Contemporary Photography

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Jul

Exhibition: ‘I-Photo. Japanese Photography 1960-1970 from the Collection’ at Museum der Moderne Salzburg

Categories: beauty, black and white photography, Daido Moriyama, exhibition, existence, gallery website, intimacy, Japanese artist, light, photographic series, photography, portrait, psychological, reality, space, time and works on paper
Tags: 15 Photographers Exhibition, Akihide Tamura, Akihide Tamura Erehwon, Akihide Tamura Yokohama, Akira Satō, Araki, are-bure-boke, Asahi Camera, Asahi Journal, Asahi Sonorama, Bishin Jumonji, Bishin Jumonji Untitled 1971, black and white photography, Camera Mainichi, Camera Mainici, conceptual photographer, conceptual photography, Contemporary Photographers: Toward a Social Landscape, Contemporary Photography, Daido Moriyama, Daidō Moriyama Lips from a Poster, Daidō Moriyama National Highway 1 AT Dawn 1, Daidō Moriyama Stray Dog, Daidō Moriyama Untitled c. 1970, Duane Michals Things are Queer, Erehwon, erotic depictions of bodies, erotic photography, exploration of reality, Expo'70, Fûshi Kaden, fictional story, first-person narrative, Fukase, grainy blurry and out of focus, Hanashin No Tokushu, hard black-and-white contrasts, I-novel, I-Photo, I-Photo. Japanese Photography 1960-1970 from the Collection, I-photographers, In the Street, Iphoto, Issei Suda, Issei Suda Fûshi Kaden, Issei Suda Untitled 1975-76, Japan A Photo Theater, Japanese art, Japanese artists, Japanese conceptual photography, japanese photographer, Japanese photography, Japanese Photography 1960-1970, Japanese post-war photography, Karasu, Kompora, Kompora group, Lips from a Poster, Masaaki Nakagawa, Masaaki Nakagawa Self-Portrait against Wall of My Home, Masaaki Nakagawa Selfportait Against Wall of My Home, Masahisa Fukase, Masahisa Fukase Karasu, Masahisa Fukase Ravens, Masahisa Fukase Yoko, matsuri, Museum Der Moderne Salzburg, National Highway 1 AT Dawn 1, Neue Fotografie aus Japan, New Japanese Photography, New Photography from Japan, Nobuyoshi Araki, Nobuyoshi Araki Yoko my Love, objectified women, photo-novels, photobook, photobooks, photography of women, photonovels, political statements, Provoke, Ravens, Self-Portrait against Wall of My Home, Selfportait Against Wall of My Home, Sentimental Journey, sexualised male gaze, Shin Yanagisawa, Shin Yanagisawa In the Street, Shin Yanagisawa Traces of the City, Shin Yanagisawa Untitled 1972, Shunji Ōkura, Stray Dog, Sunday Mainichi, Takashi Hanabusa, The First Year of Araki, Things are Queer, Tokyo College of Photography, Traces of the City, truth and falsification, women in bondage, Yoko my Love, Yokohama, Yoshihiro Tatsuki, Yoshihiro Tatsuki Untitled c. 1970, Zeami Motokiyo

Exhibition dates: 21st April – 8th July 2018

Curator: Christiane Kuhlmann, Curator Photography and Media Art; with Andrea Lehner-Hagwood, Curatorial Assistant, Museum der Moderne Salzburg

Works by Nobuyoshi Araki, Masahisa Fukase, Takashi Hanabusa, Jun Jumoji, Daidõ Moriyama, Masaaki Nakagawa, Bishin Jumonji, Shunji Õkura, Issei Suda, Akihide Tamura, Shin Yanagisawa, Yoshihiro Tatsuki

Daidō Moriyama (born 1938 Osaka, Japan)
Lips from a Poster
1975
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Daidō Moriyama

Much as I love the grittiness and stark contrast of Japanese photography of the 1960-70s – its reaction against the pro-American optimism of The Family of Man exhibition that went to Tokyo in the 1950s, its rejection of journalistic illustration, its I-reality that is not a objective record but a personal story, “a poem composed in photography”, its spirit of ennui, a state of dissatisfaction with the status quo – there is also another, less edifying side to Japanese photography of this period.

Basically, it’s a male view of the world, any world, any reality, but always with the “I” at the front of it, the world of the male ego. A world where women are objectified, bound and gagged in pretty gruesome “erotic” sex scenes (not in this posting, but you can Google them online). No matter that the photographer had permission, these photographs are about male power and the male gaze. Nothing more, nothing less. A world where cameras pry on people having anonymous sex in the park in the dark. Let’s call it what it is, it’s misogynistic and voyeuristic.

The obverse of a concern for the sitter, or the landscape, or the object, can be observed (did you see what I did there… obverse/observe), in that there is a concern with the minutiae of life in extremis, rather than an empathy for it. Maybe that is the Japanese culture. Perhaps this microscopic analysis comes about because of the fast pace of their life, their mixture of state, religion, culture and capitalism, their violent history and the submissive place of women within that society (The traditional role of women in Japan has been defined as “three submissions”: young women submit to their fathers; married women submit to their husbands, and elderly women submit to their sons ~ Wikipedia)

There is something I cannot put my finger on about the power of the photograph to capture a dominance over women, the landscape, people, protests – a suppressed violence against the self?

I’m just thinking out loud here…

Marcus

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

The collections of the Museum der Moderne Salzburg include an outstanding and sizeable ensemble of Japanese photographs from the 1960s and 1970s. These works will be on view for the first time in many years in a series of exhibitions. The opening presentation is dedicated to the depiction of humans and perceptions of postwar Japanese society in transformation. A future second exhibition will focus on images of city and countryside.

In the history of Japanese photography, the idea of the “I-photo” is a kind of photographic adaptation of the literary convention of first-person narrative. The photographic image is conceived and employed as a medium articulating the photographer’s self as well as an instrument with which to scrutinise reality. A pioneer of postwar photography, Masahisa Fukase in the late 1960s created photographic series mixing documentary and fictional elements. His central motifs and models were his wife Yoko and their family. Nobuyoshi Araki, the best-known, most prolific, and probably also most provocative Japanese photography artist, launched his career as a fashion and advertising photographer in 1963. The collection contains highly personal photographic notes by him and his wife Yoko, who died early. Fukase, Araki, and the other Japanese “I-photographers” such as Issei Suda, Shin Yanagisawa, and Daidõ Moriyama regard the “I-photo” as a blend of truth and falsification that can elicit an emotional response and disconcert. The aesthetic of the pictures is characterised by hard black-and-white contrasts and lacerated abstract structures. It signals the artists’ rejection of the tradition of classical art photography while also probing the potentials of the medium itself. The Japanese photography scene is highly controversial; the spectrum of themes ranges from erotic depictions of bodies to political statements.

Daidō Moriyama (born 1938 Osaka, Japan)
Untitled (l. a. r.)
c. 1970
Lips from a Poster
1975
3 gelatin silver prints on Baryte paper
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

Daidō Moriyama (born 1938 Osaka, Japan)
Stray Dog, Misawa
1971
From the series Hunter
Untitled
c. 1970
9 gelatin silver prints on Baryte paper
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

Daidō Moriyama (born 1938 Osaka, Japan)
Stray Dog, Misawa
1971
From the series Hunter
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Daidō Moriyama

Daidō Moriyama (born 1938 Osaka, Japan)
National Highway 1 AT Dawn 1, Asahi-cho, Kuwana City, Mie Prefecture
1968
Gelatin silver print on Baryte paper
6.50 x 9.72 in. (16.5 x 24.7 cm)
Museum der Moderne Salzburg
© Daidō Moriyama

Daidō Moriyama

Daidō Moriyama is one of Japan’s leading contemporary photographers. He studied design and photography in Kōbe before moving to Tokyo in 1961 and deciding to focus entirely on photography. After a stint as Eikō Hosoe’s assistant, he went into business for himself as a photographer in 1964.

Like the art critic Kōji Taki and the photographers Yutaka Takanashi, Shōmei Tōmatsu, and Takuma Nakahira, Moriyama was a member of the group around the influential magazine Provoke (1968-1969). Although no more than three issues appeared in print, its importance in the history of the medium in Japan can hardly be overstated. The Provoke Manifesto declared that photography was capable of registering what could not be expressed in words. The visual style of the photographs Provoke would run was to be are-bure-boke, Japanese for “grainy, blurry, and out of focus” – a specification that still aptly describes Moriyama’s photographs; the same style is evident in his work for magazines such as Camera Mainichi, Asahi Journal, and Asahi Camera.

Moriyama’s inexhaustible signature theme is the city of Tokyo, but he has also worked elsewhere. In an interview, he once said: “For me cities are enormous bodies of people’s desire.” He still prowls the streets day after day, taking pictures of appealing or striking sights, never peering into his small compact camera’s viewfinder. Shots of traffic, of pedestrians and shop windows, of posters and details such as lips, eyes, or plants are recurrent motifs. Hard black-and-white contrasts lend his prints a strangely alien and otherworldly allure, but the depictions always remain anecdotal, as though from a dream. Moriyama’s photobooks may accordingly be read as photonovels of a sort. Japan A Photo Theater (1968) was the first book in this vein he published; his oeuvre has now grown to several hundred photobooks.

The Photographic Society of Japan, whose purpose is to promote photography in Japan, elected him its photographer of the year in 1983. In 2012, he received the Infinity Award for Lifetime Achievement of the International Center of Photography, New York, which honors outstanding accomplishments in photography and visual art.

Masahisa Fukase (1934-2012)
Untitled
1971
From the series Yoko
9 gelatin silver prints on Baryte paper (Vintage prints)
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

Masahisa Fukase (1934-2012)
Untitled
1961-1970
From the series Yoko
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Masahisa Fukase, Courtesy Michael Hoppen Gallery London

Masahisa Fukase

Masahisa Fukase completed a PhD at the Institute of Photography at Nihon University, Tokyo, in 1956. He worked as a photographer for advertising agencies and various publishing houses until 1968 and then as a freelance photographer until his death in 2012. His work was included in the 1974 group exhibition New Japanese Photography at the Museum of Modern Art, New York, followed by numerous solo and group shows all over the world. In 1976, he received the annual Ina Nobuo Award, which has been given out by the Nikon Salon in Tokyo since 1976. At the 1992 Higashikawa International Photo Festival, his exhibition Karasu (Ravens) earned him a Higashikawa Photography Award in the Special Award category.

In the 1960s, his photography is largely focused on his own life and that of his wife Yoko. She stars in pictures that show her in all sorts of situations in life, private as well as public. Fukase captures Yoko as his bride, in the nude, during sex, or as a tourist in the street. He is also interested in the passage of time and ageing in general. After separating from Yoko, Fukase started photographing ravens as symbols of loneliness and loss. The photobook Karasu (Ravens) became one of the most coveted works of its kind in postwar Japan; it was first reprinted just last year.

Bishin Jumonji (born 1947 Yokohama, Japan)
Untitled
1971
3 gelatin silver prints on Baryte paper
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

Bishin Jumonji (born 1947 Yokohama, Japan)
Untitled
1971
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Bishin Jumonji

Bishin Jumonji

After studying at the Tokyo College of Photography, Bishin Jumonji became an assistant to the photographer Kishin Shinoyama, who had risen to renown with publications about Kabuki theater, erotic depictions in photography magazines, and work in unusual book formats such as flipbooks. Since 1971, Jumonji has worked both freelance and as an advertising photographer. This was also when he began to take pictures for the series on view, Untitled. Shot around Tokyo, the works portray families, day-trippers, a quartet of rock musicians, dancers, or bodybuilders – in short, representatives of modern Japan. The details are chosen so that the heads and faces do not appear in the prints. This underscores the subjective quality of photography as such while also conveying the anonymity of life in the megalopolis.

Otto Breicha had seen the series as early as 1974, when it was featured in New Japanese Photography, a group exhibition John Szarkowski organized at the MoMA in New York. Breicha decided to include it in Neue Fotografie aus Japan, the follow-up show he mounted in Graz in 1977.

In 1990, Jumonji receives the Domon Ken Award, one of the most important Japanese photography prizes. The work of the honorees is showcased at the Ginza Nikon Salon, Tokyo, and the Domon Ken Museum of Photography, Sakata, the first museum in Japan dedicated to photography. Some of Jumonji’s pictures are published in international magazines including the German newsweekly Stern.

Akihide Tamura (born 1947, Yokyo, Japan)
Yokohama, 1966 (l.)
Yokosuka, 1969 (r.)
7 gelatin silver prints on Baryte paper
From the series Base
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

Akihide Tamura (born 1947, Yokyo, Japan)
Yokohama
1966
From the series Base
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Akihide Tamura

Akihide Tamura

Akihide Tamura studied at the Tokyo College of Photography and got his degree in 1967. Even before he graduated, the academy’s director, the photography critic Shigemori Koen, recognised his unusual approach. In 1974, the MoMA in New York featured Tamura’s House series in its group exhibition New Japanese Photography and acquired it for the museum’s collection. Taken over the course of a year – from July to July – the pictures show houses in abandoned landscapes. The alternation of day and night and the cycle of the seasons play a prominent part in the series.

Tamura’s life was defined by the wrenching changes Japan underwent after World War II. His work is an astute photographic record of these metamorphoses. For the series Base (1966-1970), he captured landscapes, people, and combat aircraft and other military planes at several American bases south of Tokyo. In retrospect, he wrote: “When I was a photography student, I knew that the military base existed in a territory that had been created due to the tensions between the United States and the Soviet Union and the possibility of a nuclear war. I was shaken by the incredibly beautiful and yet insane fighter jets before my eyes. The contradiction between my fear that the world would vanish in an instant if someone were to push the nuclear button and the exotic and eerie spell the military base cast over me left me perpetually torn.”

The works on view are part of the major cycle Erehwon – the title is the word “nowhere” read backwards – that Tamura worked on between 1967 and 1973. The series combines combat aircraft taking off and hurtling off into the sky, their engines a pair of glowing eyes, with ghostly portraits of children that gradually fade into the dark. The composition reflects the photographer’s mindset, a hard-to-pin-down blend of admiration and fear.

Diverse and controversial, sometimes mysterious and often at odds with stereotypical ideas about Japan: there is much to discover in Japanese photography from the 1960s and 1970s. The Museum der Moderne Salzburg now presents its extensive and singular collection in a two-part exhibition series.

For the first time in many years, the Museum der Moderne Salzburg puts its collection of c. 600 original prints of Japanese photography from the 1960s and 1970s, which was purchased in the museum’s early years, on display. The series of two shows begins with IPhoto. Japanese Photography 1960-1970 from the Collection, which presents works that focus on the depiction of the human being and the changes in postwar Japanese society.

“In this exhibition, my vigorous efforts to undertake a thorough review of our collections are bearing fruit, and so I am especially pleased that we are able to present our holdings of Japanese photography – a sizeable ensemble of outstanding works – which have not been seen by the public in a long time. The show also spotlights a chapter in the history of the museum, which started collecting and conserving photography early on. Otto Breicha, the museum’s first director, personally traveled to Japan to meet many of the artists and select works for the projected exhibition,” Sabine Breitwieser, Director of the Museum der Moderne Salzburg, observes. Curator of Photography and Media Art Christiane Kuhlmann emphasizes that “this effort to champion Japanese culture and acquire Japanese art for the nascent collection constitutes a pioneering achievement.” “At the time, the primary media in which Japanese photographers presented their pictures were photobooks and magazines,” Kuhlmann notes, “so that vintage prints in the quality and form at our disposal are now hard or impossible to come by. Breicha’s initiative to build a center for contemporary photography in Austria was in part motivated by his experiences in Japan.”

In the early 1960s, Japan enters a period of fast-paced economic growth, becoming a leading technology manufacturer. A quarter-century after the end of the war and the nuclear bombs over Hiroshima and Nagasaki, Japan hosts Expo’70, the first world’s fair to be held in an Asian country. Tokyo grows into an enormous megalopolis; construction on an international airport that will connect it to the entire world begins in 1971. These developments mark the definite end of the island nation’s decades-long isolation from the West, bringing rapid changes that affect Japanese society as well. In the 1960s, millions of Japanese citizens rally to protest against educational and land reforms and the security treaty with the former enemy, the United States of America. The Japanese photography scene devises a new and dynamic visual language that reflects the country’s more expansive self-image. Distinctive features include the reflection on perception, the quest for novel ways to express the self, and a revised definition of the photographic medium. Hard black-and-white contrasts and lacerated abstract structures are characteristic of the aesthetic of these pictures.

The idea of the “I-photo” is an adaptation of the term “I-novel,” which designates a genre of first-person narrative fiction in Japanese literature. Conceiving of themselves as authors, the photographers understand the “Iphoto” as the instrument of an exploration of reality. Japan’s photography scene is often highly controversial, with themes ranging from erotic depictions of bodies to political statements. Western observers are bound to find some pictures enigmatic and unsettling; they run counter to how Japan is generally imagined abroad. Yet it was Western art institutions that, in the 1970s, first included Japanese contemporary photography in their programming. Neue Fotografie aus Japan (New Photography from Japan) was the title of the first exhibition in Europe that Otto Breicha mounted in Graz in 1977; with I-Photo. Japanese Photography 1960-1970 from the Collection, the Museum der Moderne Salzburg brings back the exhibits from that historic show, though with different emphases. The presentation includes works by the photographers associated with the magazine Provoke (1968-1969) in which reality seems to be dismantled into its constituent elements, as well as by artists such as Nobuyoshi Araki and Masahisa Fukase who pursued their own highly individual creative agendas. Also on display are pictures by the members of the Kompora group, who sought to render a lucid and accurate portrait of everyday life in a clinical visual idiom.

Press release from Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

Yoshihiro Tatsuki (born 1937 Tokushima, Japan)
Untitled
c. 1970
3 gelatin silver prints on Baryte paper
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

Yoshihiro Tatsuki (born 1937 Tokushima, Japan)
Untitled
c. 1970
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Yoshihiro Tatsuki

Yoshihiro Tatsuki

Yoshihiro Tatsuki was born in 1937 in Tokushima, where his family had long run an established portrait studio. He studied at the Tokyo College of Photography (today’s Tokyo Polytechnic University) and graduated in 1958. Initially joining the advertising agency Adcenter in Tokyo as a photographer, Tatsuki went freelance in 1969, working for clients in the advertising, fashion, and publishing industries. In 1965, his series Just Friends and Fallen Angels, which had appeared in the photography magazine Camera Mainichi, earned him the emerging photographer’s award of the association of Japanese photography critics. The works garnered wide attention in Japan. Among his best-known creations are GIRL, EVES, Private Mariko Kaga, Aoi Toki, My America, and Portrait of Family.

Tatsuki has long focused on nude photography, combining traditional Japanese compositional templates with the characteristic poses of Western models. It is hard to tell whether he wants to debunk or cater to the – primarily Western – fantasy of the Geisha as concubine.

Nobuyoshi Araki (born 1940 Tokyo, Japan)
Untitled
1971
From the series Sentimental Journey
7 gelatin silver prints on Baryte paper
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

Nobuyoshi Araki (born 1940 Tokyo, Japan)
Untitled
1971
From the series Sentimental Journey
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Nobuyoshi Araki

Nobuyoshi Araki (born 1940 Tokyo, Japan)
Yoko, my Love
Nd
Gelatin silver print on Baryte paper (Vintage print)
Museum der Moderne Salzburg
© Nobuyoshi Araki

Nobuyoshi Araki

Nobuyoshi Araki studied photography and film studies at Chiba University from 1959 until 1963. After completing his degree, he joined an advertising agency; in the spare time left by his work as a commercial photographer, he started developing his own photographic ideas.

