), 1998
Untitled (shirts), 1998

Unique gelatin silver photographs

 

In 1998 Australian artist Anne Ferran was offered an artist-in-resident’s position at an historic homestead not far from Sydney that had been occupied by successive generations of the same family since 1813. Ferran spent six months systematically making contact prints using the dresses, bodices, skirts, petticoats, and collars still contained in the house. Hovering in a surrounding darkness, softly radiating an inner light, the ghostly traces of these translucent garments now act as residual filaments for a century of absorbed sunshine. Many of them have been patched over the years and their signs of wear and repair are made clear. This allows us to witness a history of the use of each piece of clothing, seeing inside them to those small and skilful acts of home economy – the labour of women – usually kept hidden from a public gaze.

 

Anne Ferran (Australia) 'Untitled (baby's bonnet)' 1998

 

Anne Ferran (Australia)
Untitled (baby’s bonnet)
1998
Unique gelatin silver photograph

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with, at left, Adam Fuss and, at right, Lisa Clunie

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Adam Fuss and at right, Lisa Clunie

 

installation view of Adam Fuss (UK/Australia/US) ‘Caduceus’ 2010 (left) and ‘Untitled’ 1991 (right)

 

Installation view of Adam Fuss (UK/Australia/US) Caduceus 2010 (left) and Untitled 1991 (right)

 

Born in England, raised in Australia, and resident in New York, Adam Fuss has produced a diverse range of large cameraless photographs since the 1980s, asking his light-sensitive paper to respond to the physical presence of such phenomena as light, water, a slithering snake, flocks of birds, and sunflowers.

 

Adam Fuss (UK/Australia/US) 'Untitled' 1991

 

Adam Fuss (UK/Australia/US)
Untitled
1991
Type C photograph

 

Lisa Clunie (New Zealand) ‘Fold I’ 2014

 

Lisa Clunie (New Zealand)
Fold I
2014
Silver gelatin photograph

 

The work of New Zealand artist Lisa Clunie looks back to the work of pioneer modernist László Moholy-Nagy in order to manifest the idea that our lives are shaped by a continual play of forces. Like Moholy, she wets her photographic paper and then tightly folds it, before moving the paper back and forth under her enlarger, selectively exposing these folds to the ‘force’ of light. The resulting work reminds us that a photograph has weight, surface, texture, tension and edges.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at right, the work of Robert L. Buelteman

 

Installation view of Robert L. Buelteman. ‘Cannabis sativa’ 2002 (left) and ‘Eucalyptus polyanthemos’ 2000 (right)

 

Installation view of
Robert L. Buelteman (US)
Cannabis sativa (left)
2002
Digital chromogenic development photograph

Robert L. Buelteman (US)
Eucalyptus polyanthemos (right)
2002
Digital chromogenic development photograph

 

The San-Franciscan artist Robert Buelteman takes his leaves and other botanical specimens and slices them into paper-thin sections, before charging them, in a complicated and dangerous process, with a pulse of 40,000 volts of electricity. This leaves behind a colorized trace on his photographic paper, a photogram in which these plants appear to be aflame, as if emitting an energy all their own. Hovering between life and death, this is a nature that seems to be on the cusp of its transmutation into something else entirely.

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at centre, Robert Owen and at right, Joan Fontcuberta

 

Robert Owen (Australia) ‘Endings (Rothko died today) - Kodachrome 64, No. 21, 26/02/1970’ 2009

 

Robert Owen (Australia)
Endings (Rothko died today) – Kodachrome 64, No. 21, 26/02/1970
2009
Pigment ink-jet print

 

The photographic work of Australian artist Robert Owen is part of a broader tendency on the part of contemporary artists to reflect in morbid terms on aspects of photography’s past. Owen has been collecting film stubs since 1968. Although better known as a painter and sculptor, he recently decided to print these end strips of film as a series of large colour photographs, paying homage to this residue of the Kodak era in a chronological sequence of readymade chromatic fields. This one was collected on the day that the American abstract painter Mark Rothko killed himself.

