Posts Tagged ‘color photography

20
May
18

Exhibition: ‘Stephen Shore’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 19th November, 2017 – 28th May, 2018

Stephen Shore is organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, MoMA.

 

 

Stephen Shore (American, b. 1947) 'West 9th Avenue, Amarillo, Texas, October 2, 1974'

 

Stephen Shore (American, b. 1947)
West 9th Avenue, Amarillo, Texas, October 2, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

 

The truth in the detail of day-to-day life

1970s colour photography is the key period in the work of Stephen Shore. These classical, formal colour photographs capture “mundane aspects of American popular culture in straightforward, unglamorous images.” They are what made him famous. They are, historically, conceptually and emotionally, his most effective means of communication as an artist.

American Surfaces and Uncommon Places made Shore “one of the most prominent figures of the American New Color movement,” showing colour just as colour.

I know that is a strange thing to say, but Shore was showing the world in a different light… and he was using an aesthetic based on the straight forward use of colour. Colour is just there, part of the form of the image. Of course there are insightful subjective judgements about what to photograph in American surburbia, but this subjectivity and the use of colour within it is subsumed into the song that Shore was composing. It all comes back to music. Here’s a Mozart tune, this is his aesthetic, for eternity.

I remember seeing two vintage Stephen Shore chromogenic colour prints from 1976 where the colours were still true and had not faded in the exhibition American Dreams: 20th century photography from George Eastman House at Bendigo Art Gallery. This was incredible experience – seeing vintage prints from one of the masters of colour photography; noticing that they are not full of contrast like a lot of today’s colour photographs – more like a subtle Panavision or Technicolor film from the early 1960s. Rich, subtle, beautiful hues with the photograph containing this amazing presence, projected through the construction of the image and the physicality of the print.

Shore has a fantastic eye and his colour photographs are beautifully resolved. The subjectivity is not pushed, because his song was in tune, and he just sang it. Like his contemporaries, Wiliam EgglestonRichard Misrach and Joel Meyerwitz, there are some artists who just know how to play the tune.

Marcus

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

 

Stephen Shore encompasses the entirety of the artist’s work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. One of the most significant photographers of our time, Stephen Shore (American, b. 1947) has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, switching from cheap automatic cameras to large-format cameras in the 1970s, pioneering the use of colour before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing, and social media.

The artist’s first survey in New York to include his entire career, this exhibition will both allow for a fuller understanding of Shore’s work, and demonstrate his singular vision – defined by an interest in daily life, a taste for serial and often systematic approaches, a strong intellectual underpinning, a restrained style, sly humour, and visual casualness – and uncompromising pursuit of photography’s possibilities.

 

 

Stephen Shore (American, b. 1947) 'New York, New York' 1964

 

Stephen Shore (American, b. 1947)
New York, New York
1964
Gelatin silver print
9 1/8 × 13 1/2″ (23.2 × 34.3 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) '1:35 a.m., in Chinatown Restaurant, New York, New York' 1965-67

 

Stephen Shore (American, b. 1947)
1:35 a.m., in Chinatown Restaurant, New York, New York
1965-67
Gelatin silver print, printed c. 1995
9 × 13 1/2″ (22.9 × 34.3 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Kanab, Utah, June 1972'

 

Stephen Shore (American, b. 1947)
Kanab, Utah, June 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8″ (7.8 × 11.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Amarillo, Texas, July 1972'

 

Stephen Shore (American, b. 1947)
Amarillo, Texas, July 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8″ (7.8 × 11.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Washington, D.C., November 1972'

 

Stephen Shore (American, b. 1947)
Washington, D.C., November 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8″ (7.8 × 11.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Second Street, Ashland, Wisconsin, July 9, 1973'

 

Stephen Shore (American, b. 1947)
Second Street, Ashland, Wisconsin, July 9, 1973
1973. Chromogenic colour print, printed 2017
17 × 21 3/4″ (43.2 × 55.2 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'U.S. 97, South of Klamath Falls, Oregon, July 21, 1973'

 

Stephen Shore (American, b. 1947)
U.S. 97, South of Klamath Falls, Oregon, July 21, 1973
1973
Chromogenic colour print, printed 2002
17 3/4 x 21 15/16″ (45.1 x 55.7 cm)
The Museum of Modern Art, New York. The Photography Council Fund
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Breakfast, Trail's End Restaurant, Kanab, Utah, August 10, 1973'

 