1970, the artist declared, would be “The First Year of Araki.” Increasingly dissatisfied with the status quo that prevailed in established photography, he launched a variety of creative experiments. The popular photography that dominated the market in Japan at the time, he thought, traded in illusions and dishonesty, and so he proposed to change the situation and create a new kind of photography that would reveal the true face of a society undergoing rapid change.

In 1971, he was married to Yoko. His documentation of their honeymoon was published as the small photobook Sentimental Journey. The travelogue – several pictures from it are in the Museum der Moderne Salzburg’s collection – opens with a portrait of Yoko on the train. The title and this picture are a reference to Doris Day’s 1945 worldwide hit. The series continues with shots of places, sights, and, again and again, pictures of Yoko, in the street, nude, or having sex. As Araki sees it, the book is a new form of reportage about life. Taking photographs and living, to his mind, are synonymous. In a statement accompanying Sentimental Journey, he writes: “The I-novel comes closer to photography.” The title of our exhibition, I-Photo, alludes to this Japanese literary genre, in which the author’s experiences, rendered in as much realistic detail as possible, form the material out of which a fictional story is wrought.

In 1992, Camera Austria, Graz, hosted Araki’s first solo exhibition in Europe. He is famous for his widely debated photographs of erotic bondage, but also for his photobooks, which now number almost six hundred.

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection featuring the work of Nobuyoshi Araki
© Museum der Moderne Salzburg
Photo: Rainer Iglar

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

Takashi Hanabusa (born 1949 Kobe, Japan)
Untitled
Nd
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Takashi Hanabusa

Takashi Hanabusa

Takashi (Lyu) Hanabusa was born in Osaka in 1949. After graduating from the Kuwasawa Design School, Tokyo, he joined the staff of the publishing house that produced the magazine Nippon Camera. In 1971, he became an assistant to the photographer Yutaka Takanashi, whose well-known series Tôshi-e (Towards the City) surveyed Tokyo as the Japanese began to embrace modern metropolitan life.

Hanabusa’s works build on this influence, documenting the city as a mysterious place defined by jarring contrasts between tradition and modernity, high tech and nature. His photographs are marked by deliberately ambiguous particulars, as when faces are obscured by shadows. The shots are framed so as to render bodies in fragments or bring out details in classic Japanese fabric patterns that European beholders cannot place.

Hanabusa has been a freelance photographer and member of the Japan Professional Photographers Society since 1973.

Masaaki Nakagawa (1943-2005)
Selfportait, Against Wall of My Home
Nd
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Masaaki Nakagawa

Masaaki Nakagawa

Masaaki Nakagawa completed his studies of Japanese literature at Kōnan University, Kōbe, in 1966. He then worked for various advertising agencies and created fashion shots and reportages for magazines. From 1969 until his death in 2005, he was a freelance photographer in Tokyo and taught at the Kuwasawa Design School.

Otto Breicha described Nakagawa as a storyteller and compared him to the American photographer Duane Michals, whose notion that “things are queer” seems to inform his Japanese colleague’s work as well. Created in series, Nakagawa’s sequences of pictures, rather than aiming for an obvious punch line, appear to move in circles. In the series Self-Portrait against Wall of My Home, the photographer’s shadow looms on the wall, as do things the title identifies as his possessions. Yet the pictures remain vague, almost ghostly, and it is not clear what the focus is on. In this respect, Nakagawa joins the ranks of those conceptual photographers who employ photography as a tool of pictorial analysis, scrutinising the medium’s intrinsic technical-visual potential.

Masaaki Nakagawa was one of the photographers who assisted Otto Breicha during his research in Japan in preparation for the exhibition Neue Fotografie aus Japan.

Issei Suda (born 1940 Tokyo, Japan)
Untitled
1975-76
From the series Fûshi Kaden
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Issei Suda

Issei Suda

Issei Suda was trained at the Tokyo College of Photography, from which he graduated in 1962. From 1967 until 1970, he worked as a stage photographer for the avant-garde theater ensemble Tenjō Sajiki, which was led by the writer and filmmaker Shūji Terayama.

In the late 1960s, Suda and others opposed to the style championed by the magazine Provoke founded the group Kompora. The label is a typical Japanese compound, a contraction of the English terms “contemporary” and “photography.” The group’s key point of reference was Contemporary Photographers: Toward a Social Landscape, an exhibition held at the George Eastman House in Rochester, N.Y., in 1966. Their goal was to create lucid and accurate portrayals of everyday life in a clinical visual idiom. Despite the aspiration to cool objectivity, however, some of their pictures strike Western beholders as no less enigmatic and unsettling.

That is certainly the impression one gets from the works we present, a selection from the series Fûshi Kaden (1975-1976), which was published as a photobook – Suda’s first – by Asahi Sonorama in 1978. The series proposes a visual discourse on tradition and modernity. The enormous tension between Japan’s hyper-modern cities and the deep-rooted traditions lingering in rural areas is a theme that preoccupies Suda throughout his life. For Fûshi Kaden, he crisscrossed the country; many pictures were taken at the traditional festivals known as matsuri. The title is difficult to translate. It is a tribute to a theoretical disquisition on Nō theater penned in the early fifteenth century by one of its leading practitioners, the grand master Zeami Motokiyo. Sketching his vision of the beauty and style of drama, the author compares it to a flower that has not yet fully blossomed. But he also examines questions of inward perception and outward expression in theatrical performance. Issei Suda translates this vision into his mode of photography. The figures in his pictures sometimes seem to be involved in some kind of stage action and yet utterly unaware of it, as though only the photographer knew the director’s script.

Suda was a professor at the Osaka University of Arts and received the Domon Ken Award in 1997.

Shin Yanagisawa (1936-2008)
Untitled
1972
From the series In the Street, Toyama
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Estate of Shin Yanagisawa

Shin Yanagisawa

Shin Yanagisawa, who was born in Tokyo in 1936, was a member of the eminent generation of Japanese photographers who, in the 1960s and 1970s, saw contemporary life in their country with fresh eyes, discovering themes for photography that still inform how we imagine Japan between tradition and modernity. Yanagisawa studied at the Tokyo College of Photography in Shibuya and then worked as a freelance photographer.

He was interested in the changing face of the landscape and the raw reality of nature as well as the many facets of life in the big city. The series Traces of the City (1965-1970) reflects the worldview of an entire generation; as early as 1979, it was the subject of a solo presentation in Tokyo. Yanagisawa also contributed work to numerous group shows, including the famous 15 Photographers Exhibition at the Tokyo National Museum of Modern Art (1974), which featured work by Daidō Moriyama und Yutaka Takanashi as well.

The shots we present are a selection from the series In the Street (1972) and show a group of dancers and performers in costumes that would seem to fit in seamlessly with our vision of traditional Japanese culture. Upon closer inspection, however, dissonant notes creep in, especially when individuals turn to face the camera directly or a flashlight illuminates the situation. They reveal Yanagisawa’s presence as the photographer or, more properly, author of the picture. He has abandoned the position of the uninvolved observer, and although he is not visible in the picture as such, he becomes an active participant in the action before the camera. This approach may be regarded as characteristic of the principle of I-photography.

After concluding his active career as a photographer, Shin Yanagisawa wrote about various aspects of photography.

Shunji Ōkura (born 1936 Ushigome, Japan)
Untitled
Nd
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Shunji Ōkura

Shunji Ōkura

A grandson of the Japanese painter Kawai Gyokudō, Shunji Ōkura graduated from Dokkyo High School, Tokyo, in 1956. In 1958, he became an assistant to the photographer Akira Satō while also starting out as a freelance photographer, creating fashion shots for the magazines Fukuso, Wakai Josei, and So-en. Numerous photographs appeared in periodicals such as Camera Mainici, Hanashin No Tokushu, and Sunday Mainichi.

In the photographs in the Museum der Moderne Salzburg’s collection, Ōkura devotes himself to a classic subject of photography: the children’s portrait. These are situation-bound snapshots taken a playground; no posing was involved. It is interesting to note how the photographer embraces the way children see the world. Some parts of the scene are invisible in the low-angle shots or obscured by other objects, while Ōkura’s portraits suggest profound empathy; we feel we get a sense of these children’s fears and anxieties.

Museum der Moderne Rupertinum
Wiener-Philharmoniker-Gasse 9
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Nov

Review: ‘An unorthodox flow of images’ at the Centre for Contemporary Photography (CCP), Melbourne Part 2

By Dr Marcus Bunyan Leave a Comment

Categories: Australian artist, Australian cabinet cards and cartes de visite, Australian photography, Australian writing, beauty, black and white photography, book, colour photography, curator, Daido Moriyama, digital photography, documentary photography, exhibition, existence, gallery website, Indigenous Australians, Japanese artist, landscape, light, Melbourne, memory, photographic series, photography, portrait, postcards, psychological, quotation, reality, space, Susan Sontag, time, video, Walker Evans, William Eggleston and works on paper
Tags: 'Pompey' a well known resident of Marree, A sudden gust of wind, Aboriginal Chief, act of looking, Alter Ego, An unorthodox flow of images, Anne Noble, Anne Noble Ruby's Room 10, art photography, ASIO surveillance images, At times there is not too much to do except just sit in the sun, Australian art, Australian artist, Australian landscape, Australian photographers, Australian photography, Australian Security and Intelligence Organisation, Author Frank Hardy shelters under an awning, Backyard Forster New South Wales, Beechworth Victoria, Benalla, Benalla Gaol, Bernd and Hilla Becher Gravel Plants, Bernd and Hilla Becher Kies-und Schotterwerke, Bill Culbert, Bill Culbert Small glass pouring Light, Brassaï, Brassaï Young couple wearing a two-in-one suit at Bal De La Montagne, Bray Charred remains from Kelly gang siege, Bray Kelly Gang Armour, Bray McDonnell's Tavern opposite Railway Station, Bray The Glenrowan Inn after the Kelly Siege, Brook Andrew, Brook Andrew I split your gaze, Brook Andrew Sexy and Dangerous, Budapest Festival, Building Workers Industrial Union, Burman Joe Byrne's Body Benalla Gaol, CCP, Centre for Contemporary Photography, Charles Kerry, Charles Kerry Aboriginal Chief, Charred remains from Kelly gang siege, contemporary art, Contemporary Photography, contemporary photography and video, contemporary video, Daido Moriyama, Daido Moriyama DOCUMENTARY '78, David Bowie, David Bowie - Heroes, David Moore, David Moore Migrants arriving in Sydney, David Moore Sisters of Charity, democratic experience of the public gallery space, DOCUMENTARY '78, drawing connections, Dreaming in the sun at Marree, first press photograph in Australia, Fitzroy Square, Flagellation of Christ, Francis Alÿs, Francis Alÿs Fitzroy Square, Frank Hardy under awning, Georgie Mattingly, Georgie Mattingly Portrait IV (After Arthroplasty), Glenrowan, Glenrowan Inn, Gravel Plants, Harold Cazneaux, Harold Cazneaux Spirit of endurance, Heroes, Hokusai, I made a camera, I Split Your Gaze, In a Bind, In the far reaches of the familiar, J W Lindt Body of Joe Byrne, J W Lindt Body of Joe Byrne member of the Kelly Gang, J. E. Bray, J. E. Bray Charred remains from Kelly gang siege, J. E. Bray Kelly Gang Armour, J. E. Bray McDonnell's Tavern opposite Railway Station, J. E. Bray The Glenrowan Inn after the Kelly Siege, J. W. Lindt, Janina Green, Janina Green Self Portrait, Jeff Carter, Jeff Carter 'Pompey' a well known resident of Marree, Jeff Carter At times there is not too much to do except just sit in the sun, Jeff Carter Dreaming in the sun at Marree, Jeff Carter Morning Break, Jeff Carter The Eunuch Marree South Australia, Jeff Wall, Jeff Wall A sudden gust of wind, Jeff Wall A sudden gust of wind (after Hokusai), Joe Byrne's Body, Joe Byrne's Body Benalla Gaol, Joe Rosenthal, Joe Rosenthal Raising the Flag on Iwo Jima, Joosep Martinson, Joosep Martinson Police Hostage Situation Developing at the Lindt Café in Sydney, Joyce Evans, Joyce Evans Budapest Festival, Julian Ashton, Kelly Gang, Kelly Gang Armour, Kelly Siege, Kies-und Schotterwerke, L'Autre, Leah King-Smith, Leah King-Smith Untitled #3, Lisa Hilli, Lisa Hilli In a Bind, Luc Delahaye, Luc Delahaye L'Autre, Lyn and Carol, Maryborough District, Masayoshi Sukita, Masayoshi Sukita David Bowie - Heroes, materiality of real photographs, Max Dupain, Max Dupain Backyard, McDonnell's Railway Tavern with remains of Kelly Gang in Coffins, McDonnell's Tavern opposite Railway Station, Melbourne, member of the Kelly Gang, Migrants arriving in Sydney, Ned Kelly, Olive Cotton, Olive Cotton Teacup Ballet, one of five trackers who helped track Ned Kelly, Pat Brassington, Pat Brassington Vedette, personal encounters with photography and video, Persons Of Interest, Persons Of Interest - ASIO surveillance images, Photographer unknown Joe Byrne's Body Benalla Gaol, photographic representation, photographic reproductions, photography now, Piero della Francesca, Piero della Francesca Flagellation of Christ, Place where rails were taken up by Kelly gang, plein air explorers, Police Hostage Situation Developing at the Lindt Café in Sydney, Portrait IV (After Arthroplasty), Portrait of Tracker Johnny, Portrait of Tracker Johnny from Maryborough District, post-mortem photographs, public gallery space, Raising the Flag on Iwo Jima, Rapid Transit, Regarding the Pain of Others, remains of Dan Kelly and Hart in coffins, repositories of images, reproducibility, reproductions, returning the dispossessed to country, Robyn Stacey, Robyn Stacey Wendy and Brett Whiteley's Library, Ruby's Room 10, Sexy and Dangerous, shared democratic experience, siege at Glenrowan, siri hayes, Siri Hayes In the far reaches of the familiar, Siri Hayes Plein air explorers, Sisters of Charity, Small glass pouring Light, Spirit of endurance, Steve Hart, Sue Ford, Sue Ford Lyn and Carol, Sue Ford St Kilda, Susan Sontag, Susan Sontag Regarding the Pain of Others, Teacup Ballet, the act of looking, The Eunuch Marree South Australia, The Glenrowan Inn, The Glenrowan Inn after the Kelly Siege, the spatio-temporality of photographs, the spatio-temporality of photography, Tracey Moffatt, Tracey Moffatt I made a camera, Tracker Johnny, Untitled #3, Untitled (glass on plane), Vedette, violence and photographic representation, violence of photographic representation, violence physically enacted on the body, W. E. Barnes Steve Hart, Walker Evans, Walker Evans Rapid Transit, Wendy and Brett Whiteley's Library, William Eggleston, William Eggleston Untitled (glass on plane), William J. Burman, William J. Burman Joe Byrne's Body, William J. Burman Joe Byrne's Body Benalla Gaol, William Yang, William Yang Alter Ego, Young couple wearing a two-in-one suit at Bal De La Montagne

Exhibition dates: 30th September – 12th November 2017

Curators: Naomi Cass and Pippa Milne

Living artists include: Laurence Aberhart, Brook Andrew, Rushdi Anwar, Warwick Baker, Paul Batt, Robert Billington, Christian Boltanski, Pat Brassington, Jane Brown, Daniel Bushaway, Sophie Calle, Murray Cammick, Christian Capurro, Steve Carr, Mohini Chandra, Miriam Charlie, Maree Clarke, Michael Cook, Bill Culbert, Christopher Day, Luc Delahaye, Ian Dodd, William Eggleston, Joyce Evans, Cherine Fahd, Fiona Foley, Juno Gemes, Simryn Gill, John Gollings, Helen Grace, Janina Green, Andy Guérif, Siri Hayes, Andrew Hazewinkel, Lisa Hilli, Eliza Hutchison, Therese Keogh, Leah King-Smith, Katrin Koenning, O Philip Korczynski, Mac Lawrence, Kirsten Lyttle, Jack Mannix, Jesse Marlow, Georgie Mattingley, Tracey Moffatt, Daido Moriyama, Harry Nankin, Jan Nelson, Phuong Ngo.

Historic photographers: Hippolyte Bayard (180-1887), Charles Bayliss (1850-1897), Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015), Lisa Bellear (1962-2006), James E. Bray (1832-1891), Jeff Carter (1928-2010), Harold Cazneaux (1878-1953), Olive Cotton (1911-2003), Peter Dombrovskis (1995-1996), Max Dupain (1911-1992), Walker Evans (1903-1975), Sue Ford (1943-2009), Marti Friedlander (1928-2016), Kate Gollings (1943-2017), André Kertész (1894-1985), J. W. Lindt (1845-1926), W. H. Moffitt (1888-1948), David Moore (1927-2003), Michael Riley (1960-2004), Robert Rooney (1937-2017), Joe Rosenthal (1911-2006), Mark Strizic (1928 -2012), Ingeborg Tyssen (1945-2002), Aby Warburg (1866-1929), Charles Woolley (1834-1922).

(1) J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla
1880
Courtesy State Library Victoria, Pictures Collection

Thought to be the first press photograph in Australia, this shows Joe Byrne, a member of the Kelly Gang, strung up for documentation days after his death, which followed the siege at Glenrowan. Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Lindt’s photograph captures not only the spectacle of Byrne’s body but the contingent of documentarians who arrived from Melbourne to record and widely disseminate the event for public edification.

Double take

I was a curatorial interlocutor for this exhibition so it was very interesting to see this exhibition in the flesh.

An unorthodox flow of images is a strong exhibition, splendidly brought to fruition by curators Naomi Cass and Pippa Milne at the Centre for Contemporary Photography (CCP), Melbourne. To be able to bring so many themes, images, ideas and people together through a network of enabling, and a network of images, is an impressive achievement.

The exhibition explores the notion of connectivity between images in our media saturated world – across context, time and space. “With a nod to networked image viewing behaviour and image sharing – in one long line – the flow also impersonates the form of a sentence.” While the viewer makes their own flows through the works on view, they must interpret the interpolation of images (much like a remark interjected in a conversation) in order to understand their underlying patterns of connection. Like Deleuze and Guattari’s horizontal rhizome theory1 – where the viewer is offered a new way of seeing: that of infinite plateaus, nomadic thought and multiple choices – here the relationship between the photograph and its beholder as a confrontation between self and other, and the dynamic relation between time, subjectivity, memory and loss is investigated … with the viewer becoming an intermediary in an endless flow of non-hierarchical images/consciousness.

In this throng of dialects, the exhibition meanders through different “sections” which are undefined in terms of their beginning and end. The starting point for this flow is the public demonstration of trauma for the edification of society (the photographs of the aftermath of the siege of Ned Kelly and his gang at Glenrowan), notably what is thought to be the first press photograph in Australia, J W Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (1880, above), and the flow then gathers its associations through concepts such as studio work, the gaze, disruption, truth, performance and traces, to name just a few. The exhibition ceaselessly establishes connections between semiotic chains, organisations of power and contextual circumstances, moving forward and backwards in time and space, jumping across the gallery walls, linking any point to any point if the beholder so desires. In this sense (that of an expanded way of thinking laterally to create a democracy of sight and understanding), the exhibition succeeds in fostering connections, offering multiple entryways into the flow of images that proposes a new cultural norm.