 

Adam Fuss (UK/Australia/US) 'Untitled' (from the series 'My Ghost') 2001

 

Adam Fuss (UK/Australia/US)
Untitled (from the series My Ghost)
2001
Unique gelatin silver photograph

 

In his series, titled My Ghost, Adam Fuss put together a body of contact photographs of such things as plumes of smoke, patterns of light, a butterfly, a swan and a baptism dress. As his title suggests, Fuss’s work aims to evoke rather than describe; for all their evident tactility, these photographs are meant as metaphors, as prayers, perhaps even as poems.

 

Adam Fuss both 'Untitled' 1989

 

Installation view of
Adam Fuss (UK/Australia/US)
Untitled
1989
Cibachrome photograph

Adam Fuss (UK/Australia/US)
Untitled
1989
Cibachrome photograph

 

Installation view of Joan Fontcuberta (Spain). ‘MN 62: OPHIUCUS (NGC 6266), AR 17 h. 01,2 min. / D -30º 07’’ (left) and ‘LAMBDA CORONAE AUSTRALIS (Mags 5,1/9,7 Sepn 29,2" AP 214º), AR 18 h 43,8 min. / D -38º 19’’ (right) both 1993

Installation view of Joan Fontcuberta (Spain). ‘MN 62: OPHIUCUS (NGC 6266), AR 17 h. 01,2 min. / D -30º 07’’ (left) and ‘LAMBDA CORONAE AUSTRALIS (Mags 5,1/9,7 Sepn 29,2" AP 214º), AR 18 h 43,8 min. / D -38º 19’’ (right) both 1993

 

Installation views of
Joan Fontcuberta (Spain)
MN 62: OPHIUCUS (NGC 6266), AR 17 h. 01,2 min. / D -30º 07′ (left)
LAMBDA CORONAE AUSTRALIS (Mags 5,1/9,7 Sepn 29,2″ AP 214º), AR 18 h 43,8 min. / D -38º 19′ (right)
both 1993
From the Constellations series
Cibachrome photographs

 

Photographs from the Constellations series by Spanish artist Joan Fontcuberta come filled with fields of sparkling blackness, their speckled surfaces redolent of infinite space and twinkling stars. Their titles imply we are looking upwards towards the heavens. But this artist’s prints actually record dust, crushed insects and other debris deposited on the windscreen of his car, a trace of the evidence of his own rapid passage through terrestrial space and time. The artist applied sheets of 8-by-10-inch film directly onto the glass windscreen and shone a light through, creating photograms which were then made into glossy cibachrome prints.

 

Installation view of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Detail of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Detail of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Detail of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Detail of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Detail of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views and detail of
Paul Hartigan (New Zealand)
Colourwords
1980-81
Colour photocopy

 

Consistently defined by a subversive edge and a darkly witty humour, the work of New Zealand artist Paul Hartigan is often subtly permeated by astute social and political perceptions. Shortly after they were introduced into New Zealand in 1980, Hartigan explored the creative possibilities of a colour photocopying machine, making a series of images in which words and found objects ironically refer to each other in an endless loop. With the objects arranged to spell out their own colour, each picture offers an oscillation of word and meaning, flatness and dimension, art and detritus.

 

Installation view of Gavin Hipkins (New Zealand) ‘The Coil’ 1998 (left) and Lucinda Eva-May as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of Gavin Hipkins (left) and Lucinda Eva-May (right) as part of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

Installation view of Gavin Hipkins (New Zealand) ‘The Coil’ 1998

 

Installation view of
Gavin Hipkins (New Zealand)
The Coil
1998
Silver gelatin photographs

 

Inspired by the kinetic films of Len Lye, in the 1990s Gavin Hipkins made a series of cameraless photographs that play with sequence and implied movement. The 32 images that make up The Coil were made by resting polystyrene rings on sheets of photographic paper and then exposing them to light.