Stephen Shore (American, b. 1947)
Breakfast, Trail’s End Restaurant, Kanab, Utah, August 10, 1973
1973
Chromogenic colour print
16 7/8 × 21 1/4″ (42.8 × 54 cm)
The Museum of Modern Art, New York. Purchase
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'West Third Street, Parkersburg, West Virginia, May 16, 1974'

 

Stephen Shore (American, b. 1947)
West Third Street, Parkersburg, West Virginia, May 16, 1974
1974
Chromogenic colour print
8 × 10 1/2″ (20.3 × 26.7 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Lookout Hotel, Ogunquit, Maine, July 16, 1974'

 

Stephen Shore (American, b. 1947)
Lookout Hotel, Ogunquit, Maine, July 16, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

 

The Museum of Modern Art presents the most comprehensive exhibition ever organised of photographer Stephen Shore’s work, on view from November 19, 2017, until May 28, 2018. The exhibition tracks the artist’s work chronologically, from the gelatin silver prints he made as a teenager to his current work with digital platforms. Stephen Shore establishes the artist’s full oeuvre in the context of his time – from his days at Andy Warhol’s Factory through the rise of American colour photography and the transition to large-scale digital photography – and argues for his singular vision and uncompromising pursuit of photography’s possibilities. The exhibition will include hundreds of photographic works along with additional materials including books, ephemera, and objects. Stephen Shore is organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, MoMA.

Born in 1947, Shore spearheaded the New Color Photography movement in the United States in the 1970s, and became a major catalyst in the renewal of documentary photography in the late 1990s, both in the US and Europe, blending the tradition of American photographers such as Walker Evans with influences from various artistic movements, including Pop, Conceptualism, and even Photo-Realism. Shore’s images seem to achieve perfect neutrality, in both subject matter and approach. His approach cannot be reduced to a style but is best summed up with a few principles from which he has seldom deviated: the search for maximum clarity, the absence of retouching and reframing, and respect for natural light. Above all, he exercises discipline, limiting his shots as much as possible – one shot of a subject, and very little editing afterward.

Shore started developing negatives from his parents when he was only six, received his first camera when he was nine, and sold prints to Edward Steichen, then director of MoMA’s Department of Photography, at the age of 14. In the early 1960s Shore became interested in film, both narrative and experimental, and he showed his short film Elevator in 1965 at the Film-Makers’ Cinematheque, where he first met Andy Warhol. That spring, he dropped out of high school and started photographing at Warhol’s studio, The Factory, initially on an almost daily basis, then more sporadically, until 1967. Elevator has been restored by conservators and will be screened in the exhibition for the first time since the 1960s.

In 1969, Shore used serial black-and-white projects to deconstruct the medium and rebuild it on a more detached, intellectual foundation. In these works, many shot in Amarillo, Texas, with his friend Michael Marsh as his main model, Shore was striving to free himself from certain photographic conventions: the concept of photography as the art of creating isolated and “significant” images, and the related cult of the “decisive moment”; perfect framing; and the expressive subjectivity of the photographer. The principle of multiplicity prevails in Shore’s work of that period – series, suites, and sequences that resist all narrative temptation. In their attempt to eliminate subjectivity, these series are related to a number of Conceptual photographic works by other artists of the same period.

In November 1971 Shore curated an exhibition called All the Meat You Can Eat at the 98 Greene Street Loft. Embracing a century of photography, the show was composed largely of found images collected by Shore and two friends, Weston Naef, then a curator at The Metropolitan Museum of Art, and Michael Marsh. It also included images by Shore, such as shots taken with a Mick-a-Matic camera and colour photos that would serve as the basis for the postcards in his series Greetings from Amarillo, “Tall in Texas.” Stephen Shore will include a reconstructed version of this display, using material from Shore’s archives – some that was originally in the exhibition and some that has been selected by Shore for this installation.

In the early 1970s Shore turned to colour photography, a format that at that time was still largely overlooked by art photographers. In March 1972, he started taking snapshots of his daily life, embarking in June and July of the same year on a road trip to the southern US. For two months he photographed his everyday life in an almost systematic way – unremarkable buildings, main streets, highway intersections, hotel rooms, television screens, people’s faces, toilet seats, unmade beds, a variety of ornamental details, plates of food, shop windows, inscriptions, and commercial signs. In September and October 1972, images from the series were shown at Light Gallery in New York under the title American Surfaces. The MoMA display of this work echoes that initial presentation, in which the small Kodacolor prints were attached directly to the wall, unframed, in a grid of three rows.