For Deleuze and Guattari these assemblages (of images in this case), “… are the processes by which various configurations of linked components function in an intersection with each other, a process that can be both productive and disruptive. Any such process involves a territorialization; there is a double movement where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings.”2 Now here’s the rub (or the trade-off if you like) of this exhibition, for everything in life is a trade-off: the accumulation of new meaning that such a flow of images creates is balanced by what has been lost. Both an accumulation and disinvestment of meaning.

I have a feeling that in such a flow of images the emotion and presence of the subject has been lost, subsumed into a networked, hypermedia flow where, “images become more and more layered until they are architectural in design, until their relationship to the context from which they have grown cannot be talked about through the simple models offered by referentiality, or by attributions of cause and effect.”3 The linear perspective developed during the Renaissance and its attendant evidence of truth/objective reality (the logic of immediacy) is disrupted. It is no longer about being there, about the desire for presence, but about a logic of hypermediacy that privileges fragmentation, process, and performance. Of course, immediacy / hypermediacy are part of a whole and are not exclusionary to each other. But here contemporary art, and in particular contemporary photography, keeps coming back to the surface, redefining conceptual and aesthetic spaces.

This is where I was plainly unmoved by the whole exhibition. Conceptually and intellectually the exhibition is very strong but sequentially and, more importantly, emotionally – the flow of images failed to engage me. The dissociative association proposed – like a dissociative identity disorder – ultimately becomes a form of ill/literation, in which the images seem drained of their passion, a degenerative illness in which all images loose their presence and power. In a media saturated world what does it mean to pluck these images from a variable spatio-temporal dimensionality and sequence them together and hope they give meaning to each other? Ultimately, it’s a mental exercise of identity organisation that is pure construct.

Further, this (re)iteration is a repetition that is supposed to bring you successively closer to the solution of a problem: what is the relevance of the stream of image consciousness in contemporary society? What happens to the referentiality and presence of the individual image?

With this in mind, let us return to the first image in the flow of images, J W Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (1880, above). Here Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Amongst other things, the image is by a photographer taking a photograph of another photographer taking a photograph of the body of Joe Byrne. Immediately, the triangular relationship of camera / subject / viewer (cause and effect) is disrupted with the addition of the second photographer. There is a doubling of space and time within this one image, as we imagine the image the photographer in the photograph would have taken. And then we can see two variations of that internal photograph: Photographer unknown Joe Byrne’s Body, Benalla Gaol, 29 June 1880 (below) and William J. Burman’s Joe Byrne’s Body, Benalla Gaol, 29 June 1880 (1880, below) which 1/ appears to solve who the “photographer unknown” is (unless Burman purchase the rights to use another’s photographers’ negatives); and 2/ is a more tightly framed image than the first iteration. If you look at the top of the head in the second image the hair goes over the metal hinge of the door behind… so the photographer (the same one) has moved closer and dropped the height of the camera, so that the camera looks up more, at the body.

Other details fascinate. The ring on the left finger of Joe Byrne; his stripped shirt; the rope under his arms used to help support his weight; the rope disappearing out of picture to help string him up; and questions such as, how did they get his left hand to stay in that position? This is also, “an image of an audience as much as a portrait of the deceased … Members of the public are also documented; children, men – trackers perhaps, bearing witness to the public display of retribution that was intended to restore social order.” To the left we have what is presumably the photographers’ coat hung on a tree; a man wiping his nose with his thumb; and Aboriginal man; and a boy looking at the camera. Through his silhouette the Aboriginal man can probably be identified as Tracker Johnny, one of five trackers who helped track Ned Kelly, and we can see a portrait of him in an albumen photograph held by the Queensland Police Museum (1880, below). A picture of the ‘Other’, both outsiders, the outlaw and the Aboriginal, detailing the social order. The blurred image of the boy looking at the camera shows the length of the time exposure for the glass plate, but it is his “Janus-faced” visage that I am fascinated with… as he both looks forwards and backwards in time. Whilst most images within An unorthodox flow of images are conceptually grounded, they also evidence only one direct meaning in relationship to themselves within that network, “each one connected to those on either side,” – from point to point to point. Conversely, in this image the interpretation is open-ended, WITHIN THE ONE IMAGE. It is a network all of its own. I also remember, emotionally, the other images of the burnt out Glenrowan Inn, the place where the rails were taken up (I was there!), the bodies in the coffins, the preparation for the photograph of the Kelly Gang Armour laid out in a muddy field for documentation, and the burnt to a cinder, charred remains rescued from the ashes of the Glenrowan Inn laid out on a piece of wood. There is a physicality to these photographs, and an emotional charge, that no other photograph in this exhibition matches. I think, then, not of Joe Bryne’s lifeless body and its/the photographs morbidity, but of him as a younger man – standing legs crossed, one hand on hip, the other resting on the surface of a table, imagining his touch on that table in reality – a son, an outlaw, a living being.

I wish the curators had been braver. I wish that they had given these images more chance to breathe. I wish they had cut the number of images and sequenced them so that the space between them (what Minor White calls ice/fire, that frisson of space between two images that adds to their juxtaposed meaning) provided opportunity for a more emotional engagement with what was being presented. Yes, this is a strong exhibition but it could have been so much more powerful if the flow had not just meandered through the sentence, but cried out, and declaimed, and was quiet. Where was the punctum? Where was the life blood of the party, if only disappearing in a contiguous flow of images.

Dr Marcus Bunyan for Art Blart

Word count: 1,642

Deleuze, Gilles and Guattari, Felix. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis and London: University of Minneapolis Press, 1987
Wood, Aylish. “Fresh Kill: Information technologies as sites of resistance,” in Munt, Sally (ed.,). Technospaces: Inside the New Media. London: Continuum, 2001, p. 166
Burnett, Ron. Cultures of Vision: Images, Media, & the Imaginary. Bloomington: Indiana University Press, 1995, pp. 137-138.

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Many thankx to the CCP for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. The numbers in brackets refer to the number of the image in the field guide. The text is also taken from the field guide to the exhibition.

An unorthodox flow of images commences with what is known as the first press photograph in Australia and unfurls through historic, press, portraiture, popular and art photography, some in their intended material form and others as reproductions. An unbroken thread connects this line of still and moving images, each tied to those on either side through visual, conceptual, temporal, material or circumstantial links.

This is a proposition about photography now. Relationships between images are sometimes real, and sometimes promiscuous. Unorthodox brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. (Text from the CCP website)

J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (details)
1880
Courtesy State Library Victoria, Pictures Collection

(2) Photographer unknown
Joe Byrne’s Body, Benalla Gaol, 29 June
1880
Photographic print from glass plate
12 × 19.5 cm
© Collection of Joyce Evans

This image appears to the one of the images taken by the photographer in J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880 (above)

William J. Burman (1814-1890)
Joe Byrne’s Body, Benalla Gaol, 29 June 1880
1880
At 209 Bourke Street, East Melbourne 1878 – 1888
Albumen carte de visite
6.5 × 10.5 cm

This image appears to the one of the images taken by the photographer in J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880.

Unknown photographer
Untitled [Portrait of Tracker Johnny from Maryborough District one of five trackers who helped track Ned Kelly] (detail, not in exhibition)
c. 1880
Albumen photograph
Queensland Police Museum
Non-commercial – Share Alike (cc)

(3) J. E. Bray (1832-1891)
Kelly Gang Armour
1880
Albumen cabinet portrait
16.5 × 10.5 cm
© Collection of Joyce Evans

“As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.” ~ Susan Sontag, Regarding the Pain of Others (2003)

(4) Unknown photographer
Place where rails were taken up by Kelly gang
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

(5) J. E. Bray (1832-1891)
The Glenrowan Inn after the Kelly Siege
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

(6) J. E. Bray (1832-1891)
Charred remains from Kelly gang siege
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

In her comments on a related photograph by Bray, Helen Ennis writes, “What you see pictured, presumably as part of the official documentation are the thoroughly blackened remains of either Dan Kelly or Steve Hart… Relatives raked what remained of the bodies… from the ashes of the Glenrowan Inn. These were then photographed before family members took them home on horseback and buried them. … [These photographs] also underscore the brutality and barbarism of the post-mortem photographs – the violence physically enacted on the body in the first instance and then visually in terms of the photographic representation.”

Helen Ennis. “Portraiture in extremis” in Photogenic Essays/Photography/CCP 2000-2004, Daniel Palmer (ed.), 2005, CCP, pp. 23-39, p 34.

(7) J. E. Bray (1832-1891)
Untitled [“McDonnell’s Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins”]
1880
Albumen cabinet portrait
16.5 × 10.5 cm
© Collection of Joyce Evans

W. E. (William Edward) Barnes (1841-1916)
Steve Hart (1859-1880) (front and verso, not in exhibition)
c. 1878
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

W. E. (William Edward) Barnes (1841-1916)
Steve Hart (1859-1880) (not in exhibition)
c. 1878
Albumen carte de visite
State Library of Victoria

(9) Piero della Francesca (1415-1492)
Flagellation of Christ
1455-1460
Oil and tempera on wood, reproduced as digital print on wallpaper
58.4 × 81.5 cm, reproduced at 20 × 30 cm

The meaning of della Francesca’s Flagellation and exact identity of the three foreground figures in fifteenth century dress, is widely contested. In the context of this flow of images, the painting represents the pubic display of suffering as punishment, for the edification of society. In both J.W. Lindt’s documentary photograph and the possibly allegorical Flagellation, the broken body of Joe Byrne and that of Christ are isolated from other figures and subject of conversation and debate by gathered figures. Other formal similarities include framing of the tableau into shallow and deep space the organising role of architecture in signifying the key subject.

(10) Joosep Martinson
Police Hostage Situation Developing at the Lindt Café in Sydney
2014
Digital print on wallpaper
20 × 30 cm

The scene outside the Lindt Cafe siege, caught by the photojournalist in a moment of public trauma. This bears formal resemblance to J.W. Lindt’s photograph of Joe Byrne, and even further back to Piero della Francesca.

(13) Tracey Moffatt
I made a camera
2003
photolithograph
38 × 43 cm, edition 201 of 750
Private collection

Returning to J.W. Lindt’s photograph – in particular the hooded central figure photographing Joe Byrne – Tracey Moffatt’s picturing of children role-playing calls to mind the colonial photographer’s anthropological gesture.

(14) Siri Hayes
In the far reaches of the familiar
2011
C-type print
88 × 70 cm, exhibition print
Courtesy the artist

The photographer’s hood is the photographer.

(15) Janina Green
Self Portrait
1996
Digital version of a hand-coloured work in early Photoshop
44 × 60 cm
Courtesy the artist and M.33, Melbourne

(16) Georgie Mattingly
Portrait IV (After Arthroplasty)
2016
Hand-tinted silver gelatin print
36 × 26 cm
Unique hand print
Courtesy the artist

The photographer’s hood has become a meat-worker’s protective gear, tenderly hand-coloured. [And spattered with blood ~ Marcus]

(17) Lisa Hilli (Makurategete Vunatarai (clan) Gunantuna / Tolai People, Papua New Guinea)
In a Bind
2015
Pigment print on cotton rag
76 × 51.5 cm
Courtesy the artist

‘The woven material that hoods the artist’s identity is a reference to collected Pacific artefacts, which are usually of a practical nature. Magimagi is a plaited coconut fibre used for reinforcing architectural structures and body adornment within the Pacific. Here it emphasises the artist’s feeling of being bound by derogatory Western and anthropological labels used by museums and the erasure of Pacific bodies and narratives within public displays of Pacific materiality.’ ~ Lisa Hilli 2017, in an email to the curator

In an era of ‘tumbling’ images, An unorthodox flow of images presents visual culture in a novel way: commencing with Australia’s first press photograph, 150 images unfurl in flowing, a-historical sequences throughout the gallery. Each work is connected to the one before through formal, conceptual or material links.

An unorthodox flow of images draws upon the photographic image in its many forms, from significant historical photographs by major Australian artists, such as J.W. Lindt, Olive Cotton and Max Dupain, through to contemporary international and Australian artists, such as Tracey Moffatt, Michael Parekowhai, Christian Boltanski and Daido Moriyama. This exhibition brings early career artists into the flow, including Georgie Mattingley, Jack Mannix and James Tylor.

Celebrating the breadth of photographic technologies from analogue through to digital, including hand made prints, a hand-held stereoscope, early use of Photoshop, iPhone videos and holography, An unorthodox flow of images propels the viewer through a novel encounter with technology, art, and the act of looking. Rather than a definitive narrative, this exhibition is a proposition about relationships between images: sometimes real and sometimes promiscuous, and is inevitably open to alternative readings. Contemporary culture necessitates quick, networked visual literacy. So viewers are invited to make their own readings of this unorthodox flow.

Akin to how images are experienced in our personal lives and perhaps to how artists are influenced by the multiverse of photography, this extraordinary gathering also includes spirited incursions from other kinds of images – rare prints of grizzly 19th century photojournalism abuts contemporary video first shared on Instagram, and surrealist French cinema nestles in with Australian image-makers.

This exhibition aims to bring new contexts to existing artworks to highlight networked image-viewing behaviour, whilst honouring the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. An unorthodox flow of images is presented as part of the 2017 Melbourne Festival.

Press release from the CCP

(30) Siri Hayes
Plein air explorers
2008
C-type print
108 × 135 cm, edition 4 of 6
Collection of Jason Smith

An artist’s studio in the landscape.

(31) Robyn Stacey
Wendy and Brett Whiteley’s Library
2016
From the series Dark Wonder
C-type print
110 × 159 cm, edition of 5 + 3 artist proofs
Courtesy the artist and Jan Manton Gallery, Brisbane

The landscape brought into the studio by a camera obscura. Robyn Stacey captures the perfect moment of light and clarity, in this instance, also turning the egg-object into an orb of light.

(37) Pat Brassington
Vedette
2015
Pigment print
75 × 60 cm, edition of 8,
Courtesy the artist and ARC ONE Gallery, Melbourne and Bett Gallery, Hobart

Two orbs, a positive and a negative space.

(38) Anne Noble
Ruby’s Room 10
1998-2004
Courtesy the artist and Two Rooms Gallery Auckland

(42) Daido Moriyama
DOCUMENTARY ’78
1986
Silver gelatin print
61 × 50.8 cm
Private collection

(43) Leah King-Smith
Untitled #3
1991
From the series Patterns of connection
C-type print
102 × 102 cm, edition 6 of 25
Private collection

‘I was seeing the old photographs as both sacred family documents on one hand, and testaments of the early brutal days of white settlement on the other. I was thus wrestling with anger, resentment, powerlessness and guilt while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’ ~ L King-Smith, White apron, black hands, Brisbane City Hall Gallery, 1994, p. 7. In this series, the artist superimposes the colonial portrait onto images of the subject’s own landscape, returning the dispossessed to country.

Unorthodox: a field guide

We could have started anywhere. Perhaps every image ever made connects with another image in some way. But, we have begun with what is known as the first press photograph in Australia – a grisly depiction of Kelly Gang member Joe Byrne, strung up some days after his execution, for a group of onlookers, including a group of documentarians who came in by train to record the event: a painter and several photographers. This is an image of an audience as much as a portrait of the deceased. A hooded photographer bends to his tripod, and a
painter waits in line. Perhaps a seminal moment between competing technologies of record, magnificently captured by colonial photographer, J. W. Lindt (1845-1926): this is as decisive a moment as current technology permitted. Members of the public are also documented; children, men – trackers perhaps, bearing witness to the public display of retribution that was intended to restore social order.

From here, Unorthodox draws a thread of images together, each one connected to those on either side, whether through visual, conceptual, temporal, material or circumstantial ties, or by something even more diffuse and smoky – some images just conjure others, without a concrete reason for their bond. Spanning the entire gallery space, nearly 150 images unfurl with links that move through historic, press, portraiture, popular and art photography.

You are invited to wander through CCPs nautilus galleries, and make what you will of this flow because unlike a chain of custody, there is no singular narrative or forensic link: you are invited to explore not just connections between works but to see individual works in a new light.

At the core of this exhibition is an attempt to lay bare the way that images inform and seep into everyday life, underpinning the way that we see, interpret and understand the world. With a nod to networked image viewing behaviour and image sharing – in one long line – the flow also impersonates the form of a sentence.

The act of looking. Looking is a process, informed by context – where and when we see something, and what surrounds it. Here, images are unbuckled from their original context, indeed there are no museum labels on the wall. But this is often the way when viewing images on the internet, or reproduced in books, referenced in ads, reenacted in fashion shoots, or reinterpreted by artists. The notion of reproductions within photography is slippery, made more so by the rapid circulation of images whereby we sometimes only know certain originals through their reproductions. In this exhibition, sometimes we have the original images, at others we proffer ‘reproductions’, setting out a swathe of contemporary and historical approaches to the craft of photography and video, unhampered by traditional constraints of what we can or cannot show within a non-collecting contemporary art space.

This exhibition moves through a number of notional chapters, for example visual connections can be made between orbs made by soap bubbles (no. 32, 34) and moons (no. 33); eyes (no. 40, 41, 42), gaping mouths (no. 37), the balletic body in space (no. 45); and light from orbs (no. 44, 46) and then moonlight on the ocean (no. 47), which tumbles into salty connections, with photographs exposed by the light of the moon through seawater (no. 48) connecting to an image of salt mines (no. 50), and on to salt prints (no. 51).

We have been influenced by observing how audiences view exhibitions, traversing the space, seemingly drawing connections, making their own flows through works on view. In spite of its indexicality to the world, photography is particularly open to multiple readings due to its reproducibility and its vulnerability to manipulation. A key to this permeability is the intention of the photographer, which can become opaque over time. For example, installation artist Christian Boltanski’s found photograph (no. 137) has been taken out of its time and context
so as to mean something quite different from what the photographer intended.

Importantly, due to their multiple readings, many works could be equally effective if placed in other sections of the exhibition. For example, of the many places to position Leah King-Smith’s Untitled #3 (no. 43), we have elected to locate it amongst compositions that include orbs. However, it is also a staged work; a constructed or collaged photograph; it embodies an Indigenous artist returning the colonial gaze and, due to the age of her source photograph, it represents a deceased person. And, in her own words King-Smith is responding to the trauma of settlement. ‘I was thus wrestling with anger, resentment, powerlessness… while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’

A curious process indeed, we have been open to many repositories of images while gathering this flow – from our work with artists at CCP; to childhood memories of images and personal encounters with photography and video; to our trawling of the Internet and books; as well as conversations with writers, artists and collectors. From these stores, we have also considered which works were available in their material form, as opposed to reproductions on wallpaper, postcards and record covers. While we exhibit a broad timespan and multiple technologies, our primary desire as a contemporary art space is to create new contexts for the exhibition of contemporary photography and video.

Unorthodox is a proposition about relationships between images: sometimes real and sometimes promiscuous, and is inevitably open to alternative readings. It brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space.