 

Installation view of Lucinda Eva-May (Australia) 'Unity in light #6' 2012 (left) 'Unity in light #9' 2012 (right)

 

Installation view of
Lucinda Eva-May (Australia)
Unity in light #6, 2012 (left)
Unity in light #9, 2012 (right)
C-type prints

 

Australian artist Lucinda Kennedy has sought to capture a phenomenological representation of the feelings and sensations of sexual intercourse through the direct imprint on sheets of photographic paper of this most primal of human interactions. Turned into a single blurred organism by the extended duration of the exposure, the artist and her partner become an abstraction, thereby aptly conjuring an experience that has always been beyond the capacity of mere description.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Thomas Ruff, and at right, Justine Varga

 

Installation view of Thomas Ruff (Germany) 'r.phg.07_II' 2013

Installation view of Thomas Ruff (Germany) 'r.phg.07_II' 2013

 

Installation views of
Thomas Ruff (Germany)
r.phg.07_II
2013
Chromogenic print

 

Thomas Ruff (Germany) 'r.phg.07_II' 2013

 

Thomas Ruff (Germany)
r.phg.07_II
2013
Chromogenic print

 

German artist Thomas Ruff uses his computers to construct virtual objects with simulated surfaces and to calculate the lights and shadows they might cast in different compositions. He then prints the results, in colour and at very large scale. Combining variations of spheres, curves, zig-zags and sharp edges, all set within richly coloured surrounds, Ruff’s images are both untethered abstractions and historical ciphers. Although referred to by the artist as photograms, the final prints are perhaps better conceived as being about the photogram, studiously replaying an analogue process in digital terms so as to make a spectacle of its logic.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Shimpei Takeda and at right, Justine Varga

 

Justine Varga (Australia/UK) 'Exit (Red State)' 2014-15

 

Justine Varga (Australia/UK)
Exit (Red State)
2014-15
Chromogenic photograph

 

Justine Varga (Australia/UK) 'Desklamp' 2011-12

 

Justine Varga (Australia/UK)
Desklamp
2011-12
Chromogenic photograph

 

Australian artist Justine Varga creates photographic works from an intimate and often prolonged exchange between a strip of film and the world that comes to be inscribed on it. Desklamp involved the year-long exposure of a large format negative placed on top of the artist’s desk lamp. Exit was derived from a similar piece of film that was scarred and weathered during a three-month exposure on her windowsill during a residency in London. Both were then turned into luscious colour photographs in the darkroom via various printing procedures.

 

 

Govett-Brewster Art Gallery/Len Lye Centre
Queen St, New Plymouth, New Zealand
Phone: +64 6 759 6060
Email: info@govettbrewster.com

Opening hours:
Wednesday, Friday – Monday
10am – 6pm
Thursday 10am – 9pm

Govett-Brewster Art Gallery/Len Lye Centre website

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03
Oct
14

Exhibition: ‘A World of Its Own: Photographic Practices in the Studio’ at the Museum of Modern Art (MoMA), New York Part 2

Exhibition dates: 8th February – 2nd November 2014

The Edward Steichen Photography Galleries, third floor

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

 

Many thankx to MoMA for allowing me to publish four of the photographs in the posting. The rest of the images were sourced from the Internet in order to give the reader a more comprehensive understanding of what this exhibition is actually about – especially if you are thousands of miles away and have no hope of ever seeing it!

Please click on the photographs for a larger version of the image.

 

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

 

 

A Neutral Space

Harry Callahan (American, 1912–1999) 'Eleanor' 1948

 

Harry Callahan (American, 1912–1999)
Eleanor
1948
Gelatin silver print
4 1/2 x 3 1/4″ (11.4 x 8.3 cm)
Gift of the artist

 

Imogen Cunningham (American, 1883-1976) 'Cala Leaves' 1932

 

Imogen Cunningham (American, 1883-1976)
Cala Leaves
1932
Gelatin silver print
9 9/16 x 7 9/16″ (24.3 x 19.2 cm)
Gift of Paul F. Walter

 

Richard Avedon (American, 1923-2004) 'Carl Hoefert, unemployed blackjack dealer, Reno, Nevada', from the series 'In the American West' August 30, 1983

 