Begun in 1973 and completed almost 10 years later, Shore’s next project, Uncommon Places, inhabits the same world and deals with the same themes as American Surfaces. Yet because of Shore’s move from a handheld 35mm camera to a large-format one, Uncommon Places features fewer details and close-ups and a more detached approach. Appearing in the context of accelerated change in the national landscape, especially in areas of suburban sprawl, it betrays a more contemplative reading of individual images. Before being published as a book in 1982, the series was exhibited both in the US and abroad, especially in Germany, making Shore one of the most prominent figures of the American New Color movement. Though he is best known for his large-format work of this period, Shore was at the same time experimenting with other photographic formats. The exhibition will include a selection of stereo images he made in 1974 that were never published, and have not been exhibited since 1975.

While working on what would become Uncommon Places, Shore began to accept photographic commissions, not only for editorial work but also for institutions and companies. If some of these commissions seem quite distant from Uncommon Places, most of them still show some affinity with the series in their attention to architecture and exploration of “Americanness.” He took photographs focusing on contemporary vernacular architecture that the architects Robert Venturi and Denise Scott Brown used in their 1976 exhibition Signs of Life: Symbols in the American City. This exhibition will feature some of the original, gridded transparencies from Signs of Life that incorporate images by Shore and other photographers, not seen since 1976. Finally, some commissions he did for magazines alternate between urban landscapes, portraits, and architectural details in a direct extension of Uncommon Places. Shore would include a number of commissioned photographs in his personal body of work, showing how porous the borders were between the two groups of images, and Stephen Shore will include examples both of the photographs in context in books and periodicals, and of others that were not subsequently published.

Starting in the late 1970s, Shore gradually abandoned urban and suburban areas and turned to the natural landscape, a subject he would concentrate on almost exclusively during the next decade. These included the landscapes of Montana (1982-83), where he settled with his wife in 1980, Texas (1983-88), and the Hudson Valley (1984-86), where he moved in 1982, but also more international locations: the Highlands of Scotland (1988); Yucatán, in Mexico (1990); and finally the Po Valley, with a series in Luzzara, Italy (1993). This period corresponds also to a reduced public visibility of his photographic work, marked by fewer exhibitions, publications, and commissions.

In the early 2000s Shore began experimenting with digital tools and technologies that had only recently become available. Between 2003 and 2010, he made dozens of print-on-demand books, which were each printed in limited editions of 20 copies, making them similar to artist’s books. But the ease of production, speed of execution, democratic nature of the technique used, and modesty of the finished product are in direct line with the snapshots of American Surfaces and the immediacy of Polaroid images. In the choice of subjects and approaches, the series of books seems both literally and figuratively to be a mini-version of Shore’s entire oeuvre, blending and reworking the themes that have always been important to him – an exhaustive exploration of a particular subject or place, a penchant for the vernacular, an interest in sequence, a tendency toward autobiography, a search for a kind of immediacy, and a dry sense of humour – while still retaining its autonomy and specificity. A few years later he created Winslow, Arizona in a single day in 2013. The precise temporal duration of the series – one day from sunrise to sunset – links it to some of Shore’s print-on-demand books, but it takes on a new performance-based dimension. Over 180 of the pictures Shore took that day were presented, unedited and in the order in which they were shot, in a slide show, projected on a drive-in screen in Barstow, California, a few days after he took them.

In 1996 and 1997 Shore, who had always been fascinated by archaeology, undertook photographic projects around excavation sites in Israel and Italy, shooting solely in black and white. Within the archaeological remains of these vanished cities, Shore was especially interested in the human dimension, both domestic and secular, seen in bones, pottery, and vestiges of dwellings and shops. Then, between September of 2009 and the spring of 2011, Shore returned to the region five times, photographing throughout the entire territory from north to south, or From Galilee to the Negev, as he titled the book he published of a selection of his photographs in Israel and the West Bank. As indicated by the title and structure of the book, with chapters organised geographically, the project was guided by a topographical exploration. It mixes various temporalities – which are echoed by the diversity of the images – bringing together the “short term” of people and events with and the “long term” of the landscape and planet.