Naomi Cass and Pippa Milne

(62) Brook Andrew
I Split Your Gaze
1997, printed 2005
Silver gelatin print
160 × 127 cm
Private collection
Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels

(63) Brassaï
Young couple wearing a two-in-one suit at Bal De La Montagne Saint-Genevieve
c. 1931
Gelatin silver print
Reproduced as digital print on wallpaper
23.2 × 15.9 cm, reproduced at 24.5 × 19 cm

(64) William Yang
Alter Ego
2000
from the series Self Portraits
Inkjet print, edition 2 of 30
68 × 88 cm
Courtesy the artist

(65) Sue Ford (1943-2009)
Lyn and Carol
1961
Silver gelatin print, edition 3 of 5
44 × 38 cm
Courtesy Sue Ford Archive

(76) Harold Cazneaux (1878-1953)
Spirit of Endurance
1937
Silver gelatin print
16.8 × 20.4 cm
Private collection

In the following two works, a critical change of title by the artist reveals what, alone, the eye cannot see. This photograph had already achieved iconic status as a symbol of the noble Australian landscape when, following the loss of his son who died aged 21 at Tobruk in 1941, Cazneaux flipped the negative and presented the image under the new title Spirit of Endurance. The tree is now classified on the National Trust of South Australia’s Register of Significant Trees.

(77) Jeff Carter (1928-2010)
The Eunuch, Marree, South Australia
1964
Silver gelatin print
37.5 × 27.2 cm
Private collection

Changing a title can dramatically alter the meaning of an image. This work has had several titles:

Morning Break 1964;
Dreaming in the sun at Marree, outside the towns single store 1966;
At times there is not too much to do except just sit in the sun… 1968;
‘Pompey’ a well known resident of Marree;
and finally The Eunuch, Marree, South Australia 2000

Under early titles, the photograph appeared to be a simple portrait of “Pompey”, a local Aboriginal man in Marree who worked at the town’s bakery. The final title draws viewers’ attention away from what might have seemed to be the man’s relaxed approach to life, and towards the violence enacted on Aboriginal communities in castrating young boys.

(82) Photographer undisclosed
Persons Of Interest – ASIO surveillance images
1949 -1980
‘Frank Hardy under awning Caption: Author Frank Hardy shelters under an awning, in the doorway of the Building Workers Industrial Union, 535 George St, Sydney, August 1955’
C-type prints
22 × 29 cm each
Private collection

The Australian Security and Intelligence Organisation (ASIO) employed photographers to spy on Australian citizens. The photographs which were annotated to indicate persons of interest, were retained by ASIO along with other forms of material gathered through espionage.

(85) Luc Delahaye
L’Autre (detail)
1999
Book published by Phaidon Press, London
17 × 22 cm
Private collection

In the footsteps of Walker Evans’ classic candid series, Rapid Transit 1956

(94) David Moore (1927-2003)
Migrants arriving in Sydney
1966
Silver gelatin print
35.7 × 47 cm
Private collection

In 2015, Judy Annear said of this famous photograph: “It’s great to consider that it’s not actually what it seems.” Years after the photo was published, it emerged that four of the passengers in it were not migrants but Sydneysiders returning home from holiday.

(95) Joe Rosenthal (1911-2006)
Raising the Flag on Iwo Jima
1945
Digital print on wallpaper, reproduced at 20 × 25 cm

While not present at the the raising of the first flag over Iwo Jima, Rosenthal witnessed the raising of the replacement flag. Some maintain that this Pulitzer Prize winning photograph was staged, while others hold that it depicts the replacement of the first flag with a larger one.

(103) Charles Kerry (1857-1928)
Aboriginal Chief
c. 1901-1907
Carte de visite
13.7 × 8.5 cm
Private collection

No name or details are recorded of this sitter from Barron River, QLD. He was a member of the touring Wild West Aboriginal troupe, which staged corroborees, weapon skills and tableaux of notorious encounters between armed Native Police and unarmed local communities.

(104) Brook Andrew
Sexy and Dangerous
1996
Computer-generated colour transparency on transparent synthetic polymer resin, included here as postcard of artwork
original 146.0 × 95.6 cm, included here at 15.3 × 10.5 cm
The artist is represented by Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels

(116) William Eggleston
Untitled (glass on plane)
1965-1974
C-type print
41 × 56 cm
Private collection

(117) Bill Culbert
Small glass pouring Light, France
1997
Silver gelatin print, edition of 25
40.5 × 40.5 cm
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Hopkinson Mossman Gallery, Auckland

(118) Olive Cotton
Teacup Ballet
1935
Silver gelatin print
35.5 × 28 cm
Courtesy Tony Lee

(119) David Moore (1927-2003)
Sisters of Charity
1956
Silver gelatin print
40.5 × 27.1 cm
Private collection

(120) Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015)
Kies-und Schotterwerke (Gravel Plants)
2006
Silver gelatin print
99 × 121 cm
Private collection

(123) Max Dupain (Australian, 1911-1992)
Backyard, Forster, New South Wales
1940
Silver gelatin print
44 × 39 cm
Private collection

(138) Joyce Evans
Budapest Festival
1949
Inkjet print
7.6 × 7.6 cm
Courtesy the artist

(145) Jeff Wall
A sudden gust of wind (after Hokusai)
1993
Transparency on lightbox, included here as postcard of artwork
250 × 397 × 34 cm, included here at 15.3 × 10.5 cm
Artist is represented by Marian Goodman Gallery; Gagosian; and White Cube Gallery

(147) Masayoshi Sukita
David Bowie – Heroes
1977
Record cover
31 × 31 cm

Sukita: In gesture and gaze, Sukita’s photograph for David Bowie’s 1977 cover harks back 60 years to Weimar Republic artist, Erich Heckel’s 1917 painting, Roquairol, which is in Bowie’s art collection.

(148) Francis Alÿs
Railings (Fitzroy square)
London, 2004
4.03 min.
Francis Alÿs website

We posit Fitzroy Square at this point; in honour of your journey through this unorthodox flow of images.

Centre for Contemporary Photography
404 George St, Fitzroy
Victoria 3065, Australia
T: + 61 3 9417 1549

Opening Hours:
Wednesday – Saturday, 11am – 6pm
Sunday, 1pm – 5pm

Centre for Contemporary Photography website

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Sep

Exhibition: ‘Louise Lawler: WHY PICTURES NOW’ at the Museum of Modern Art (MoMA), New York

By Dr Marcus Bunyan Leave a Comment

Categories: American, american photographers, beauty, black and white photography, colour photography, cultural commentator, digital photography, drawing, exhibition, existence, film, gallery website, illustration, installation art, light, memory, MoMA, New York, painting, photographic series, photography, printmaking, psychological, reality, space, time, video and works on paper
Tags: (Andy Warhol and Other Artists) Tulip, (Roy Lichtenstein and Other Artists) Black, adjusted to fit, American art, american artist, American conceptual art, American Conceptual artist, American conceptual photography, American contemporary photography, American photography, Andrea Fraser May I Help You?, appropriated images, appropriation, Appropriation Art, appropriation in art, Arranged by Donald Marron Susan Brundage, Big (adjusted to fit), Birdcalls, Cameron Rowland, Cameron Rowland 91020000, Conceptual Art, Contemporary Photography, continuous re-presentation, continuous representation, Does Andy Warhol Make You Cry?, Does Marilyn Monroe Make You Cry?, Douglas Crimp, Douglas Crimp Pictures, Evening Sale, exchange value of art, female artist, feminist art, film noir, film noir still, Hand On Her Back (traced), image production, image production and institutional critique, images stretched or expanded to fit the location of their display, Jasper Johns, Jasper Johns and Robert Rauschenberg, Jasper Johns Robert Rauschenberg, Jasper Johns White Flag, Life After 1945 (Faces), Louise Lawler, Louise Lawler (Andy Warhol and Other Artists) Tulip, Louise Lawler (Roy Lichtenstein and Other Artists) Black, Louise Lawler Arranged by Donald Marron Susan Brundage, Louise Lawler Big (adjusted to fit), Louise Lawler Does Andy Warhol Make You Cry?, Louise Lawler Does Marilyn Monroe Make You Cry?, Louise Lawler Evening Sale, Louise Lawler Hand On Her Back (traced), Louise Lawler Jasper Johns, Louise Lawler Life After 1945 (Faces), Louise Lawler Marie +270, Louise Lawler Monogram, Louise Lawler No Drones, Louise Lawler Nude, Louise Lawler Nude 2002, Louise Lawler Pollock and Tureen (traced), Louise Lawler Pollyanna (adjusted to fit), Louise Lawler Produced in 1988 Purchased in 1989, Louise Lawler Salon Hodler, Louise Lawler Salon Hodler (traced), Louise Lawler Sentimental, Louise Lawler Still Life (Candle) (adjusted to fit), Louise Lawler Triangle (adjusted to fit), Louise Lawler Untitled (Salon Hodler), Louise Lawler Untitled 1950-51, Louise Lawler WAR IS TERROR, Louise Lawler White Gloves, Louise Lawler Why Pictures Now (traced), Louise Lawler: WHY PICTURES NOW, Louise Lawler Birdcalls, Marie +270, May I Help You?, MOMA, Monogram, Museum of Modern Art, New York, No Drones, performative art, photography, Pictures, Pictures Generation, Pollock and Tureen, Pollock and Tureen (traced), Pollyanna (adjusted to fit), Produced in 1988 Purchased in 1989, question the meaning of art, re-presentation, reframing, representation, restaging photographs, Robert Rauschenberg, Salon Hodler, Salon Hodler (traced), Sentimental, Still Life (Candle) (adjusted to fit), the meaning of art, the politics of space, tracings, Triangle (adjusted to fit), Untitled 1950-51, use of art, WAR IS TERROR, White Gloves, WHY PICTURES NOW, Why Pictures Now (traced)

Exhibition dates: 30th April – 30th July 2017

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

Louise Lawler
Pollyanna (adjusted to fit) distorted for the times
2007/2008/2012
As adjusted for the MoMA exhibition WHY PICTURES NOW, 2017
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

Louise Lawler
Pollyanna (adjusted to fit)
2007/2008/2012
As adjusted for the MoMA exhibition WHY PICTURES NOW, 2017
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

Louise Lawler
Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit), distorted for the times
1995/2010
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

(Note on reproducing Lawler’s Adjusted to Fit works: Each time these images are reproduced, they should be stretched to the space given to the reproduction. The original file (un-stretched) is the origin point for anything that is then adjusted by the photo editor.)

I missed the closing date for this exhibition due to the ongoing problems with my hand. However, I believe it is valuable to post these images because Louise Lawler is an always provocative, thoughtful and interesting artist. She shines a light or, more possibly, pokes a big stick at patriarchal systems of value in art – turning perceived points of view, ways of seeing, and “the cultural circumstances that support art’s production, circulation, and presentation” on their head.

“… behind Ms. Lawler’s shape-shifting works lies a poetic intelligence, a political sharpness and an understanding of the artwork as a form of value, but also as a source and an object of love.” Well said.

Lawler possesses a unique understanding of the forms of culture embodied within images and also an intimate knowledge of the archetypal forms buried deep within their bones. Is the pattern immanent in the paper (the cosmos), or is the paper a blank slate to be written on by the creator?

Distorted, restaged, reframed and re-presented for the times…

Marcus

.
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.

#art #moma #museumofmodernart #museum #modernart #nyc #education #artist #photography #womenartists #femaleartists #louiselawler #whypicturesnow

Louise Lawler: WHY PICTURES NOW is the first major survey in New York of the artist Louise Lawler (American, b. 1947), spanning the 40-year creative output of one of the most influential artists working in the fields of image production and institutional critique. The exhibition takes its title from one of Lawler’s most iconic works, Why Pictures Now (1982), a black-and-white photograph showing a matchbook propped up in an ashtray. Reminiscent of an advertising photograph or a film noir still, it asks the viewer to consider why the work takes the form of a picture, and why the artist is making pictures now. Lawler came of age as part of the Pictures Generation, a loosely knit, highly independent group of artists named for an influential exhibition, Pictures, organised in 1977 by art historian Douglas Crimp at Artists Space in New York. These artists used photography and appropriation-driven strategies to examine the functions and codes of representation. Lawler’s signature style was established in the late 1970s and early 1980s, when she began taking pictures of other artists’ works displayed in collectors’ homes, museums, storage spaces, and auction houses to question the value, meaning, and use of art.

WHY PICTURES NOW is organised by Roxana Marcoci, Senior Curator, with Kelly Sidley, Curatorial Assistant, Department of Photography.

“Ms. Lawler and Roxana Marcoci, the exhibition’s curator, have devised something quite different: an open, airy survey with lots of room for roaming, some chairs for sitting and two conjoined, markedly different halves focusing on Ms. Lawler’s activities with pictures and then words. The first half is dominated by photographs in various shapes and guises, including mural-size images. The second, which seems almost empty at first, contains two large vitrines of ephemera that show off Ms. Lawler’s gifts for graphic design and for language, with displays of everything from matchbook covers and napkins to exhibition announcements and art books that she photo-edited. …

Ms. Lawler’s images have multiple lives, exposing the ceaseless flexibility of photographs. Constantly recycled, they go from framed and portable to paperweights to the wall-covering murals of her “adjusted to fit” series. In the show’s first half, four “adjusted” photos cover immense, staggered walls, looming like ocean liners sliding out of their docks. Their monumentality thrills but also chides the art world for its embrace of spectacle and the overblown. …

It is hard to know if these words [“Why Pictures Now”] proclaim the power, or the worthlessness, of pictures. Probably both. Either way, behind Ms. Lawler’s shape-shifting works lies a poetic intelligence, a political sharpness and an understanding of the artwork as a form of value, but also as a source and an object of love.”

.
Roberta Smith. “Louise Lawler’s Stealth Aesthetic (and Muted Aura),” on the New York Times website

Louise Lawler: WHY PICTURES NOW | MoMA LIVE

Join us for a conversation with MoMA director Glenn Lowry and curator Roxana Marcoci on the opening of the exhibition, Louise Lawler: WHY PICTURES NOW. The first New York museum survey of the work of American artist Louise Lawler, this exhibition is an exploration of her creative output, which has inspired fellow artists and cultural thinkers alike for the past four decades.

Among the most intriguing aspects of Lawler’s working process is her continuous re-presentation, reframing, or restaging in the present, a strategy through which she revisits her own images by transferring them to different formats – from photographs to paperweights, tracings, and works she calls “adjusted to fit” (images stretched or expanded to fit the location of their display). Lawler’s critical strategies of reformatting existing content not only suggest the idea that pictures can have more than one life, but underpin the intentional, relational character of her farsighted art.

Louise Lawler | HOW TO SEE the artist with MoMA curator Roxana Marcoci

Can the exact same image have a completely different meaning if its title or medium is changed? Explore the work of one of today’s most influential female artists, Louise Lawler, in the new exhibition Louise Lawler: WHY PICTURES NOW.

MoMA curator Roxana Marcoci gives us a tour of the exhibition that charts Lawler’s continuous re-presentation, reframing, or restaging of the present, a strategy through which Lawler revisits her own images by transferring them to different formats – from photographs to paperweights, tracings, and works she calls “adjusted to fit” (images stretched or expanded to fit the location of their display).

Louise Lawler’s Birdcalls at MoMA

You’re not hearing things. For the duration of the Louise Lawler exhibition, a stroll through our Abby Aldrich Rockefeller Sculpture Garden places you squarely in the middle of Birdcalls, the artist’s defiant, humorous critique of the art world’s captivation with male artists. Find out what exhibition inspired Lawler’s sole sound piece with MoMA curator Roxana Marcoci.

Installation views of Louise Lawler: WHY PICTURES NOW
© 2017 The Museum of Modern Art
Photo: Martin Seck

Lawler’s study of art in its commercial context will be complemented by the display of a work by a younger artist that highlights a different kind of economy. The sculpture New York State Unified Court System (top photo), by artist Cameron Rowland, included in the artist’s knockout exhibition at Artists Space this winter, takes the form of four oak benches used in courtrooms and built using prison labour. (Text from the Artnet website)

Louise Lawler
Why Pictures Now
1981
Gelatin silver print
3 x 6” (7.6 x 15.2 cm)
The Museum of Modern Art, New York
Acquired with support from Nathalie and Jean-Daniel Cohen in honour of Roxana Marcoci
© 2016 Louise Lawler

Louise Lawler
Why Pictures Now (traced)
1981/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler
(Roy Lichtenstein and Other Artists) Black
1982
Silver dye bleach print
28 ½ x 37 ¼” (72.4 x 94.6 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler
(Andy Warhol and Other Artists) Tulip
1982
Silver dye bleach print
38 ½ x 60 ½” (97.8 x 153.7 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler
Monogram
1984
Silver dye bleach print
39 1/2 × 28″ (100.3 × 71.1 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

“Swimming among the show’s images are words and wordplay that can have a few layers. One of Ms. Lawler’s better-known photographs shows Jasper Johns’s creamy “White Flag” (1955) hanging above a bed with an equally creamy monogrammed satin spread. The image is sensibly titled “Monogram,” all the more fittingly since “Monogram” is also the title of one of Robert Rauschenberg’s combines from the 1950s, when he and Mr. Johns were lovers.

Roberta Smith. “Louise Lawler’s Stealth Aesthetic (and Muted Aura),” on the New York Times website

Louise Lawler
Untitled, 1950-51
1987
Silver dye bleach print
29 3/8 × 39 1/4″ (74.6 × 99.7 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

Louise Lawler
Does Andy Warhol Make You Cry?
1988
Silver dye bleach print with text on Plexiglass wall label
Image (shown): 27 ¼ x 39” (69.2 x 99.1 cm); Label: 4 3/8 x 6 3/8 in. (11.1 x 16.2 cm)
The Museum of Modern Art, New York
Gift of Gabriella de Ferrari in honour of Karen Davidson
© 2016 Louise Lawler

“Lawler’s suspicion of the image is nothing new. In WHY PICTURES NOW, her career survey currently on view at the Museum of Modern Art, the Pictures Generation artist is again and again engaged in taking the familiar – a famous work of art, different forms of banal ephemera – and making it abnormal through clever subversion. There is a timid jostling of her male peers, a slight nudge off the pedestal of reverence, which is evident in much of her work and makes it eminently appealing – even if some of its institutional critique is diminished under the museum’s glow of prestige. But what is often obscured in Lawler’s work is the way that it’s not only questioning the apparatus of making and displaying art, but also its reception – the formalised way that we, the spectators, are looking.”

.
Craig Hulbert on the Hyperallergic website

The Museum of Modern Art announces Louise Lawler: WHY PICTURES NOW, the first major survey in New York of the artist Louise Lawler (American, b. 1947). Spanning the 40-year creative output of one of the most influential artists working in the fields of image production and institutional critique, the exhibition will be on view from April 30 to July 30, 2017, in The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor, along with one sound work, Birdcalls (1972-81), which will be installed in The Abby Aldrich Rockefeller Sculpture Garden. The exhibition takes its title from one of Lawler’s most iconic works, Why Pictures Now (1982), a black-and-white photograph showing a matchbook propped up in an ashtray. Reminiscent of an advertising photograph or a film noir still, it asks the viewer to consider why the work takes the form of a picture, and why the artist is making pictures at this moment. Lawler came of age as part of the Pictures Generation, a loosely knit, highly independent group of artists named for an influential exhibition, Pictures, organised in 1977 by art historian Douglas Crimp at Artists Space in New York. These artists used photography and appropriation-driven strategies to examine the functions and codes of representation. Lawler’s signature style was established in the late 1970s and early 1980s, when she began taking pictures of other artists’ works displayed in collectors’ homes, museums, storage spaces, and auction houses to question the value, meaning, and use of art. WHY PICTURES NOW is organised by Roxana Marcoci, Senior Curator, with Kelly Sidley, Curatorial Assistant, Department of Photography.