Richard Avedon (American, 1923-2004)
Carl Hoefert, unemployed blackjack dealer, Reno, Nevada, from the series In the American West
August 30, 1983
Gelatin silver print, printed 1985
47 1/2 x 37 1/2″ (120.6 x 95.2 cm)
Gift of the artist

 

Peter Hujar (American, 1934-1987) 'David Wojnarowicz' 1981

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz
1981
Gelatin silver print
14 x 14″ (35.6 x 35.6 cm)
The Fellows of Photography Fund

 

Peter Hujar (American, 1934-1987) 'Pascal (Paris)' 1980

 

Peter Hujar (American, 1934-1987)
Pascal (Paris)
1980
Gelatin silver print
14 5/8 x 14 11/16″ (37.1 x 37.3 cm)
Gift of David Wojnarowicz

 

Valérie Belin (French, born 1964) 'Untitled' from the series 'Mannequins' 2003

 

Valérie Belin (French, born 1964)
Untitled from the series Mannequins
2003
Gelatin silver print
61 x 49″ (154.9 x 124.5 cm)
Purchase

 

Laurie Simmons (American, born 1949) Allan McCollum (American, born 1944) 'Untitled' from the series 'Actual Photos' 1985

 

Laurie Simmons (American, born 1949)
Allan McCollum (American, born 1944)
Untitled from the series Actual Photos
1985
Silver dye bleach print
9 5/16 x 6 5/16″ (23.7 x 16.1 cm)
Joel and Anne Ehrenkranz Fund

 

Josephine Meckseper (German, born 1964) 'Blow-Up (Michelli, Knee-Highs)' 2006

 

Josephine Meckseper (German, born 1964)
Blow-Up (Michelli, Knee-Highs)
2006
Chromogenic color print
78 5/8 x 62 5/8″ (199.7 x 159.1 cm)
Fund for the Twenty-First Century

 

Virtual Spaces

Christian Marclay (American and Swiss, born 1955) 'Allover (Genesis, Travis Tritt, and Others)' 2008

 

Christian Marclay (American and Swiss, born 1955)
Allover (Genesis, Travis Tritt, and Others)
2008
Cyanotype
Composition and sheet: 51 1/2 x 97 3/4″ (130.8 x 248.3 cm)
Publisher and printer: Graphicstudio, University of South Florida, Tampa
Acquired through the generosity of Steven A. and Alexandra M. Cohen

 

Thomas Ruff (German, born 1958) 'phg.06' 2012

 

Thomas Ruff (German, born 1958)
phg.06
2012
Chromogenic color print
100 3/8 x 72 13/16″ (255 x 185 cm)
Courtesy David Zwirner, New York/ London

 

Man Ray (American, 1890-1976) 'Rayograph' 1923

 

Man Ray (American, 1890-1976)
Rayograph
1923
Gelatin silver print
9 7/16 x 7″ (23.9 x 17.8 cm)
Purchase

 

György Kepes (American, born Hungary. 1906-2001) 'Abstraction - Surface Tension #2' c. 1940

 

György Kepes (American, born Hungary. 1906-2001)
Abstraction – Surface Tension #2
c. 1940
Gelatin silver print
14 x 11 1/8″ (35.6 x 28.3 cm)
Gift of the artist

 

The Studio, from Laboratory to Playground

Barbara Morgan (American, 1900-1992) 'Pure Energy and Neurotic Man' 1941

 

Barbara Morgan (American, 1900-1992)
Pure Energy and Neurotic Man
1941
Gelatin silver print, printed 1971
19 1/8 x 15 1/2″ (48.6 x 39.3 cm)
Gift of the artist

 

Barbara Morgan (American, 1900-1992) 'Cadenza' 1940

 

Barbara Morgan (American, 1900-1992)
Cadenza
1940
Gelatin silver print, printed 1971
17 7/8 x 15″ (45.4 x 38.2 cm)
Gift of the artist

 

Berenice Abbott (American, 1898-1991) 'Focusing Water Waves, Massachusetts Institute of Technology' 1958-61