The photographs Shore took in Ukraine in the summer of 2012 and the fall of 2013 have as their subject the country’s Jewish community, specifically survivors of the Holocaust who are assisted today by the Survivor Mitzvah Project. Following three years of photographing primarily in Israel, the series provided Shore with the opportunity to continue working with subjects related to his Jewish roots. In a break from his norm, Shore structured the Ukraine series around the human figure. Survivors in Ukraine, the book of photographs he published in 2015, provides accounts of 22 survivors, all more than 80 years old, through a wide range of images: close-ups, busts, and full-length portraits; fragmentary portraits of hands, arms, and legs; views of dwellings and interiors; and still-life details of meals, belongings, and memorials to departed family members.

In the summer of 2014 Shore decided to devote most of his photographic activity to Instagram, where he posts images almost every day. While he continues to take on commissions, the bulk of his personal production over the past three years has been through the social networking app; he considers this output his current “work.” With Instagram Shore has reestablished a rapid, instantaneous practice, one that requires him to be on constant alert. It also presents a new, dual aesthetic challenge for Shore in the square format and the small size of the image. These constraints encourage a simplification of the picture, making it more a “notation” than a constructed image. Tablets will be stationed within a gallery of the exhibition, allowing viewers to scroll through Shore’s Instagram feed, which will feature new images as Shore continues to post them.

Press release from MoMA

 

Stephen Shore (American, b. 1947) 'Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975'

 

Stephen Shore (American, b. 1947)
Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975
1975
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Thomas and Susan Dunn
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'U.S. 93, Wikieup, Arizona, December 14, 1976'

 

Stephen Shore (American, b. 1947)
U.S. 93, Wikieup, Arizona, December 14, 1976
1976
Chromogenic colour print, printed 2013
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Thomas and Susan Dunn
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Giverny, France, 1977'

 

Stephen Shore (American, b. 1947)
Giverny, France, 1977
1977
Chromogenic colour print
7 11/16 x 9 5/8″ (19.5 x 24.5 cm)
The Museum of Modern Art, New York
Gift of the Estate of Lila Acheson Wallace
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Graig Nettles, Fort Lauderdale, Florida, March 1, 1978'

 

Stephen Shore (American, b. 1947)
Graig Nettles, Fort Lauderdale, Florida, March 1, 1978
1978
Chromogenic colour print
7 11/16 x 9 11/16″ (19.5 x 24.6 cm)
The Museum of Modern Art, New York
Acquired with matching funds from Blanchette Hooker Rockefeller and the National Endowment for the Arts, 1978
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Merced River, Yosemite National Park, California, August 13, 1979'

 

Stephen Shore (American, b. 1947)
Merced River, Yosemite National Park, California, August 13, 1979
1979
Chromogenic colour print, printed 2013
35 7/8 x 44 15/16″ (91.2 x 114.2 cm)
The Museum of Modern Art, New York. Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Gallatin County, Montana, August 2, 1983'

 

Stephen Shore (American, b. 1947)
Gallatin County, Montana, August 2, 1983
1983
Chromogenic colour print, printed 2017
36 × 45″ (91.4 × 114.3 cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'County of Sutherland, Scotland, 1988'

 

Stephen Shore (American, b. 1947)
County of Sutherland, Scotland, 1988
1988
Chromogenic colour print
35 1/2 × 45 1/2″ (90.2 × 115.6 cm)
The Museum of Modern Art, New York
Gift of Susan and Arthur Fleischer, Jr.
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Sderot, Israel, September 14, 2009'

 

Stephen Shore (American, b. 1947)
Sderot, Israel, September 14, 2009
2009. Chromogenic colour print
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Peqi'in, Israel, September 22, 2009'

 

Stephen Shore (American, b. 1947)
Peqi’in, Israel, September 22, 2009
2009. Chromogenic colour print
17 × 21 3/4″ (43.2 × 55.2 cm)
The Museum of Modern Art, New York
Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Uman, Cherkaska Province, Ukraine, July 22, 2012'

 

Stephen Shore (American, b. 1947)
Uman, Cherkaska Province, Ukraine, July 22, 2012
2012
Chromogenic colour print, printed 2017
16 × 20″ (40.6 × 50.8 cm)
Courtesy the artist
© 2017 Stephen Shore

 

 

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17
Dec
13

Exhibition: ‘Color! American Photography Transformed’ at the Amon Carter Museum of American Art, Fort Worth, Texas

Exhibition dates: 5th October 2013 – 5th January, 2014

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A very big subject to cover in one exhibition.