Lawler’s work offers a defiant, witty, and sustained feminist analysis of the strategies that inform art’s production and reception. In 1971, she was invited to assist several artists for independent curator Willoughby Sharp’s Pier 18, an exhibition that featured 27 male artists on an abandoned pier on the Hudson River. While walking home after leaving the pier one evening, Lawler began to mimic birdlike sounds in order to ward off any unwanted interactions, chanting “Willoughby! Willoughby!” This parody evolved into Birdcalls, a seven-minute audio piece in which Lawler squawks, chirps, and twitters the names of famous male artists, from Vito Acconci to Lawrence Weiner – an astute critique of the name recognition enjoyed by her male contemporaries. Birdcalls thematises Lawler’s strategy of resistance to the authoritative and the patronymic proper name. This work will be played throughout the course of the exhibition, in MoMA’s Abby Aldrich Rockefeller Sculpture Garden.

An intriguing aspect of Lawler’s practice is her process of continuous re-presentation, reframing, or restaging in the present: she revisits her own work by transferring her images to different formats, from a photograph to a tracing, and to works that she calls “adjusted to fit.” The “tracings” are large-format black-and-white line versions of her photographs that eliminate colour and detail, functioning instead as “ghosts” of the originals. “Adjusted to fit” images are stretched or expanded to fit the location of their display, not only suggesting the idea that pictures can have more than one life, but also underpinning the intentional, relational character of Lawler’s farsighted art.

The exhibition consists of a sequence of mural-scale, “adjusted to fit” images set in dynamic relation to non-linear groupings of photographs – of collectors’ homes, auction houses, and museum installations – distinctive of Lawler’s conceptual exercises. Additionally, a deceptively empty gallery presents black-and-white tracings of Lawler’s photographs that have been printed on vinyl and mounted directly on the wall. A display of the artist’s ephemera from the 1970s to today highlights the feminist and performative undercurrents of her art. Lawler’s long history of artistic collaborations, with Sherrie Levine, Allan McCollum, Andrea Fraser, Felix Gonzalez-Torres, Christopher d’Arcangelo, Peter Nadin, and Lawrence Weiner, among others, come full circle in the ephemera on display. Furthermore, on the platform outside the gallery space, two “adjusted to fit” images are shown together with Cameron Rowland’s work New York State Unified Court System. Comprised of four oak courtroom benches, it was included in Rowland’s exhibition 91020000, presented at Artists Space in 2016. Lawler and Rowland share an interest in examining the imbalances of exploitative economies, the use value and exchange value of art, the politics of space, and the interplay of power between human relations and larger institutional structures, including markets, museums, prisons, and governments. Additionally, Andrea Fraser will perform her work May I Help You? in the exhibition space. In foregrounding her work’s relationship to the economies of collaboration and exchange, Lawler shifts focus from the individual picture to the broader history of art. Her careful attention to artistic contexts, modes of presentation, and viewers’ receptions generates witty, affective situations that contribute to institutional transformation.

Press release from MoMA

Louise Lawler
Untitled (Salon Hodler)
1992
Paperweight (silver dye bleach print, crystal, felt) with text on wall
Paperweight: 2″ (5.1 cm) high, 3 1/2″ (8.9 cm) diam.
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

Louise Lawler
Salon Hodler (traced)
1992/1993/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler
Sentimental
1999/2000
Silver dye bleach print
40 ¾ x 46 ¾” (103.5 x 118.7 cm)
The Museum of Modern Art, New York
Promised gift of Glenn and Amanda Fuhrman
© 2016 Louise Lawler

Louise Lawler
WAR IS TERROR
2001/2003
Silver dye bleach print
30 × 25 3/4″ (76.2 × 65.4 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

Louise Lawler
Nude
2002/2003
Silver dye bleach print
59 1/2 × 47 1/2″ (151.1 × 120.7 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

Louise Lawler
White Gloves
2002/2004
Silver dye bleach print
29 × 27 1/2″ (73.7 × 69.9 cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

Louise Lawler
Life After 1945 (Faces)
2006/2007
Silver dye bleach print
40 x 33 ¼” (101.6 x 84.5 cm)
The Museum of Modern Art, New York
Promised gift of Glenn and Amanda Fuhrman
© 2016 Louise Lawler

Louise Lawler
Triangle (adjusted to fit)
2008/2009/2011
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler
No Drones
2010/2011
Chromogenic colour print
29 ¼ x 19 ¾” (74.3 x 50.2 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler
Marie +270
2010/2012
Chromogenic colour print
59 x 45 ½” (149.9 x 115.6 cm)
The Museum of Modern Art, New York
Promised gift of Ricki Gail Conway
© 2016 Louise Lawler

Louise Lawler
Pollock and Tureen (traced)
1984/2013
Dimensions variable
The Museum of Modern Art, New York
The Abby Aldrich Rockefeller Endowment
© 2016 Louise Lawler

One of her most famous images, “Pollock and Tureen” (1984), shows a fragment of a painting by Jackson Pollock above an antique soup tureen. In the photograph, the colour relationships are clear, offering insight into the choices of the collectors who “arranged” (a favourite word of Lawler’s) the scene. The work is about class, capitalism, and domesticity, not to mention reality and fiction. But when all the site-specific context is removed [in the tracing] … all we’re left with is contemplating the original Lawler artwork’s role in art history and the market.

In Benjamin Buchloh’s essay for Lawler’s retrospective last year at the Museum Ludwig, one of his most cogent points is about the nature of melancholy in her original photographs. “[H]er images,” he writes, “leave equally little doubt that there is hardly a more melancholic space than that of a fulfilled and seemingly satisfied utopian aspiration, one that has, however, not quite lived up to the originary promises … ”

Hrag Vartanian on the Hypoallergic website

Louise Lawler
Hand on Her Back (traced)
1997/1998/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler
Evening Sale
2010/2015
Silver dye bleach print
50 x 36 5/8” (127 x 93 cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler
Big (adjusted to fit)
2002/2003/2016
Dimensions variable
The Museum of Modern Art, New York
Acquired through the generosity of The Modern Women’s Fund and The Contemporary Arts Council
© 2016 Louise Lawler

Louise Lawler
Still Life (Candle) (adjusted to fit)
2003/2016
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

Louise Lawler
Arranged by Donald Marron, Susan Brundage, Cheryl Bishop at Paine Webber Inc. (adjusted to fit)
1982/2016
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

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

Opening hours:
Monday – Thursday, Saturday – Sunday 10.30 am – 5.30 pm
Friday, 10.30 am – 8.00 pm

MoMA website

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Jan

Exhibition: ‘Telling Tales: Contemporary Narrative Photography’ at the McNay Art Museum, San Antonio TX

By Dr Marcus Bunyan Leave a Comment

Categories: American, american photographers, colour photography, digital photography, exhibition, existence, gallery website, light, memory, painting, photographic series, photography, portrait, psychological, space, time and works on paper
Tags: AIDS crisis, Alec Soth, Alec Soth Charles Vasa Minnesota, Alex Prager, Alex Prager Hollywood Park, Anna Gaskell, Anna Gaskell Untitled #3 (Turns Gravity), avant-garde cinema, Charles Vasa Minnesota, class differences, Contemporary Narrative Photography, Contemporary Photography, contemporary photography exhibition, Cookie at Tin Pan Alley, Erwin Olaf, Erwin Olaf The Dancing School, Erwin Olaf Victoria, Falling Down, Family Commission with Snake, Hollywood Park, Jessica Todd Harper, Jessica Todd Harper Self Portrait with Marshall, Julie Blackmon, Julie Blackmon New Chair, Julie Blackmon Time Out, large-scale photography, Lori Nix, Lori Nix Chinese Take-Out, Lori Nix Flood, marginalized communities, Massachusetts Turnpike, Mitch Epstein, Mitch Epstein Massachusetts Turnpike, nan goldin, Nan Goldin Cookie at Tin Pan Alley, Norman Rockwell, Norman Rockwell storyteller, painted illustrations, photography, science fiction illustration, Self Portrait with Marshall, social justice, storytelling, storytelling in contemporary photography, Telling Tales, Telling Tales: Contemporary Narrative Photography, Teresa Hubbard / Alexander Birchler, Teresa Hubbard / Alexander Birchler Falling Down, The Ballad of Sexual Dependency, The Dancing School, Tina Barney, Tina Barney Family Commission with Snake, Untitled #3 (Turns Gravity), vignettes, vignettes for the camera

Exhibition dates: 28th September 2016 – 15th January 2017

Curator: René Paul Barilleaux, Chief Curator/Curator of Contemporary Art at the McNay

I really, really don’t know what tales I can tell from this disparate group of media images illustrating (and that’s the key word) the exhibition.

Except to say that their stage managed, dead pan style, really, really doesn’t do it for me.

The sensation of loneliness, limited colour palette and total nihilism leaves me as cold as a corpse in a freezer.

The tale that nothing in the world has a real existence, or really matters.

If Norman Rockwell used photographs to compose his painted illustrations, then that is what these are … photographic illustrations.

A perfect example of this composite, stilted painterly overkill is Julie Blackmon’s New Chair (2014, below).

Everything is perfectly posed, poised and positioned in relation to each other: the boy behind the chair; the price on the chair; the pair of legs and two hands lifting the roller door; the children in the background; the blue dress of the child in the forground and her relationship to the horse, baseball, melting icy pole, football and young lad with head wrapped in bubble wrap while another piece lies on the ground. The ramp fills the space delightfully behind these artefacts with the hero splash of colour, the new chair, perched upon its upper reaches.

This, dear friends, is the state of contemporary narrative photography, where “telling tales” – to gossip about or reveal another person’s secrets or wrongdoings – is just this. Gossip about nothing.

Marcus

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

Telling Tales: Contemporary Narrative Photography is a survey of work by artists who record stories through pictures, whether real or imagined. Organized by the McNay’s Chief Curator and Curator of Contemporary Art, René Paul Barilleaux, the exhibition includes approximately fifty photographs from the late 1970s to the present by 17 ground-breaking photographers. Telling Tales is the McNay Art Museum’s first large-scale exhibition of photography and is accompanied by an 88-page illustrated book.

The exhibition presents work such as Nan Goldin’s landmark The Ballad of Sexual Dependency demonstrate some artists’ explorations of the politics of the day – in this case, the onset of the AIDS crisis – while other examples, including photographs by Tina Barney, Justine Kurland, and Paul Graham investigate class differences, marginalized communities, and social justice.

While some contemporary artists explore photographic imagery as it is filtered through and mediated by technology and the internet, others exploit photography’s ability to present a momentary, frozen narrative. Images are staged for the camera or highly manipulated through digital processes, yet they often resemble a casual snapshot or movie still. Primarily in color and often large-scale, the photographs reference everything from classical painting and avant-garde cinema, to science fiction illustration and Alfred Hitchcock. The exhibition includes examples of these various approaches to image-making.

Telling Tales: Contemporary Narrative Photography features work by Tina Barney, Julie Blackmon, Gregory Crewdson, Philip-Lorca diCorcia, Mitch Epstein, Nan Goldin, Paul Graham, Jessica Todd Harper, Teresa Hubbard and Alexander Birchler, Anna Gaskell, Justine Kurland, Lori Nix, Erwin Olaf, Alex Prager, Alec Soth, and Jeff Wall.

Text from the McNay website

Mitch Epstein
Massachusetts Turnpike
1973
Dye transfer print
Courtesy of the artist and Sikkema Jenkins & Co., New York City
© Black River Productions, Ltd. / Mitch Epstein. Used with permission. All rights reserved

Nan Goldin
Cookie at Tin Pan Alley, NYC
1983
Cibachrome
Courtesy of the artist and Matthew Marks Gallery, New York City
© Nan Goldin

Erwin Olaf
Victoria
2007
Digital chromogenic print
Courtesy of the artist
© Erwin Olaf

Erwin Olaf
The Dancing School
2004
Chromogenic print
Courtesy of the artist
© Erwin Olaf

“It all began with the drawings of Norman Rockwell. I like that sort of nostalgic feeling. Originally, I wanted to do something really happy, up-beat, after all the depression of my last series, Separation (2003). So the starting point was that everybody was going to be beautiful, and that I would ask the models to act funny. But then it somehow became terrible. I realized this was a world which has vanished. So instead, I radically simplified the images. Now, everybody is just waiting for nothing, it’s the moment after happiness. I suppose after Separation, comes the well of loneliness. It’s also been a difficult process because for the first time, I have worked without purposely using eroticism or any sexual jokes…

Dancing School is a dreary party which no one attends. The evening has been carefully mapped out, right down to the dance-steps printed on paper and placed neatly on the floor. Sheet music is open on the piano. It is just after six in the evening, but despite the party hats, this is an event reserved for eternal wall-flowers. The mood in this room is in sharp contrast to the antique print of dancing damsels at play, hanging on the wall behind the two isolated guests.”

Erwin Olaf quoted in Jonathan Turner. “Erwin Olaf: Rain,” on the M+B website

Jessica Todd Harper
Self Portrait with Marshall
2008
Archival pigment print
Courtesy of the artist and Rick Wester Fine Art, New York City
© Jessica Todd Harper

Teresa Hubbard / Alexander Birchler (Swiss/Irish/American, born 1965; Swiss, born 1962)
From the series Falling Down
1996
Chromogenic print
Courtesy of the artists; Tanya Bonakdar Gallery, New York City; and Lora Reynolds Gallery, Austin, Texas

Anna Gaskell
Untitled #3 (Turns Gravity)
2010
Archival pigment print
Courtesy of the artist and Galerie Gisela Capitain, Cologne
© Anna Gaskell

“Telling Tales: Contemporary Narrative Photography features the work of seventeen artists who interpret stories through pictures, whether real or imagined. Spanning nearly four decades, this survey begins with the art of ground-breaking photographers who emerged during the 1970s and 1980s and continues through today. The images present a wide range of styles and themes – familiar, mysterious, humorous, perplexing – yet they are always compelling to view. Organized by the McNay, the exhibition presents over fifty photographs. Works such as Nan Goldin’s landmark The Ballad of Sexual Dependency demonstrate some artists’ explorations of the politics of the day – in this case, the onset of the AIDS crisis – while other examples, including photographs by Tina Barney, Justine Kurland, and Paul Graham investigate class differences, marginalized communities, and social justice.

“Since 2015 the McNay has focused its contemporary exhibitions on three areas our visitors had not had the opportunity to explore in depth: installation and performance art with Lesley Dill: Performance as Art and now narrative photography with Telling Tales” says René Paul Barilleaux, McNay Art Museum’s Chief Curator/Curator of Contemporary Art and the exhibition’s organizer. “This presentation is the first major contemporary photography exhibition at the McNay as well as the first to examine and expose recent developments in narrative photography.”

Many contemporary artists explore photographic imagery as it is filtered through and mediated by technology and the Internet; others exploit photography’s ability to present a momentary, frozen narrative. And even when the images are staged for the camera or are highly manipulated through digital processes, they often resemble a casual snapshot or movie still. Primarily in color and frequently large-scale, references found in this work range from classical painting to avant-garde cinema, from science fiction illustration to the films of Alfred Hitchcock.

Quintessential American storyteller Norman Rockwell employed photographs, created in series, to compose his painted illustrations. He staged elaborate vignettes for the camera using detailed props, live models, and at times even himself. Rockwell used photography in his creative process; he did not present photographs as finished works. Many of the photographs in Telling Tales evoke Rockwell’s spirit, and, not surprisingly, several of the artists identify him as an inspiration.”

Press release from the McNay

Lori Nix
Flood
1998
Archival pigment print
Courtesy of the artist and ClampArt, New York City
© Lori Nix

Lori Nix
Chinese Take-Out
2013
Archival pigment print
Courtesy of the artist and ClampArt, New York City
© Lori Nix

Julie Blackmon
Time Out
2005
Archival pigment print
Courtesy of the artist and Robert Mann Gallery, New York City
© Julie Blackmon

Julie Blackmon
New Chair
2014
Archival pigment print
Courtesy of the artist and Robert Mann Gallery, New York City
© Julie Blackmon

Tina Barney
Family Commission with Snake
2007
Chromogenic print
Courtesy of the artist and Paul Kasmin Gallery, New York City
© Tina Barney

Alex Prager
Hollywood Park
2014
Archival pigment print
Courtesy of the artist and Lehmann Maupin, New York City and Hong Kong
© Alex Prager

Alec Soth
Charles, Vasa, Minnesota
2002
Chromogenic print
Courtesy of the artist
© Alec Soth

McNay Art Museum
6000 N New Braunfels Ave,
San Antonio TX 78209

Opening hours:
Sunday noon – 5 pm
Monday Closed
Tuesday, Wednesday, Friday 10 am – 4 pm
Thursday 10 am – 9 pm
Saturday 10 am – 5 pm

McNay Art Museum website

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Jun

Exhibition: ‘Bill Henson: Landscapes’ at Castlemaine Art Gallery and Historical Museum, Victoria

By Dr Marcus Bunyan Leave a Comment

Categories: Australian artist, Australian photography, beauty, colour photography, digital photography, exhibition, existence, gallery website, installation art, intimacy, landscape, light, memory, photographic series, photography, psychological, reality, space, time and works on paper
Tags: 20th-century Australian photography, Australian artist, Australian contemporary landscape photography, Australian landscape, Australian landscape photographs, Australian landscape photography, Australian landscapes, Australian night photography, Australian photographer, Australian photography, Bill Henson, Bill Henson Untitled #21 2005/2006, Bill Henson Untitled #23 1998, Bill Henson Untitled #28 1998, Bill Henson Untitled #48 1998, Bill Henson Untitled #9, Bill Henson Untitled #9 2005/2006, Bill Henson Untitled 1999-2000, Bill Henson: Landscapes, Castlemaine Art Gallery, Castlemaine Art Gallery and Historical Museum, contemporary Australian photography, Contemporary Photography, landscape photography

Exhibition dates: 30th April – 30th June 2016

Drawing on light

A magnificent installation from one of the world’s great photographers.

Why this artist is not having sell out retrospectives at MoMA New York, Centre Georges Pompidou Paris or the Tate in London is beyond me. Is it because of continuing cultural cringe, or the fact that he’s not as well known in Europe and America?

Their loss is our gain.

The darkened room contains only eight images beautifully lit to create a wondrous, enveloping atmosphere. Henson’s night photographs emit light as though a result of the excitation of atoms by energy – the energy of the mind transferred to the light of place. A luminescence of thought is imaged in the photograph through the emission of light … produced not so much by physiological or electromagnetic processes as much as by a culturally informed mind that seems to bring forth its own light. And behold there is light.

As that eminent photographer Minor White used to opine when asked for technical information on his photographs in the back of popular American photography monthlies: for technical information the camera was creatively used.

For me, these are not images of ethereal malevolence or Australian anxiety about our environment and the ominous ordinary. They do not possess that feeling at all. These pictures are about an understanding and contemplation of light and place, a process which is in balance one with the other. Yes, the transient nature of earthly existence but more than that. The soft details of flowers in the grass, or the spatter of rain on water, not noticed until you really look at the image; or the shadow of a truck on a bridge underpass. In my mind I know where this is, in Gipps Street, Abbottsford near the train bridge… or so I believe in my imagination. All of these photographs have a feeling of a subtle vibration of energy in the universe. There is no malevolence here.

My only criticism of this, the first photographic exhibition at Castlemaine Art Gallery, is that there is not enough of it. There needed to be more of the work. It just felt a little light on. Another gallery was needed to make the installation experience fully enveloping. Having said that, congratulations must go to the artist and to gallery who are putting on some amazing exhibitions in the heart of regional Victoria.