 

Berenice Abbott (American, 1898-1991)
Focusing Water Waves, Massachusetts Institute of Technology
1958-61
Gelatin silver print
6 9/16 x 7 15/16″ (16.7 x 20.1 cm)
Gift of Ronald A. Kurtz

 

Berenice Abbott (American, 1898-1991) 'Wave Pattern with Glass Plate, Massachusetts Institute of Technology' 1958-61

 

Berenice Abbott (American, 1898-1991)
Wave Pattern with Glass Plate, Massachusetts Institute of Technology
1958-61
Gelatin silver print
6 9/16 x 7 9/16″ (16.7 x 19.2 cm)
Gift of Ronald A. Kurtz

 

Heinz Hajek-Halke (German, 1898-1983) 'Embrace (Umarmung)' 1947-51

 

Heinz Hajek-Halke (German, 1898-1983)
Embrace (Umarmung)
1947-51
Gelatin silver print
15 5/8 x 11 3/8″ (39.7 x 29.0 cm)
Gift of the artist

 

Harold Edgerton (American, 1903-1990) 'Lead Falling in a Shot Tower' 1936

 

Harold Edgerton (American, 1903-1990)
Lead Falling in a Shot Tower
1936
Gelatin silver print
7 9/16 x 9 1/2″ (19.3 x 24.2 cm)
Gift of Gus and Arlette Kayafas

 

Harold Edgerton (American, 1903-1990) 'Bouncing Ball Bearing' 1962

 

Harold Edgerton (American, 1903-1990)
Bouncing Ball Bearing
1962
Gelatin silver print
9 9/16 x 7 11/16″ (24.3 x 19.5 cm)
Gift of Gus and Arlette Kayafas

 

Harold Edgerton (American, 1903-1990) 'This is Coffee' 1933

 

Harold Edgerton (American, 1903-1990)
This is Coffee
1933
Gelatin silver print
9 7/8 x 12 7/8″ (25.1 x 32.7 cm)
Gift of the artist

 

Roman Signer (Swiss, born 1938) 'Sand Curtain (Sandvorhang)' 1983

 

Roman Signer (Swiss, born 1938)
Sand Curtain (Sandvorhang)
1983
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Stairs (Sandtreppe)' 1975

 

Roman Signer (Swiss, born 1938)
Sand Stairs (Sandtreppe)
1975
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Rubber Motor (Gummimotor)' 1983

 

Roman Signer (Swiss, born 1938)
Rubber Motor (Gummimotor)
1983
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Cone (Sandkegel)' 1984

 

Roman Signer (Swiss, born 1938)
Sand Cone (Sandkegel)
1984
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Pillar (Sandturm)' 1987

 

Roman Signer (Swiss, born 1938)
Sand Pillar (Sandturm)
1987
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand (Sand)' 1988

 

Roman Signer (Swiss, born 1938)
Sand (Sand)
1988
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Umbrella (Schirm)' 1989

 

Roman Signer (Swiss, born 1938)
Umbrella (Schirm)
1989
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Barrel (Fass)' 1985

 

Roman Signer (Swiss, born 1938)
Barrel (Fass)
1985
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Carriage (Wagen)' 1982

 

Roman Signer (Swiss, born 1938)
Carriage (Wagen)
1982
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Tube (Schlauch)' 1982

 

Roman Signer (Swiss, born 1938)
Tube (Schlauch)
1982
Super 8 film transferred to video (color, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (b. 1938 in Appenzell, Switzerland) is principally a visual artist who works in sculpture, installations photography, and video. Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category.It is often being described as following the tradition of the Swiss engineer-artist, such as Jean Tinguely and Peter Fischli & David Weiss.