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

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Alex Prager (b.1979) 'Crowd #1 (Stan Douglas)' 2010

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Alex Prager (b.1979)
Crowd #1 (Stan Douglas)
2010
Dye coupler print
© Alex Prager, courtesy of the artist and Yancey Richardson Gallery

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Jack Delano (1914-1997) 'Chopping cotton on rented land near White Plains, Greene County, Georgia, 1941' 1941

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Jack Delano (1914-1997)
Chopping cotton on rented land near White Plains, Greene County, Georgia, 1941
1941
Inkjet print, 2013
Courtesy the Library of Congress

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Laura Gilpin (1891-1979) 'Still Life with Peaches' 1912

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Laura Gilpin (1891-1979)
Still Life with Peaches
1912
Lumière Autochrome
© 1979 Amon Carter Museum of American Art, Fort Worth, Texas

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Jan Groover (1943-2012) 'Untitled' 1978

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Jan Groover (1943-2012)
Untitled
1978
Dye coupler print
© 1978 Jan Groover
Amon Carter Museum of American Art, Fort Worth, Texas

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Unknown photographer. 'Untitled (Woman with two daughters)' c. 1850s

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Unknown photographer 
Untitled (Woman with two daughters)
c. 1850s
Salted paper print with applied color
Amon Carter Museum of American Art

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Gregory Crewdson (b.1962) 'Untitled (Dylan on the Floor)' from the 'Twilight Series' 1998-2002

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Gregory Crewdson (b.1962)
Untitled (Dylan on the Floor) from the Twilight Series
1998-2002
Dye coupler print
© Gregory Crewdson, Courtesy Gagosian Gallery

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“On October 5, the Amon Carter Museum of American Art opens Color! American Photography Transformed, a compelling examination of how color has changed the very nature of photography, transforming it into today’s dominant artistic medium. Color! includes more than 70 exceptional photographs by as many photographers and is on view through January 5, 2014.

“Color is so integral to photography today that it is difficult to remember how new it is or realize how much it has changed the medium,” says John Rohrbach, senior curator of photographs.

The exhibition covers the full history of photography, from 1839, when Frenchman Louis-Jacques-Mandé Daguerre (1787-1851) introduced his daguerreotype process, to the present. From the start, disappointed that photographs could only be made in black and white, photographers and scientists alike sought with great energy to achieve color. Color! begins with a rare direct-color photograph made in 1851 by Levi L. Hill (1816–1865), but explains how Hill could neither capture a full range of color nor replicate his achievement. It then shows finely rendered hand-colored photographs to share how photographers initially compensated for the lack of color.

When producing color photographs became commercially feasible in 1907 in the form of the glass-plate Autochrome, leading artists like Alfred Stieglitz (1864-1946) were initially overjoyed, according to Rohrbach. Color! offers exquisite examples of their work even as it explains their ultimate rejection of the process because it was too difficult to display and especially because they felt it mirrored human sight too closely to be truly creative.

“Although many commercial photographers embraced color photography over succeeding decades, artists continued to puzzle over the medium,” Rohrbach explains.  Color! reveals that many artists from Richard Avedon (1923-2004) to Henry Holmes Smith (1909-1986) tried their hand at making color photographs through the middle decades of the 20th century, and it shows the wide range of approaches they took to color. It also shares the background debates among artists and photography critics over how to employ color and even whether color photographs could have the emotional force of their black-and-white counterparts.

Only in 1976, when curator John Szarkowski at the Museum of Modern Art in New York heralded the young Memphis photographer William Eggleston’s (b. 1939) snapshot-like color photographs as the solution to artful color, did fine art color photography gain full acceptance.

“Eggleston revealed how color can simultaneously describe objects and stand apart from those objects as pure hue,” Rohrbach says. “In so doing, he successfully challenged the longstanding conception of photography as a medium that found its calling on close description.”

Color! illustrates through landmark works by Jan Groover (1943-2012), Joel Meyerowitz (b. 1938) and others the blossoming of artists’ use of color photography that followed in the wake of Szarkowski’s celebration of Eggleston. It also reveals artists’ gradual absorption of the notion that color could be used flexibly to critique cultural mores and to shape stories. In this new color world, recording the look of things was important, but it was less important than conveying a message about life. In this important shift, led by artists as diverse as Andres Serrano (b. 1950) and Laurie Simmons (b. 1949), the exhibition explains, photography aligned itself far more closely with painting.

Color! shows how the rise of digital technologies furthered this transformation, as photographers such as Gregory Crewdson (b. 1962), Richard Misrach (b. 1949) and Alex Prager (b. 1979) have explicitly embraced the hues, scale, and even subjects of painting and cinema.