Marcus

.
Many thankx to Castlemaine Art Gallery and Historical Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Opening titles for the exhibition Bill Henson: Landscapes at the Castlemaine Art Gallery and Historical Museum

Installation photographs of the exhibition Bill Henson: Landscapes at the Castlemaine Art Gallery and Historical Museum

Bill Henson
Untitled #9 2005/2006
2005-2006
CL SH541 N2
Type C photograph
127 x 180 cm (sheet)
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

Bill Henson
Untitled #9 2005/2006 (detail)
2005-2006
CL SH541 N2
Type C photograph
127 x 180 cm (sheet)
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

Installation photograph of the exhibition Bill Henson: Landscapes at the Castlemaine Art Gallery and Historical Museum with Untitled #21 2005/2006 at left and Untitled #9 2005/2006 at right

Bill Henson
Untitled #21 2005-2006 (detail)
2005-2006
CL SH541 N2
Type C photograph
127 x 180 cm

Bill Henson
Untitled 1999-2000
1999-2000
Type C photograph
103.8 x 154.0 cm (image) 126.8 x 179.9 cm (sheet)
National Gallery of Victoria, Melbourne
Purchased with funds from the Victorian Foundation for Living Australian Artists, 2005 (2005.501)
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

“Our current exhibition, Bill Henson: Landscapes captures the haunting convergence of opposites; two worlds, darkness and light.

These dreamlike pictures pursue the Romantic project by engulfing the viewer in the urban or semi-rural sublime. Through these landscapes, we are immersed in a realm which offers an otherworldly view of the transient nature of earthly existence. The inky depths of the encroaching natural environment suggest a dark abyss, an ethereal malevolence that relates to both the artistic conventions of Renaissance landscape painting and, a uniquely Australian anxiety about our environment and the ominous ordinary.”

Text from the Castlemaine Art Gallery Facebook page

Installation photographs of the exhibition Bill Henson: Landscapes at the Castlemaine Art Gallery and Historical Museum with Untitled #23, 1998/1999/2000 at right bottom

Bill Henson
Untitled 2001-2002
2001-2002
Type C photograph
127 x 180 cm (sheet)
1 of 5
Collection of Annabel and Rupert Myer

Bill Henson
Untitled 2001-2002 (detail)
2001-2002
Type C photograph
127 x 180 cm (sheet)
1 of 5
Collection of Annabel and Rupert Myer

Installation photograph of the exhibition Bill Henson: Landscapes at the Castlemaine Art Gallery and Historical Museum with Untitled #28 1998 at right

Bill Henson
Untitled #28 (detail)
1998
CL SH 290 N3A
Type C photograph
104 × 154cm

Bill Henson
Untitled #48 (detail)
1998/1999/2000
CL SH 367 N11
Type C photograph
127 × 180cm

Castlemaine Art Gallery and Historical Museum
14 Lyttleton Street (PO Box 248)
Castlemaine, Vic 3450 Australia
Phone: (03) 5472 2292
Email: info@castlemainegallery.com

Opening hours:
Monday 10am – 5pm
Tuesday CLOSED
Wednesday 10am – 5pm
Thursday 10am – 5pm
Friday 10am – 5pm
Saturday 12pm – 5pm
Sunday 12pm – 5pm

Castlemaine Art Gallery and Historical Museum website

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Mar

Exhibition: ‘Photo-Poetics: An Anthology’ at the Solomon R. Guggenheim Museum, New York

By Dr Marcus Bunyan Leave a Comment

Categories: American, american photographers, black and white photography, colour photography, digital photography, exhibition, existence, gallery website, memory, New York, photographic series, photography, portrait, postcards, psychological, quotation, reality, sculpture, space, time and works on paper
Tags: American conceptual art, American conceptual photography, American installation art, American photography, American video art, Anne Collier, Anne Collier Crying, artist's books, circulation of photographic images, Claudia Angelmaier, Claudia Angelmaier Betty, Conceptual Art, conceptual photography, Conceptualism, Contemporary Photography, digital transformation of photography, disappearing photo technologies, displaced self-portraiture, Elad Lassry, Elad Lassry Bengal, Elad Lassry Untitled (Woman Blond), Erica Baum, Erica Baum Jaws, Erin Shirreff, Erin Shirreff UN 2010, From the Means of Reproduction, installations, Kathrin Sonntag, Kathrin Sonntag Mittnacht, laws of photography, legacies of Conceptualism, Les Goddesses, Leslie Hewitt Riffs on Real Time, Lisa Oppenheim, Lisa Oppenheim The Sun is Always Setting Somewhere Else, Mittnacht, Moyra Davey, Moyra Davey Les Goddesses, nature of photographic representation, Photo-Poetics, Photo-Poetics: An Anthology, photo-sculptures, photographic images, photographic reproduction, reproduction of photography, Riffs on Real Time, Sara VanDerBeek, Sara VanDerBeek From the Means of Reproduction, self-portraiture, still life photography, studio-based approach to still-life photography, the medium of photography, the photographic object, The Sun is Always Setting Somewhere Else, UN 2010, Untitled (Woman Blond)

Exhibition dates: 20th November 2015 – 23rd March 2016

My apologies, I am feeling very poorly at the moment, so just a small comment on this exhibition.

After the trilogy of 19th century photography, now for something completely different… two consecutive postings on contemporary photography.

In this art, the photograph becomes a conceptual “speech” act, where the artists speak with photographs, working with the context of the image – the image as concept, as talk.

It’s not just that the artists make photographic objects, they push what the medium can do. As the press release observes, “Theirs is a sort of “photo poetics,” an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object.” It is art that requires contemplation and meditation on source by Self. I have included several videos and extra text to illuminate aspects of the work in the posting.

I like the intertextuality that the artists employ when pushing the boundaries of photographic practice and representation, particularly Claudia Angelmaier’s series Works on Paper (2008-) and Lisa Oppenheim’s series The Sun is Always Setting Somewhere Else (2006).

Marcus

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

99 SECONDS OF: PHOTO-POETICS: An Anthology / Guggenheim New York

“The exhibition and its accompanying catalogue examine an important new development in contemporary photography, offering an opportunity to define the concerns of a younger generation of artists and contextualize their work within the history of art and visual culture. Drawing on the legacies of Conceptualism, these artists pursue a largely studio-based approach to still-life photography that centers on the representation of objects, often printed matter such as books, magazines, and record covers. The result is an image imbued with poetic and evocative personal significance – a sort of displaced self-portraiture – that resonates with larger cultural and historical meanings. Driven by a profound engagement with the medium of photography, these artists investigate the nature, traditions, and magic of photography at a moment characterized by rapid digital transformation. They attempt to rematerialize the photograph through meticulous printing, using film and other disappearing photo technologies, and creating artist’s books, installations, and photo-sculptures. While they are invested in exploring the processes, supports, and techniques of photography, they are also deeply interested in how photographic images circulate. Theirs is a sort of “photo poetics,” an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object.”

Text from the exhibition web page.

Anne Collier
Crying
2005
Chromogenic print
99.1 x 134 cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by Mr. and Mrs. Aaron M. Tighe
© Anne Collier

Collier’s photographs offer a straightforward presentation of found images and printed ephemera, and explore themes of appropriation, iconography, and surrogacy… Though implicitly layered with feminist critiques of mass media, Collier’s images of famous women – especially those of other artists, like Cindy Sherman, for example – can also be interpreted as oblique self-portraits. (Text from the Guggenheim artist’s web page).

“Ephemera and mediation are at the quiet center of Collier’s Crying, one of her works in the exhibition. Seen from across the room, “Crying” looks like a photograph overlaid upon a painted surface, or perhaps a portrait integrated within a two-dimensional space. The image, indeed a photo, is divided horizontally; the upper two-thirds are white, the bottom third is black, and on the left-hand side there is a small square close-up of a distraught woman crying. The woman is Ingrid Bergman, and this is the cover of the LP that accompanied her 1943 film For Whom the Bell Tolls. The LP is upright, facing the viewer dead-on, and up close we can see that there are a number of records behind it and that the flat spaces above and below are actually a white wall and black floor. The work is in no way overwhelming; there is nothing bombastic about it. Rather, the thrill of it comes from the reading it requires. Collier deploys her references strategically – this brings to mind abstract painting, Bas Jan Ader’s I’m Too Sad to Tell You, Bergman’s films and unconventional life, and the joy of the collector in the record store. Should that not be enough, it also awakens the empathy centers that begin firing when we see someone cry. Crying is part of a series involving records – others are of The Smiths and Sylvia Plath – but it contains the tensions within all of her work: advertising and fine art, nostalgia and distance, the camera and the eye. Collier has said she is interested in photographing objects that have “had previous lives… been handed and used,” and these rely on a kind of slow intertextuality; the gradual unfolding of meaning and feeling working towards a dizzying remove. It’s disorienting and evocative, a poetics in which the camera is not just the set-up but the punchline, and all the previous lives can be felt lurking beneath the surface.”

Anonymous text from “Woman with Camera: Anne Collier’s Feminist Image Critique,” on the Deutsche Bank ArtMag 88 web page.

Moyra Davey
Les Goddesses (still)
2011
HD color video, with sound, 61 min.
Courtesy the artist and Murray Guy, New York
© Moyra Davey

In the mid-2000s, the moving image took on a renewed prominence in Davey’s work. Inspired by her deep interest in the process of reading and writing, the artist’s essayistic video practice layers personal narrative with detailed explorations of the texts and lives of authors and thinkers she admires, such as Walter Benjamin, Jean Genet, and Mary Wollstonecraft. Davey’s own writing is central to her videos. The transcript of Fifty Minutes (2006), in which the artist reflects on her years in psychoanalysis, was published as a personal essay in the artist book Long Life Cool White: Photographs and Essays by Moyra Davey (2008), and her text “The Wet and the Dry” formed the basis of the narration of Les Goddesses (2011). (Text from the Guggenheim artist’s web page).

Erin Shirreff
UN 2010 (still)
2010
HD color video, silent, 17 min.
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by Erica Gervais
© Erin Shirreff

Erin Shirreff
UN 2010 (excerpt)
2010
HD color video, silent, 17 min.
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by Erica Gervais
© Erin Shirreff

Shirreff’s work in photography, video, and sculpture reflects on the distance between an object and its representation, exploring the capacities of photography in conveying a sculptural experience.

Since scale and presence were central concerns of much mid-century abstract sculpture, Shirreff often draws on images of such works as she explores the disjunction between photographs and their subjects. Sculpture Park (Tony Smith) (2006), Shirreff’s first video work, features small cardboard maquettes the artist made of five Tony Smith sculptures. Filmed against a black background, their dark forms become discernible only as “snow” (Styrofoam) slowly accumulates on their surfaces. For subsequent video works, including Ansel Adams, RCA Building, circa 1940 (2009), Roden Crater (2009), and UN 2010 (2010), Shirreff photographed printed pictures of her subjects – often landscapes or iconic modernist buildings – under varying lighting conditions in the studio, inputting the resultant images into video editing software. These videos appear at first to be long, static shots of the subjects pictured, but eventually belie their own artifice as the viewer becomes gradually aware of the texture of the image surface. (Text from the Guggenheim artist’s web page).

Lisa Oppenheim
The Sun is Always Setting Somewhere Else (detail)
2006
Slide projection of fifteen 35 mm slides, continuous loop, dimensions variable
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee

Oppenheim’s work explores the interactions between an image, its source, and the context in which it is encountered. The Sun is Always Setting Somewhere Else (2006) originates from photographs of the setting sun taken by U.S. soldiers in Iraq, which Oppenheim found on the image-sharing website Flickr. Holding each photograph at arm’s length in such a way that it aligns with the horizon of the setting sun in the artist’s native New York, the artist reshot the images as the sun set within the frame. Presented as a 35 mm slide show, the significance of seemingly quotidian sunsets shifts with the knowledge of who captured them and where. (Text from the Guggenheim artist’s web page).

Guggenheim Examines New Developments in Contemporary Photography with Photo-Poetics: An Anthology

The Solomon R. Guggenheim Museum presents Photo-Poetics: An Anthology, an exhibition documenting recent developments in contemporary photography and consisting of photographs, videos, and slide installations by ten international artists. With more than 70 works by Claudia Angelmaier, Erica Baum, Anne Collier, Moyra Davey, Leslie Hewitt, Elad Lassry, Lisa Oppenheim, Erin Shirreff, Kathrin Sonntag, and Sara VanDerBeek, the exhibition runs from November 20, 2015 – March 23, 2016, and presents a focused study into the nature, traditions, and magic of photography in the context of the rapid digital transformation of the medium.

Organized by Jennifer Blessing, Senior Curator, Photography, with Susan Thompson, Assistant Curator, Solomon R. Guggenheim Museum, Photo-Poetics: An Anthology offers an opportunity to define the concerns of a new generation of photographic artists and contextualize their work within the history of art and visual culture. These artists mainly pursue a studio-based approach to still-life photography that centers on the representation of objects, often printed matter such as books, magazines, and record covers. The result is often an image imbued with poetic and evocative personal significance that resonates with larger cultural and historical meanings.

The artists in the exhibition attempt to rematerialize the photograph through meticulous printing, using film and other disappearing photo technologies. Drawing on the legacies of Conceptualism and invested in exploring the processes and techniques of photography, they are also deeply interested in how photographic images circulate. Theirs is a sort of “photo poetics,” an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object. The works in the exhibition, rich with detail, reward close and prolonged regard; they ask for a mode of looking that is closer to reading than the cursory scanning fostered by the clicking and swiping functionalities of smartphones and social media. Both the exhibition and its accompanying catalogue are conceived as anthologies, as independent vehicles to introduce each artist’s important and unique practice. #photopoetics

Press release from the Solomon R. Guggenheim Museum

Sara VanDerBeek
From the Means of Reproduction
2007
Chromogenic print
101.6 x 76.2 cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee
© Sara VanDerBeek

VanDerBeek’s photographs utilize a variety of formal strategies and references yet remain consistently engaged with issues of memory and the experience of time and space.

VanDerBeek first became known in the mid-2000s for photographs featuring her own makeshift sculptural configurations in which appropriated photos were combined into collages that resounded with personal and political meaning. Constructed in the studio out of found images and pieces of wood, metal, and string, these works, such as From the Means of Reproduction (2007) and Calder and Julia (2006), were created solely for the camera and were disassembled after being photographed. (Text from the Guggenheim artist’s web page).

Kathrin Sonntag
Mittnacht (detail)
2008
Slide projection of eighty one 35 mm slides, continuous loop, dimensions variable
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee and Manuel de Santaren
© Kathrin Sonntag

Encompassing sculpture, photography, film, and drawing, Sonntag’s work offers a complex analysis of the nature of objects and the division between fiction and reality. Using stools, tripods, tables, and mirrors to create unusual perspectives, her installations strip meaning from readily identifiable objects via photographic experiments within the confines of her studio. Mittnacht (2008) comprises eighty-one slides of found images of paranormal phenomena photographed among the artist’s studio tools and furniture. The supernatural elements are enhanced by their disorienting placement within the studio, which both creates illusions and allows errors and smudges in processing to cast an eerie shadow on certain images in the series. (Text from the Guggenheim artist’s web page).

Claudia Angelmaier
Betty
2008
Chromogenic print, face-mounted to acrylic
130 x 100 cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee with additional funds contributed by Mr. and Mrs. Aaron M. Tighe, and Rona and Jeffrey Citrin
© Claudia Angelmaier

Taking art historical masterpieces – and, by extension, art history itself – as her referents, Angelmaier traces the photographic representation of artworks across the pages of textbooks, classroom slides, coffee table monographs, and postcards. Cognizant that major artworks are most often encountered via reproduction rather than in person, she highlights the analogue media that have facilitated the circulation of such images for many decades…

The larger scope of Angelmaier’s concerns is particularly evident in the series Works on Paper (2008- ). Here, the artist photographs the backlit versos of postcards from museum gift shops. The artwork pictured on a card’s front appears muted yet faintly discernible, while the caption information and museum insignia on the back remain fully legible. By foregrounding the text, logos, and barcodes, Angelmaier not only examines the material realities of the postcard, but the social and economic systems both the souvenir and the work it depicts inhabit. (Text from the Guggenheim artist’s web page).

Erica Baum
Jaws (from the series Naked Eye)
2008
Inkjet print
47 x 41.6 cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by Mr. and Mrs. Aaron M. Tighe
© Erica Baum

Baum takes the printed page as her primary subject, photographing fragments of found language at close range. Commingling image and text, her works often operate simultaneously as both photograph and poem… For the Naked Eye series (2008- ), Baum directs her camera into the partially opened pages of stipple-edged paperbacks from the 1960s and ’70s, capturing slivers of image and text separated by the vertical striations of adjacent pages’ brightly dyed edges. Although the compositions are each the result of a single, unaltered photograph, they operate visually as collages and veer toward abstraction. (Text from the Guggenheim artist’s web page).

Elad Lassry
Bengal
2011
Chromogenic print in painted frame
36.8 x 29.2 x 3.8 cm
A.P. 1/2, edition of 5
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Committee
© Elad Lassry. Photo: Kristopher McKay © Solomon R. Guggenheim Foundation

Elad Lassry
Untitled (Woman, Blond)
2013
Chromogenic print in walnut frame with four-ply silk
36.8 x 29.2 x 3.8 cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee
© Elad Lassry

Lassry positions his photographic works as “pictures,” entities that operate simultaneously as both objects and images. In doing so, he shifts their relationship to the viewer, inviting a broader examination of how photographs are seen and understood.

Lassry regularly presents his photographs in lacquered frames that match the colors of his bright, saturated images, or in warm walnut frames in the case of his work in black and white. The artist used this approach as early as 2008, in works such as Wolf (Blue) (2008). The continuity between frame and photo, heightened by the absence of matting, highlights the physicality of the picture without disrupting the illusion of depth in the photographic image. Lassry’s pictures derive from his own studio-based photographs as well as appropriated imagery. In both cases, the images reference the language of advertising and stock photography – and the attendant notions of desire therein. However, the would-be product is either obscured or excluded, removing the sense of purpose that drives such imagery. The artist sometimes employs techniques such as double exposure, blurring, superimposition, or collage that create an unsettling instability within his pictures. In more recent works, Lassry has incorporated sculptural elements, most often silk valances that cover significant sections of the image, as in Untitled (Woman, Blond) (2013), or looping colored wires that penetrate it, as in Untitled (Dolphins, Two) (2014). (Text from the Guggenheim artist’s web page).

Leslie Hewitt
Riffs on Real Time (3 of 10)
2006-09
Chromogenic print
76.2 x 61 cm
Solomon R. Guggenheim Museum, New York
Purchased with funds contributed by the Photography Committee

Commingling photography and sculpture, Hewitt’s works often present arrangements of personally and politically charged materials – including historically significant books and magazines from the 1960s and ’70s as well as family photos (not necessarily her own) – that conjure associative meaning through juxtaposition.

In Hewitt’s series Riffs on Real Time (2006-09), snapshots lay atop appropriated printed matter shot against a wood floor or carpet so that the contrasting textures of these layered materials build up and outward toward the viewer. In Hewitt’s various photo-sculptural series, the photographs begin to pointedly inhabit the space of the viewer. Positioned on the floor, their frames lean against the gallery walls, asserting their own materiality and calling attention to the space of the gallery. (Text from the Guggenheim artist’s web page).