Signer’s “action sculptures” involve setting up, carrying out, and recording “experiments” or events that bear aesthetic results. Day-to-day objects such as umbrellas, tables, boots, containers, hats and bicycles are part of Signer’s working vocabulary. Following carefully planned and strictly executed and documented procedures, the artist enacts and records such acts as explosions, collisions, and the projection of objects through space. Signer advocates ‘controlled destruction, not destruction for its own sake’. Action Kurhaus Weissbad (1992) saw chairs catapulted out of a hotel’s windows; Table (1994) launched a table into the sea on four buckets; Kayak (2000) featured the artist being towed down a road in a canoe. In documenta 8 (1987), he catapulted thousands of sheets of paper into the air to create an ephemeral wall in the room for a brief, but all the more intense moment. As the Swiss representative at the Venice Biennale in 1999, he made 117 steel balls fall from the ceiling on to lumps of clay lying on the ground. Many of his happenings are not for public viewing, and are only documented in photos and film. Video works like Stiefel mit Rakete (Boot with Rocket) are integral to Signer’s performances, capturing the original setup of materials that self-destruct in the process of creating an emotionally and visually compelling event. (Text from Wikipedia website)

 

 

Kiki Smith (American, born Germany 1954) 'My Secret Business' 1993

 

Kiki Smith (American, born Germany 1954)
My Secret Business
1993
Lithograph
23 9/16 • 18 1/8″ (59.8 • 46 cm)
Gift of Howard B. Johnson

 

Adrian Piper (American, born 1948) 'Food for the Spirit #2' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #2
1971, printed 1997
Gelatin silver print
14 9/16 x 15″ (37 x 38.1 cm)
The Family of Man Fund

 

Adrian Piper (American, born 1948) 'Food for the Spirit #8' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #8
1971, printed 1997
Gelatin silver print
14 9/16 x 14 15/16″ (37 x 38 cm)
The Family of Man Fund

 

Adrian Piper (American, born 1948) 'Food for the Spirit #14' 1971, printed 1997

 

Adrian Piper (American, born 1948)
Food for the Spirit #14
1971, printed 1997
Gelatin silver print
14 9/16 x 15″ (37 x 38.1 cm)
The Family of Man Fund

 

Harold Edgerton (American, 1903-1990) 'Indian Club Demonstration' 1939

 

Harold Edgerton (American, 1903-1990)
Indian Club Demonstration
1939
Gelatin silver print
13 x 10″ (33.0 x 26.0 cm)
Gift of the artist

 

Harold Edgerton (American, 1903-1990) 'Bobby Jones with an Iron' 1938

 

Harold Edgerton (American, 1903-1990)
Bobby Jones with an Iron
1938
Gelatin silver print
9 5/8 x 11 1/2″ (24.4 x 29.2 cm)
Gift of the artist

 

John Divola (American, born 1949) 'Untitled' from the series 'Vandalism' 1974

 

John Divola (American, born 1949)
Untitled from the series Vandalism
1974
Gelatin silver print
7 1/16 x 7 1/16″ (18.0 x 18.0 cm)
Purchase

 

John Divola (American, born 1949) 'Untitled' from the series 'Vandalism' 1974

 

John Divola (American, born 1949)
Untitled from the series Vandalism
1974
Gelatin silver print
7 x 7″ (17.9 x 17.9 cm)
Purchase

 

Robert Frank (American, born Switzerland 1924) 'Boston' (detail) March 20, 1985

 

Robert Frank (American, born Switzerland 1924)
Boston (detail)
March 20, 1985
Color instant prints (Polaroids) with hand-applied paint and collage
each 27 3/4 x 22 1/4″ (70.3 x 56.4 cm)
Acquired through the generosity of Polaroid Corporation

 

Anna Blume (German, born 1937) Bernhard Blume (German, born 1937) 'Kitchen Frenzy (Küchenkoller)' (detail) 1986

 

Anna Blume (German, born 1937)
Bernhard Blume (German, born 1937)
Kitchen Frenzy (Küchenkoller) (detail)
1986
Gelatin silver prints
Each 66 15/16 x 42 1/2″ (170 x 108 cm)
Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art

 

 

The Museum of Modern Art
11 West 53 Street
New York, NY 10019
Phone: (212) 708-9400

Opening hours:
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Open seven days a week

MoMA 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, 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: ‘Padlocks/People’ 1994-96

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