“Photography still gains its power and wide popularity today from its ability to closely reflect the world,” explains Rohrbach, “but Color! reveals how contemporary artists have been using reality not as an end unto itself, but as a jumping off point for exploring the emotional and cultural power of color, even blurring of line between record and fiction to make their points. These practices, founded on color, have transformed photography into the dominant art form of today even as they have opened new questions about the very nature of the medium.”

The exhibition will include an interactive photography timeline enabling visitors to contribute to the visual dialogue by sharing their own color images. The photographs will be displayed along the timeline and on digital screens in the museum during the exhibition to illustrate how quantity, format and color quality have evolved over time.

“By telling the full story of color photography’s evolution, the exhibition innovatively uncovers the fundamental change that color has brought to how photographers think about their medium,” says Andrew J. Walker, museum director. “The story is fascinating and the works are equally captivating. Photography fans and art enthusiasts in general will revel in the opportunity to see works by this country’s great photographers.”

Press release from the Amon Carter Museum of American Art website

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Patrick Nagatani (b.1945) and Andree Tracey (b.1948) 'Alamogordo Blues' 1986

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Patrick Nagatani (b.1945)
Andree Tracey (b.1948)
Alamogordo Blues
1986
Dye diffusion print
© Patrick Nagatani and Andree Tracey
Center for Creative Photography, University of Arizona

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Laurie Simmons (b. 1949) 'Woman/Red Couch/Newspaper' 1978

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Laurie Simmons (b. 1949)
Woman/Red Couch/Newspaper
1978
Silver dye-bleach print
© Laurie Simmons
Los Angeles County Museum of Art, Ralph M. Parsons Fund

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Sandy Skoglund (b. 1946) 'Revenge of the Goldfish, 1980' 1980

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Sandy Skoglund (b. 1946)
Revenge of the Goldfish, 1980
1980
Silver dye-bleach print
© 1981 Sandy Skoglund
St. Louis Art Museum, Gift of Mr. and Mrs. Fielding Lewis Holmes

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Mark Cohen (b. 1943) 'Boy in Yellow Shirt Smoking' 1977

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Mark Cohen (b. 1943)
Boy in Yellow Shirt Smoking
1977
Dye coupler print
© Mark Cohen
Courtesy the artist and ROSEGALLERY

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John F. Collins (1888?-1988) 'Tire' 1938

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John F. Collins (1888?-1988)
Tire
1938
Silver dye-bleach print
Courtesy Howard Greenberg Gallery

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Richard Misrach (b.1949) 'Paradise Valley (Arizona), 3.22.95, 7:05 P.M.' 1995

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Richard Misrach (b.1949)
Paradise Valley (Arizona), 3.22.95, 7:05 P.M.
1995
Dye coupler print
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Marc Selwyn Fine Art, Los Angeles and Pace/MacGill Gallery, NY

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Henry Holmes Smith (1909-1986) 'Tricolor Collage on Black' 1946

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Henry Holmes Smith (1909-1986)
Tricolor Collage on Black
1946
Dye imbibition print over gelatin silver print
© Smith Family Trust
Indiana University Art Museum, Henry Holmes Smith Archive

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Mitch Epstein (b.1952) 'Flag' 2000

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Mitch Epstein (b.1952)
Flag
2000
Dye coupler print
© Black River Productions
Private collection

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Trevor Paglen (b. 1974) 'The Fence (Lake Kickapoo, Texas)' 2010

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Trevor Paglen (b. 1974)
The Fence (Lake Kickapoo, Texas)
2010
Dye coupler print, 2011
© Trevor Paglen
Amon Carter Museum of American Art, Fort Worth, Texas

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Joaquin Trujillo (b. 1976) 'Jacky' 2003

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Joaquin Trujillo (b. 1976)
Jacky
2003
From the series Los Niños
Inkjet print, 2011
© Joaquin Trujillo 2013
Amon Carter Museum of American art, purchase with funds provided by the Stieglitz Circle of the Amon Carter Museum of American Art

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James N. Doolittle (1889-1954) 'Ann Harding' c. 1932

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James N. Doolittle (1889-1954)
Ann Harding
c. 1932
Tricolor carbro print
Nelson-Atkins Museum of Art, Kansas City, MO

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Amon Carter Museum
3501 Camp Bowie Boulevard
Fort Worth, TX 76107-2695

Opening hours:
Tuesday, Wednesday, Friday, Saturday:
 10 am – 5 pm
Thursday: 10 am – 8 pm
Sunday: 12 am – 5 pm
Closed Mondays and major holidays.