Solomon R. Guggenheim Museum
1071 5th Avenue (at 89th Street)
New York

Opening hours:
Monday – Wednesday, Friday 10 am – 5.45 pm
Saturday 10 am – 7.45 pm
Thursday closed

Solomon R. Guggenheim Museum website

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Sep

Exhibition: ‘When we share more than ever’ at Museum für Kunst und Gewerbe Hamburg

By Dr Marcus Bunyan Leave a Comment

Categories: American, american photographers, black and white photography, colour photography, digital photography, documentary photography, exhibition, existence, gallery website, Henry Fox Talbot, intimacy, Japanese artist, landscape, light, memory, photographic series, photography, photojournalism, pictorialism, portrait, postcards, psychological, quotation, reality, sculpture, space, street photography, time, video and works on paper
Tags: 100100 Views of Mount Fuji, 95zLs, Ai Weiwei, Ai Weiwei 16 June 2014, Ai Weiwei Instagram, Ai Weiwei January 30 2015, Ai Weiwei March 9 2015, American photography, Apple Maps, Aurélien Froment, Aurélien Froment Théâtre de poche, Émile Zola The Kill, Carl Ferdinand Stelzner, Carl Ferdinand Stelzner Unknown couple, cartes de visite, cartomania, commercial photography, Contemporary Photography, David Horvitz, David Horvitz The Distance of a Day, Detachment 3 Air Force Flight Test Center #2, Doug Rickard, Doug Rickard 95zLs, Gartmann Schokolade, Glass diapositives for slide lectures, God Bless Diana, Google Streetview, Griffith & Griffith, Griffith & Griffith Full Moon, group photography, Hanns-Jörg Anders, Hanns-Jörg Anders Riots in Northern Ireland, Hanns-Jörg Anders We want peace, Heman Chong, Heman Chong God Bless Diana, Hildi Schmidt-Heins, Hildi Schmidt-Heins Gartmann Schokolade, iPhone photography, Japanese photography, Jens Sundheim, Jens Sundheim 100100 Views of Mount Fuji, Johann Hamann, Johann Hamann The Women's Department Forms an Artful Pyramid, Kimbaku, Laia Abril, Laia Abril Tediousphilia, Leni Riefenstahl Triumph of the Will, Maldives island, Mass Ornament, Minya Diez-Dührkoop, Minya Diez-Dührkoop Portraits of Renate Scholz, Minya Diez-Dührkoop Renate Scholz, MISTY 2/DECOY near Altair, MKG photographic archive, Museum fur Kunst und Gewerbe Hamburg, Natalie Bookchin, Natalie Bookchin Mass Ornament, Nobuyoshi Araki, Nobuyoshi Araki Kimbaku, Penelope Umbrico, Penelope Umbrico Signals Still, photo communities, Photochrom Zürich, photographic evidence sharing, photography and sharing a portrait, photography and sharing knowledge, photography and sharing lust, photography and sharing memories, photography and sharing products, photography and sharing the world, photography archive, Portraits of Renate Scholz, Regula Bochsler, Regula Bochsler Downtown # 1, Renate Scholz, Riots in Northern Ireland, sharing a group photograph, Sharing a portrait, Sharing evidence through photography, sharing lust through photography, Sharing memories, sharing photographic collections, sharing photographs, sharing the World through photography, Siegfried Kracauer, Siegfried Kracauer The Mass Ornament, Signals Still, Tediousphilia, Théâtre de poche, The Distance of a Day, The Mass Ornament, The Women's Department Forms an Artful Pyramid, Theodor and Oscar Hofmeister, Theodor und Oscar Hofmeister, Theodor und Oscar Hofmeister Postcards, Trevor Paglen, Trevor Paglen Detachment 3 Air Force Flight Test Center #2, Trevor Paglen MISTY 2/DECOY near Altair, Triennial of Photography Hamburg 2015, Unknown photographer Wissower Klinken Photochrom Zürich, Warren de la Rue, Warren de la Rue moon, We want peace, When We Share More Than Ever, William H. Rau, William H. Rau An Intruder

Exhibition dates: 19th June – 20th September 2015

A project for the Triennial of Photography Hamburg 2015

Curators: Dr des. Esther Ruelfs and Teresa Gruber

Invited artists: Laia Abril, Ai Weiwei, Regula Bochsler, Natalie Bookchin, Heman Chong, Aurélien Froment, David Horvitz, Trevor Paglen, Doug Rickard, Taryn Simon, Jens Sundheim, Penelope Umbrico | From the Photography and New Media Collection of the MKG: Fratelli Alinari, Hanns-Jörg Anders, Nobuyoshi Araki, Francis Bedford, Félix Bonfils, Adolphe Braun, Natascha A. Brunswick, Atelier d’Ora / Benda, Minya Diez-Dührkoop, Rudolf Dührkoop, Harold E. Edgerton, Tsuneo Enari, Andreas Feininger, Lotte Genzsch, Johann Hamann, Theodor und Oscar Hofmeister, Thomas Höpker, Lotte Jacobi, Gertrude Käsebier, Kaku Kurita, Atelier Manassé, Hansi Müller-Schorp, Eardweard Muybridge, Arnold Newman, Terry Richardson, Max Scheler, Hildi Schmidt-Heins, Hiromi Tsuchida, Carl Strüwe, Léon Vidal, and more

A fascinating exhibition about the processes of archiving and transferring images and the associated interaction, combining historic and contemporary images to illuminate various chapters: “Sharing a Portrait,” “Sharing a Group,” “Sharing Memories,” “Sharing a Product,” “Sharing Lust,” “Sharing Evidence,” “Sharing Knowledge,” “Sharing the World,” “Sharing a Collection,” and “Sharing Photographs”.

“The chapters juxtapose historical and contemporary works in order to illuminate how the use and function of photographic images have changed and which aspects have remained the same despite the digital revolution. The exhibition begins with photography used in the service of people: to record a life, create a sense of community, or share memories. The following chapters deal with applied contexts, such as advertising photographs, erotic photography, photojournalism, scientific photography, and travel photos.”

“Conceived in archive format, the exhibition explores the archive’s possible forms and uses. The featured works from the collection were selected from the MKG’s holdings of some 75,000 photographs to show how different photographic practices have been assimilated over the years. The springboard for our reflections was the question of how the digital era of picture sharing has changed the function of a museum collection of photography, seeing as today digital image collections are just a mouse click away on online archives such as Google Images.”

But it could have been so much more, especially with 75,000 photographs to choose from. Looking at the plan for the exhibition and viewing the checklist would suggest that the small amount of work in each of the ten chapters leaves little room for any of the themes to be investigated in depth. Any one of these chapters would have made an excellent exhibition in its own right. What an opportunity missed for a series of major exhibitions that examined each important theme.

Marcus

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Many thankx to the Museum für Kunst und Gewerbe Hamburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Text in the posting is from the booklet When We Share More Than Ever:

Editors: Sabine Schulze, Esther Ruelfs, Teresa Gruber
Text editors: Esther Ruelfs, Teresa Gruber
Authors: Teresa Gruber (TG), Beate Pittnauer (BP), Esther Ruelfs (ER), Sven Schumacher (SS), Annika Sellmann (AS), Taryn Simon, Johan Simonsen (JS), Emma Stenger (ES) Grafikdesign Graphic design exhibition and booklet: Studio Mahr
Translation German-English: Jennifer Taylor

Sharing memories

Creating mementoes is one of the central functions of photography. In David Horvitz’s case, it is the mobile phone camera that gives two people a feeling of togetherness. The bond is created through an action. On two different continents, both people stand at the seaside at the same time, recording and sending images of the sunrise and sunset with their iPhones.

Photography connects us with the subject or the person depicted – even beyond the bounds of the time. The photo is an imprint; it transmits to us something that was once really there. Like a fingerprint or a footprint, it remains closely related to what it captures. This special quality of photography predestined it from the start to be a medium of memory. The daguerreotype of a little girl presented in the exhibition is framed by a braid of the child’s hair. The idea of carrying part of a loved one with us and thus generating a special feeling of closeness is reflected in the practice of making friendship or mourning jewelry out of hair – and in the way we treasure portrait photographs as keepsakes of those we love.

Emotional relationships can also be expressed by a certain photographic motif or by the body language of the sitters. The arms of the sisters in the photo by Gertrude Käsebier are closely intertwined, as are the hands of the couple in the daguerreotype by Carl Ferdinand Stelzner. The relationship between photographer and subject may also be the focus of the work. Natascha Brunswick as well as Rudolf Dührkoop and Käsebier use the camera, for example, to capture and hold onto intimate moments with their own families. ER

David Horvitz
The Distance of a Day
2013
Digital video on two iPhones, 12 min.
Courtesy Chert, Berlin
© David Horvitz

David Horvitz

With artworks in the form of books, photographs, installations, and actions, David Horvitz often explores varying conceptions of time and space, as well as interpersonal relationships and the dissemination of images via the internet. His work The Distance of a Day brings together all of these topics. With reference to the linguistic origin of the word “journey,” which defined the distance a traveler could cover in a day, Horvitz looks for two places located at opposite ends of the globe that are exactly one day apart. While his mother watches the sun set on a beach in his native California, the artist observes the sun rising over a Maldives island. Both document their simultaneous impressions with an iPhone, a device that today serves both for temporal and spatial orientation and which, as a communication medium, enables us to overcome the limits of space and time. Because it is a conceptual part of the performance, the iPhone is also used in the exhibition as a playback device. TG

Carl Ferdinand Stelzner
Unknown couple
1830-1880
Framed daguerrotype
15.2 x 17.2 cm
© Museum für Kunst und Gewerbe Hamburg

Carl Ferdinand Stelzner
Unknown couple (detail)
1830-1880
Framed daguerrotype
15.2 x 17.2 cm
© Museum für Kunst und Gewerbe Hamburg

Sharing a portrait

“Maxime carried portraits of actresses in every pocket. He even had one in his cigarette case. From time to time he cleared them all out and moved the ladies into an album (…) which already contained the portraits of Renee’s friends.”

This scene from Émile Zola’s The Kill testifies to the fad that started in the 1860s for mass-produced photographic calling cards, or “cartes de visite.” Contemporaries spoke of “cartomania” – long before anyone could imagine an artist like Ai Weiwei, who has posted 7,142 photographs on his Instagram profile since 2014. With the “invasion of the new calling card pictures,” photo-graphy left the private sphere of the middle-class family and fostered new social relationships. The demand for images of celebrities from politics, art, and literature grew as well.

“Galleries of contemporaries” and artist portraits like those produced by Lotte Jacobi and Arnold Newman responded to an avid interest in the physical and physiognomic appearance of well-known people. The photographers tried to capture not only the person’s likeness but also his character, whether inclose-ups that zero in on individual facial expressions or in staged portraits in which the surroundings give clues to the sitter’s personality.

What has changed since then is above all how we handle such images. The photographs that Minya Diez-Dührkoop took of the upper-class daughter Renate Scholz trace her growth and development in pleasingly composed studio portraits. In today’s Internet communities and on smartphones by contrast we encounter the portrait as a profile picture. This signature image, changeable at any time, may be a selfie or selected from a steadily growing pool of snapshots shared among friends. ER

Ai Weiwei
16 June, 2014
Photo posted on Instagram, (https://instagram.com/aiww/)
Courtesy Ai Weiwei Studio
© Ai Weiwei

Ai Weiwei
March 9, 2015
Photo posted on Instagram, (https://instagram.com/aiww/)
Courtesy Ai Weiwei Studio
© Ai Weiwei

Minya Diez-Dührkoop
Portraits of Renate Scholz
1920-1939
Silver gelatine prints, various formats
© Museum für Kunst und Gewerbe Hamburg

Minya Diez-Dührkoop
Portrait of Renate Scholz
1920-1939
Silver gelatine prints, various formats
© Museum für Kunst und Gewerbe Hamburg

Ai Weiwei
January 30, 2015
Photo posted on Instagram, (https://instagram.com/aiww/)
Courtesy Ai Weiwei Studio
© Ai Weiwei

Sharing a group

The photography pioneer William Henry Fox Talbot (1800-1877) notes in his serialized book The Pencil of Nature, published in six parts between 1844 and 1846: “Groups of figures take no longer time to obtain than single figures would require, since the camera depicts them all at once, however numerous they may be.” For groups such as the middle-class family, colleagues in a profession or company, or leisure-time clubs – all of which took on renewed importance in the 19th century – the new technology provided an affordable way to preserve their feeling of community for posterity. The professional photographer was able to stage for the camera a picture designed to convey the self-image of the group. The Hamburg-based photographer Johann Hamann and the Studio Scholz were active around the turn of the 19th century, when the demand for professional group and family portraits reached a high point.

The classic commissioned group portrait still persists today in the form of class photos. These document each individual’s curriculum vitae while serving both as nostalgic souvenirs and as a basis for building a relationship network that can be maintained via websites such as stayfriends.com. On the Internet and especially on Facebook, new types of groups are being generated whose members share specific interests or traits. The artist Natalie Bookchin delves into the phenomenon of the virtual group in her work Mass Ornament, for which she collected amateur videos from YouTube showing people dancing alone and arranged them into an ensemble. She thus examines the possibilities offered by the World Wide Web to bring together crowds of people who are in reality each alone in front of their own screen. TG

Natalie Bookchin
Mass Ornament
2009
Video, 7 Min.
Video at: http://bookchin.net/projects/massornament.html
Courtesy of the artist © Natalie Bookchin

Natalie Bookchin
Mass Ornament (detail)
2009
Video, 7 Min.
Video at: http://bookchin.net/projects/massornament.html
Courtesy of the artist © Natalie Bookchin

Natalie Bookchin
Mass Ornament
2009
Video, 7 Min.
Video at: http://bookchin.net/projects/massornament.html
Courtesy of the artist © Natalie Bookchin

Natalie Bookchin
Mass Ornament (detail)
2009
Video, 7 Min.
Video at: http://bookchin.net/projects/massornament.html
Courtesy of the artist © Natalie Bookchin

Natalie Bookchin

Natalie Bookchin borrowed the title for her video from the prominent sociologist and film theorist Siegfried Kracauer. In his 1927 essay The Mass Ornament, Kracauer described the American dance troupe known as the Tiller Girls as the embodiment of capitalist production conditions after the First World War. He equated the automatonlike movements of the anonymous, interchangeable dancers with the assembly-line work in the factories. Bookchin’s work can likewise be understood as social commentary. She collects video clips of people dancing in front of webcams set up in their homes, which are posted on YouTube for all the world to see. The montage of such clips into a group choreography with almost synchronous dance moves paints a picture of individuals who share favorite songs, idols, and yearnings.

Instead of using today’s pop songs as soundtrack, Bookchin revives the movie music from Busby Berkeley’s Gold Diggers and Leni Riefenstahl’s Triumph of the Will (both from 1935). She thus generates an alienating effect while also reflecting on both the positive and negative connotations of movement in a group and of mass media. TG

Johann Hamann
The Women’s Department Forms an Artful Pyramid
1903
Albumen print
8.6 x 11.4 cm
© Museum für Kunst und Gewerbe Hamburg

Johann Hamann

The Hamburg photographer Johann Hamann opened his first daylight studio in 1889 in Hamburg’s Gängeviertel but is better known for his work outside the studio. By using a magnesium powder flash, he succeeded in portraying individuals and especially groups in a natural environment even in poor lighting conditions. Butchers, cobblers, and gymnasts posed with their props and wearing their specific “uniforms” before his camera. From 1899 to 1906, Hamann produced a complete set of photos of ship captains working for the Hamburg-based shipping line HAPAG, on behalf of which he also photographed the emigration halls on Veddel Island in the Elbe River. His group photographs provide insights into the working life and club activities in the Hanseatic city around the turn of the century, and are often characterized by situational humor. TG

Sharing knowledge

A droplet whirling off a rotating oil can, the impact of a falling drop of milk, or a bullet in flight are phenomena whose speed makes them imperceptible to the naked eye. With the help of a telescope or microscope, we can look into the distance and observe things that are too far away, or enlarge things that are too small to see, and with the aid of photography these things can then be captured in images that can be shared.

The objects of artist Trevor Paglen’s interest are military spy satellites, which he locates based on information on amateur websites and then captures using elaborate special cameras. His work draws on the aesthetics of scientific photography, inquiring into our faith in the objectivity of such images – a credibility that runs through the entire history of photography.

With the positivist mood pervading the 19th century, photography was associated much more closely with science than with art. Surveying and recording were central functions assigned to the new medium. The photographic work of Eadweard J. Muybrigde, Harold E. Edgerton, and Impulsphysik GmbH Hamburg-Rissen is associated with this applied context.

Already during the 19th century, however, the confidence invested in photography as a medium for capturing reality was being challenged by the exploration of borderline areas verging on the irrational and by metaphysical speculations. Myth and science overlapped here, especially when it came to recording invisible phenomena such as ultraviolet light, heat rays, and X-rays. These trends are evident in Carl Strüwe’s photomicrographs, which in his proclaimed “New Order” combine the aesthetics of scientific photography with esoteric notions of the archetype. ER

Doug Rickard
95zLs
2012
From the series N.A., 2011-2014
Archival Pigment Print
Courtesy Yossi Milo Gallery, New York
© Doug Rickard

Unknown photographer
Griffith & Griffith (publisher)
Full Moon
1850-1900
Albumen print on cardboard
8.8 x 17.8 cm
© Museum für Kunst und Gewerbe Hamburg

Unknown photographer
Griffith & Griffith (publisher)
Full Moon (detail)
1850-1900
Albumen print on cardboard
8.8 x 17.8 cm
© Museum für Kunst und Gewerbe Hamburg

One year after the invention of the daguerreotype in 1839, a photographic image was already made of the moon. The first stereographic photographs were presented by the chemist and amateur astronomer Warren de la Rue in 1858. Stereo images, which enjoyed great popularity in the latter half of the 19th century, consist of two photographs, which display a scene from slightly different perspectives, thus imitating the viewing angle of the human eyes and generating a spatial impression of the subject when viewed through a stereoscope.

Because the moon is too far from the earth to be able to photograph it from two different angles at once, a stereo photograph is only possible by taking into account optical libration, or the apparent “oscillation” of the moon. Due to the earth’s elliptical orbit, the half of the moon visible from earth is not always exactly the same. For a stereo photograph like the one the publisher Griffith & Griffith offered – certainly not as a scientific document – the shots that were combined were taken at an interval of several months.TG

Trevor Paglen
MISTY 2/DECOY near Altair (Decoy Stealth Satellite; USA 144db)
2010
C-Print
101.6 x 127 cm
Courtesy Galerie Thomas Zander, Köln
© Trevor Paglen

“More pictures are being taken and digitized than ever before, innumerable snapshots pile up on hard disks and in clouds, are shared via the Internet and commented on. But portals such as Facebook and Flickr as well as professional databases only supersede older forms of archiving, transferring material, and interaction. For the Triennial of Photography Hamburg 2015, the Museum für Kunst und Gewerbe Hamburg (MKG) is examining these new collections and forms of usage. The MKG sees the future-oriented motto of the Triennial, “The Day Will Come,” as an opportunity to reflect on the sharing of images, under the title: When We Share More Than Ever. The exhibition shows how today’s rampant exchange of digital photos links in with the history of the analogue medium. In fact, photography has been a means of capturing, storing, and communicating visual impressions ever since its early days in the 19th century. In ten chapters, selected contexts are examined in which collecting and sharing images has played – and still plays – a role. More than 200 historical works from the MKG’s collection are set in counterpoint against twelve contemporary artistic projects. The present-day artists reflect in their works on the ways digital photography is used as well as on the mechanisms and implications of new media. They focus on the Internet as a new picture archive, with collections of images such as Apple Maps or photos on eBay, and on images such as those exchanged via mobile phones. Important aspects are the digital image collection as a research resource and inspiration for contemporary art, and the relevance of the classic analogue collection in relation to today’s often-invoked image overkill.