Amon Carter Museum of American Art website

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18
Apr
09

Exhibition: ‘Paul Outerbridge: New Color Photographs from Mexico and California’ at the Downtown Central Library, Los Angeles

Exhibition dates: 28th March – 28th June, 2009

Curated by William Ewing and Phillip Prodger

 

Recently discovered colour images of California and Mexico taken during the 1940s and 1950s by the late visionary photographer Paul Outerbridge, who was considered “a master of colour photography,” will be exhibited at the Central Library’s First Floor Galleries, 630 W. Fifth St., downtown, from March 28 through June 28 2009.

 

 

Paul Outerbridge. 'Women by Car, Laguna Beach, California' c. 1950

 

Paul Outerbridge
Women by Car, Laguna Beach, California
c. 1950
Pigment dyed digital print
16″ x 20″

 

 

“Art is life seen through man’s inner craving for perfection and beauty – his escape from the sordid realities of life into a world of his imagining. Art accounts for at least a third of our civilization, and it is one of the artist’s principal duties to do more than merely record life or nature. To the artist is given the privilege of pointing the way and inspiring towards a better life.”

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Paul Outerbridge

 

 

If Outerbridge only photographed intermittently after 1943, then what photographs they are. Perhaps some of the most important colour photographs of their generation were made after he moved to California influencing the next generation of colour photographers (as noted below in the press release). What else can one say – his aesthetic sensibility is sensational, so far ahead of his time, so prescient of future colour spaces in photography. I know how “no regular income” feels as an artist, but he still had the courage and vision to make the work. I am in awe of the man: the visual complexity but eloquent simplicity of his photographs is simply amazing, simply… his own.

Marcus

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Many thankx to the Downtown Central Library for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

“[Outerbridge] was a designer and illustrator in New York before turning to photography in the 1920s. In 1925, having established himself as an innovative advertising photographer and graphic designer, he moved to Paris and worked for the French edition of Vogue magazine. There he met Edward Steichen, with whom he developed a friendly rivalry. Around 1930, having returned to New York, Outerbridge began to experiment with color photography, in particular the carbro-color process. He focused primarily on female nudes – striking, full-color images that were ahead of their time. The growing popularity of the dye transfer process lead to cheaper color photographs and Outerbridge, who stuck fast to the carbro process as superior in its richness and permanence, saw his commercial work dry up, leaving him without a regular source of income. In 1943 Outerbridge moved to California, where he photographed only intermittently.”

Text from the Getty Museum website [Online] Cited 14/04/2009 (no longer available online)

 

Paul Outerbridge. 'Balboa Beach, California' c. 1950

 

Paul Outerbridge
Balboa Beach, California
c. 1950
Pigment dyed digital print
16″ x 20″

 

 

Paul Outerbridge
Reclining Nude
c. 1937
Pigment dyed digital print

 

Paul Outerbridge. 'Motel Bar, Mazatlán, Mexico' c. 1948

 

Paul Outerbridge
Motel Bar, Mazatlán, Mexico
c. 1948
Dye transfer print
16″ x 20″

 

Paul Outerbridge. 'Hotel Lobby, Mazatlán, Mexico' c. 1950

 

Paul Outerbridge
Hotel Lobby, Mazatlán, Mexico
c. 1950
Pigment dyed digital print
16″ x 20″

 

 

As one of America’s earliest masters of color photography, Paul Outerbridge established his reputation by making virtuoso carbro-color prints of nudes and still-lives in the 1930s. As pictures, they are as brilliant and innovative today as when they earned their place as classics in the history of photography.

Outerbridge left New York in the 1940s, choosing to settle in California, and eventually taking up residency in the Mediterranean-style ocean side town of Laguna Beach. Little is known of Outerbridge’s last body of work in the 8 years preceding his death in 1958. But Outerbridge’s recently printed transparencies from the 1950s affirms that he fully understood the possibilities inherent in color photography despite it being the early days of its use in photographic art. Outerbridge went on to make a body of work that presaged the style and imagery of color photographers working a full quarter of a century later.

Employing a 35mm camera rather than the large-format equipment of the studio, Outerbridge captured vivid pictures while on the fly. His images were composed using the same precision of form and color that characterized his 1930s studio work, but, in this series, Outerbridge applied his earlier techniques to the energetic world of the street. This was a new landscape for Outerbridge, who, seeing in the new spectrum of color, depicted the people and places from his adopted Southern California, and, with great relish and sensitivity, from the Mexican towns just south of the border. In the tradition of such photographers as Edward Weston, Paul Strand, Anton Bruehl, and Henri Cartier-Bresson, all of whom made significant photographic forays into Mexico, Outerbridge ventured south from Laguna. In his 1949 black Cadillac, Outerbridge frequented the seaport towns along the Baja peninsula. One of his favorite stops was Mazatlan, on Mexico’s western coast, where he took particular pleasure in surveying the urban architecture, absorbing – and documenting – the city streets teeming with people, the brightly colored topography.

Among the scenes Outerbridge etched onto film: carnival carriages with passengers dressed and bound for a grand party; a group of fashionable men relaxing in an outdoor hotel lobby drinking Cokes and beer while a small orchestra plays on in the afternoon sun; and a lone girl in a lime-green dress and white sweater walking past a gas station whose painted-red details add vibrant flourishes to the scene. Outerbridge was keenly aware that the beauty of everyday objects was also tied to the larger meanings anchored in the social landscape, but he cared less for this fact than for the expression of pure color and form as seen through and by the lens.

These extraordinary pictures recall the 1970s photographs of William Eggleston and Stephen Shore, who strove to codify these same formal and subjective aesthetics into a bold definition of the new color vocabulary. Paul Outerbridge: New Color Photographs from California and Mexico will bring a heretofore undiscovered and unrecognized sequence of photographs that bridges the formal gap between the past and the present. Outerbridge’s visionary handling of color confirmed that he had instinctively known the potential of the color medium, and, luckily for us, he created an astounding body of photographs to prove it.

Text from the Curatorial Assistance website [Online] Cited 19/01/2019

 

Paul Outerbridge. 'Gas Station, Mazatlán, Mexico' c. 1950

 

Paul Outerbridge
Gas Station, Mazatlán, Mexico
c. 1950
Dye transfer print
16″ x 20″

 

Paul Outerbridge. 'Self-portrait on Lounge, Oceanside Resort, California' c. 1950

 

Paul Outerbridge
Self-portrait on Lounge, Oceanside Resort, California
c.1950
Pigment dyed digital print
16″ x 20″

 

 

“Outerbridge, who died in 1958, built his reputation in the early 1920s in New York and Paris making elegant black and white photo abstractions primarily of nudes and still lifes that rivaled those of his peers, Alfred Stieglitz, Edward Steichen, and Edward Weston. In the 1930s, Outerbridge mastered the exquisite tri-carbro-color print process and went on to make some of the most important color photographs in art and advertising of that time.

Moving to California in 1943 and taking up residence in Laguna Beach, Outerbridge made his last important body of work throughout California and Mexico. Between 1948 and until his death in 1958 he codified a new language in color photographs that anticipated the work of William Eggleston, Stephen Shore, Joel Sternfeld and others known for their “New Color” work in the 1970s.

“The curious position of prosperous American tourists amid the daily poverty experienced by some Mexicans is one of the recurring themes in the work, but with Outerbridge there is no political polemic,” says co-curator Phillip Prodger. “Outerbridge was thinking of his photographs as jig-saw puzzles made up of many different highly colored pieces, each placed with meticulous care.”

Among Outerbridge’s subjects are carnival carriages with passengers dressed and headed for a grand party; a group of fashionable men relaxing in an outdoor hotel lobby drinking Coke and beer while a small orchestra plays; a girl in a lime-green dress and white sweater walking past a gas station whose painted-red details add a vibrant flourish to the scene.”

Text from the Downtown Central Library press release [Online] Cited 14/04/2009 (no longer available online)

 

Paul Outerbridge. 'Model with Satin Dress, Laguna Beach, California' c. 1950

 

Paul Outerbridge
Model with Satin Dress, Laguna Beach, California
c. 1950
Tricolor carbon print
20″ x 16″

 

Paul Outerbridge. 'Party, Laguna Beach' c. 1950

 

Paul Outerbridge
Party, Laguna Beach
c. 1950
Tricolor carbon print
20″ x 16″

 

 

Los Angeles Central Library
630 W. 5th St., Los Angeles, CA 90071
Phone: (213) 228-7000

Opening hours:
Monday 10-8
Tuesday 10-8
Wednesday 10-8
Thursday 10-8
Friday 9.30-5.30
Saturday 9.30-5.30
Sunday 1-5

Los Angeles Central Library 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: ‘Mask’ 1994

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