The exhibition is conceived as a kind of archive in order to explore the archive’s possible forms and uses. The featured works from the collection were selected from the MKG’s holdings of some 75,000 photographs to show how different photographic practices have been assimilated over the years. Rather than being a collection of only art photography, the MKG archive reflects the everyday uses of the medium. It gathers together various photographic applications, whether the scientific photos taken at an institute for impulse physics, the fashion spread created by Terry Richardson for Sisley, or Max Scheler’s report on Liverpool’s club scene for Stern magazine.

The chapters “Sharing a Portrait,” “Sharing a Group,” “Sharing Memories,” “Sharing a Product,” “Sharing Lust,” “Sharing Evidence,” “Sharing Knowledge,” “Sharing the World,” “Sharing a Collection,” and “Sharing Photographs” juxtapose historical and contemporary works in order to illuminate how the use and function of photographic images have changed and which aspects have remained the same despite the digital revolution. The exhibition begins with photography used in the service of people: to record a life, create a sense of community, or share memories. The following chapters deal with applied contexts, such as advertising photographs, erotic photography, photojournalism, scientific photography, and travel photos.

We share memories: While in the old days a manageable number of photographs found their way into albums, which were then taken out and perused on special family occasions, on today’s sharing platforms thousands of images are constantly being shared and “liked” around the clock. The works on view include pictures of Renate Scholz, whose affluent parents had the studio photographer Minya Diez-Dührkoop record each stage of her growth and development for fifteen years in annual portrait sessions. Studio portraits have been replaced today by snapshots, while the family photo album is complemented by the Internet portal Instagram. Ai Weiwei began in 2006 to post his diary photos in a text/image blog, which was taken offline by the Chinese authorities in 2009. Since 2014 he has been publishing daily picture messages on Instagram which are readable across language barriers.

We share the world: Starting in 1860, the Fratelli Alinari produced photographs that brought the art treasures of Italy to living rooms everywhere. As an armchair traveler, the 19th-century burgher could feel like a conqueror of far-off lands. Today, the same kind of cultural appropriation takes place instead on computer screens. Regula Bochsler and Jens Sundheim explore landscapes and cities via webcams and Apple Maps. And instead of traveling like a photojournalist to real-world hotbeds of social ferment, Doug Rickard journeys to the dark reaches of the YouTube universe. He shows us ostensibly private scenes not meant for public consumption – drug abuse, racial and sexual violence. The low-resolution, heavily pixelated stills excerpted from mobile phone videos suggest authenticity and turn us into silent witnesses and voyeurs.

We share knowledge: From its earliest days, photography has been indispensable for storing and sharing the results of scientific research and military expeditions. Trevor Paglen uses powerful precision astronomical telescopes to make “invisible” things visible, for example the American “Misty 2” stealth satellites used for reconnaissance, or a dummy put in place by the military intelligence service. In order to locate these satellites, Paglen actively participates in various networks set up by amateur satellite observers.

We share image collections: Before the invention of Google Image Search, analogue photo collections provided an opportunity to compare images. Museum archive cabinets can be seen as a precursor to today’s digital image databases. The Internet is increasingly taking on the function of a picture library, opening up new possibilities for classification and research. Artists like Taryn Simon investigate image collections to ascertain their ordering systems and their implications. Who controls what images we get to see and which ones vanish in the depths of the archives? Part of this chapter is the project “Sharing Blogs“.

The exhibition is dedicated to the broader question of how the function of a museum collection of photography has changed in the digital era, when vast digital image archives are only a mouse click away thanks to Google Image Search. The exhibits are arranged on a horizontal axis, in keeping with modern notions of how a database is set up. Everything is thus presented on a “neutral” plane, and the visitors are tasked with placing the images in context with the help of a “search aid” in the form of a booklet.”

Press release from Museum für Kunst und Gewerbe Hamburg

Sharing the World

Google Earth and the 3D Flyover feature of the Apple Maps software make the world accessible to all of us through images. The idea of a comprehensive photographic world archive that would be available to the general public began to spread soon after the invention of photography. In parallel with the expansion of the railway network in the mid-19th century, photographic societies were founded in France and the United Kingdom with plans to make, archive, and preserve pictures of cities, cultural heritage, and landscapes. Governments organized expeditions to photograph their dominions, and photographers and companies began specializing in producing picturesque scenes echoing the tradition of painted landscapes and engraved vedutes, developing a successful business model with international sales channels. Views of popular tourist attractions – for example famous buildings in Italy – were offered as an early form of souvenir. At the same time, such pictures allowed the Biedermeier burgher back home in his living room to become an armchair traveler without taking on the exertions and expense of visiting far-off places – just as the Internet surfer is able to do today.

Artistic works such as those by Regula Bochsler confront representations of reality on the World Wide Web that are ostensibly democratic and yet are in fact controlled by corporations. Bochsler has culled subjective images from the liquefied, constantly updated parallel universe and given them a lasting material form. TG

Jens Sundheim
From the series 100100 Views of Mount Fuji
2008-2010
Digital C-type prints
100 x 130 cm
© Jens Sundheim

Regula Bochsler
Downtown # 1
2013
From the series The Rendering Eye, 2013
Inkjet print
80 x 100 cm
© Regula Bochsler
Images based on Apple Maps

Regula Bochsler

For her project The Rendering Eye, the historian Regula Bochsler has been traveling through a virtual parallel universe since 2013 using the 3D flyover feature in Apple Maps. Unlike Google Streetview, Apple Maps gives the viewer a volumetric impression of cities and landscapes. In order to create these views, the mapped zones are scanned from an airplane using several cameras aligned at different angles. With the help of vector graphics as well as actual maps and satellite images, the software then automatically merges the countless overlapping photographs into a realistic view. The program was developed for the purpose of steering military rockets by the Swedish defense company Saab, which sold it to Apple in 2011 for around 240 million dollars. Under the pressure of competition from Google, Apple released its app before some major development bugs could be fixed. In her surreal-looking, carefully composed views of American cities, Bochsler preserves for posterity the image errors ( so-called “glitches”) in the program, which are gradually being corrected and disappearing, as well as the still-visible areas where photographs taken at different times are patched together. The result is an apocalyptic vision of a world of technoid artificiality and absolute control. TG

Unknown photographer
Wissower Klinken, Photochrom Zürich
1890
Photochromic print
16.5 x 22.2 cm
© Museum für Kunst und Gewerbe Hamburg

Trevor Paglen
Detachment 3, Air Force Flight Test Center #2 Groom Lake, NV/ Distance ~ 26 Miles
2008
C-Print
101.6 x 127 cm
Courtesy Galerie Thomas Zander, Köln
© Trevor Paglen

Sharing evidence

Catastrophes and events are documented today by eyewitnesses at close range and communicated over the Internet. Mobile phone cameras even enable images to be transmitted directly: people involved in the incidents can share their perspective with a wide audience, the poor quality of the pixelated images often being perceived as a guarantee of their authenticity and credibility. The artist Doug Rickard also relies on this effect when he provides inside glimpses of marginal areas of American society on YouTube, assembling them to create picture stories that can be compared to classic photo reportage. By the early 1900s, photographic images were already established as evidence and information material that could be printed in newspapers. During World War II, the suitability of the medium as a means for objective documentation was then fundamentally called into question as photos were exploited for political propaganda purposes. Nevertheless, photojournalism experienced a heyday in the 1960s and 70s, before serious competition in the form of television posed a threat to print media and many magazines discontinued publication. Photographers such as Thomas Hoepker and Max Scheler supplied personal picture essays to Stern magazine in Hamburg that gave readers a look at different countries and told of the destinies of various individuals. With today’s citizen journalism, the evidential value of the photographic image seems to have once again regained its importance. TG

Hanns-Jörg Anders
Riots in Northern Ireland
1969
Silver gelatine print
25.8 x 38.8 cm
© Hanns-Jörg Anders – Red. STERN

Hanns-Jörg Anders
We want peace, Londonderry, Northern Ireland
May 1969
Silver gelatine print
25.8 x 38.8 cm
© Hanns-Jörg Anders – Red. STERN

Sharing lust

In 1859, Charles Baudelaire derided the “thousands of greedy eyes” indulging in the shameless enjoyment of “obscene” photographs. He was referring in particular to stereoscopic images, which convey a realistic corporeal impression of piquant subjects when seen through a special optical device. In parallel with the spread of the photographic medium, the sales of erotic and pornographic pictures grew into a lucrative business. European production centers for such material were located around 1900 in the cities of Paris, Vienna, and Budapest. Illegal pictures could be had from vendors operating near train stations or through discreet mail-order. Two daguerreotypes in the Photography and New Media Collection bear witness to the early days of this pictorial tradition.

Starting in the 1910s, the new vogue for magazines and pin-ups coming out of the USA served to democratize and popularize erotic imagery. Studio Manassé in Vienna, for example, supplied numerous magazines with such photographs. While erotic imagery was increasingly co-opted by advertising, a new industry arose: the pornographic film, which increasingly competed with print media. Today, the spread of pornographic imagery on the Internet has taken on immense proportions, while digital technology has led to a boom in the sharing of amateur photos and films, as well as their commercialization. Laia Abril shows by-products of this online marketing of private sex in her video work Tediousphilia. TG

Nobuyoshi Araki

Fragmented through artfully knotted ropes, the nude bodies of young women in Nobuyoshi Araki’s photographs are turned into objects of voyeuristic curiosity. Critical opinions in the literature are divided, with some emphasizing the pictorial character of the images and others accusing the photographer of a sexist point of view catering to the exotic tastes of the European public. Araki’s photographs have thus set off a discussion on where to draw the line between pornography and art.

Araki’s photos were exhibited in the West for the first time in 1992. The show featured views of Tokyo, still lifes, and female nudes that dealt with love, loss, and sexuality – all intertwined into a very personal narration. From that point forward, the perception of Araki’s images became very selective, and at the latest with Tokyo Lucky Hole (1997) the obscene aspect came to the fore. In the 1980s, the photographer explored the escalating sex and entertainment boom in Tokyo. Araki himself insists on varied applications for his photographs. He displays them in a wide range of exhibition venues, from soup kitchens to museums, and publishes his images in art books as well as in porn magazines, S&M periodicals, and popular calendars. The images in the collection of the MKG were acquired in the mid-1980s, at a time when Araki was still unknown in Europe. The choices made already anticipate the selective perception of his work in the 1990s. ER

Laia Abril

Laia Abril’s series Tediousphilia shows young couples who set up a webcam in their bedroom in order to earn money by giving customers an intimate peek at their ostensibly private sex lives. This online peepshow concept is a phenomenon of the commercialization of private sex on the internet. Abril is interested in the moments before the sexual act, taking a look behind the scenes, as it were, where the couples succumb to the lethargy of waiting while the camera is already rolling. The title is thus composed of the word tedious and the Greek term philia, indicating a preference or inclination, referring to the embracing of boredom before the impending performance. These “pre-intimate” moments seem almost more real and personal than what we imagine the pseudoprivate performances must be like. The images of the waiting lovers illuminate the voyeuristic relationship between audience and performer, between private and public, focusing, as in other works by Abril, on themes such as sexuality, intimacy, and the media representation of human bodies. ES

Sharing products

Since the 1920s, consumer products have been advertised primarily through photographic images. Fueled by the rapidly developing field of advertising and by advances in printing techniques, advertising photos began to proliferate in newspapers and magazines and on billboards. Advertisers increasingly relied on the suggestive power of the photographic images rather than on text or drawings as before.

Johannes Grubenbecher had his students take pictures of objects of daily use as a way of preparing them for work in the advertising field. The arrangement of object shots demonstrates the form and materiality of the items and reflect the image language of the 1920s, which focused on functionality and faithfulness to materials. By contrast, the commercial photographs by Hildi Schmidt-Heins and Arthur Benda from the 1930s stylize the objects as consumer fetishes. Benda has draped a silk nightgown as though it had just slipped off a woman’s shoulders and onto the floor in order to whet the observer’s desires, which he should then transfer onto the goods.

Today, nothing has changed in the fetishization of merchandise through professional product photography. New, however, are the non-professional snapshots on consumer-to-consumer platforms such as eBay. Household items that are no longer needed are photographed by the owners themselves for sale to others. Penelope Umbrico uses this imagery in her work. She has collected photographs of tube televisions – an outdated techique – and presents them as a comment on the changes in our use of images brought about by inexpensive and ubiquitous digital photography, making pictures easy to upload to the appropriate platforms. ER

The sandwich boards created by Hildi Schmidt-Heins for the Stuhr Coffee Roastery and the Gartmann Chocolate Factory appeared as still images on Hamburg’s movie screens in 1937. She used open packaging so that potential customers could see the food product inside and also recognize it easily in the store. Her few commissions for advertisements came from her photography lecturer Johannes Grubenbecher during her studies at the Hansa Academy for Visual Arts. Schmidt-Heins focused in her studies on typeface design, attending the class conducted by the graphic designer Hugo Meier-Thur. Her silver gelatin prints with tempera lettering present a method of visual communication that fuses typography with product photography. Later, the photographer dedicated herself to the documentation of workspaces, taking pictures of workshops. AS

Penelope Umbrico
Signals Still
2011
C-Prints
23 x 30 cm
Courtesy Mark Moore Gallery, USA, and XPO Gallery, Paris
© Penelope Umbrico

In her tableau Signals Still, Penelope Umbrico presents a collection of six sets of eleven photographs each of illuminated, imageless screens. The product photos were taken by the owners of the devices in order to provide proof of their working order to potential buyers. Umbrico scours consumer-to-consumer marketplaces like eBay and Craigslist for such images and groups them into individual types. By transforming the intangible pixel images into C-prints on Kodak paper, Umbrico then distances them from their original function as digital communication media. The artist appropriates the found material and imposes on it a shift in meaning. Minimal deviations in the angle of the shot and variations in the forms and colors of the monochromatic snowy light surfaces combine to form a collective template. The promise of modern technology – progress and mass availability – is juxtaposed with its somber flipside of obsolescence and superfluity. Umbrico’s use of contemporary digital media unites the tired flicker of the television screens into a chorus singing the requiem of an era. AS

Sharing collections

“According to which criteria should a collection be organized? Perhaps by individual lectures, by masters, chronologically, topographically, or by material?” asked the curator Wilhelm Weimar in 1917. His query was prompted by the production of a slide cabinet holding 7,600 slides. His solution was to furnish each image carrier with a numerical code, so that they could be cross-referenced with a card catalogue in which the objects were filed under various keywords. His search aid was an early form of database.

Like this slide collection, the photographic reproductions created by Léon Vidal and Adolphe Braun to record and disseminate art treasures can also be understood as precursors to digital databases. Today, search engines such as Google Images are available to anyone with an Internet connection, presenting with their infinite number of comparison pictures a plethora of new possibilities for ordering and research, and supplanting the function of the photographic collection as image database. Photographs are no longer bound as physical media to a single storage location but have become immaterial and thus available anytime, anywhere. Images that once slumbered in archives, organized by strict criteria for ease of retrieval, become in Aurélien Froment’s film weightless ephemera. A magician moves them through space with a sweep of his hand, just as the modern user swipes his pictures across the digital interface.

Taryn Simon is also interested in such image ordering systems and how the images in them are accessed. By entering identical search terms in various national image search engines in her Image Atlas and then examining the standardized search results, she inquires into what the new archives remember and what they forget. ER

In the late 1890s, photography’s triumphant advance also had an impact on the everyday work of the MKG. Under Justus Brinckmann, the museum’s first director, the objects in the collection were regularly recorded for the files with the help of a camera. The self-taught photographer Wilhelm Weimar, initially employed by the museum as a draftsman, thus managed in the course of fifteen years to produce some 1,700 shots of pieces in the collection. The prints were mounted on cardboard and filed according to functional groups. In case of theft or suspected counterfeiting, the object photos also served Brinckmann as evidence hat could be sent by post within a network of museums.

Art history as an academic discipline worked from the outset with photographic reproductions, which made it possible to compare far-flung works and to bring them together in a shared historical context. In his essay Le Musée imaginaire, author André Malraux even makes the claim that the history of art has been tantamount since the 19th century to the “history of the photographable.” The over 7,000 slides the museum has preserved of its own holdings and other objects, together with architectural images and exhibition photographs, were assembled for use in slide presentations, compellingly illustrating this idea of a museum without walls which can be rearranged at will according to prevailing contemporary thinking. AS

Aurélien Froment
Théâtre de poche
2007
with Stéphane Corréas
HD video with sound, c. 12 min.
Courtesy of the artist and Marcelle Alix, Paris
© Aurélien Mole

Aurélien Froment

The work Théâtre de Poche (2007) showcases in a seemingly infinite black space a contemporary form of magic with images. A magician in a trance-like state pushes photographs across an invisible surface like an iPhone user swiping through information on his touch screen. His sweeping motions pass through thin air, like those of a player at a Wii station. Froment thus connects these gestures, obviously influenced by contemporary electronic user interfaces, with a centuriesold magic technique. The images, consisting of family photos, playing cards, found film stills, reproductions of non-European art, and arts and crafts items, are rearranged in new juxtapositions. They are resorted, lined up, and rethought, recalling Aby Warburg’s panels for his Mnemosyne Atlas. The artist is interested here in the discrepancy between sign and meaning, exploring how it shifts when the images are placed in new contexts and new, weightless archives. ER

Sharing photographs

At the end of the 19th century, more and more amateur and professional photographers came together in the major cities of Europe to form groups. They shared the conviction that photography should be seen as an independent artistic medium, and they sought a forum in which to present their works. Magazines such as Camera Work, which was distributed internationally, as well as joint exhibitions, encouraged lively exchanges about stylistic developments and technical procedures while serving to expand and strengthen the network. The Pictorialists saw their pictures not as a mere medium for communicating information or as illustrations: they instead shared the photographs themselves as pictures in their own right, with a focus on their composition and the details of their execution.

The Hofmeister brothers put their artworks into circulation as photo postcards. The artist Heman Chong picks up on this popular tradition of collecting and sharing images by reproducing his numerous photographs as cards, taking recourse to the “old” medium of the postcard to highlight the fact that photographs are today mainly immaterial images shared via the Internet.

Platforms like Instagram and Flickr define themselves as global “photo communities” with millions of users and thousands of uploads per second. Image data is archived there, groups founded, albums curated, and an interactive space created through keywording with tags and comment functions. For the exhibition When We Share More Than Ever, examples of such virtual galleries are presented with commentary on the blog http://sharingmorethanever.tumblr.com/. TG

Theodor und Oscar Hofmeister
Postcards
1910s and 1920s
Silver gelatine prints
14.8 x 10.6 cm
3 Intaglio prints
14 x 8.9 cm
© Museum für Kunst und Gewerbe Hamburg

Theodor und Oscar Hofmeister

Theodor and Oscar Hofmeister, one a merchant and the other a judicial employee, discovered their passion for photography in the 1890s. Upon viewing international photography exhibitions at the Hamburger Kunsthalle, they became acquainted with the Viennese Pictorialists and were inspired to adopt similarly picturesque imagery coupled with advanced technical implementation. Starting in 1895, they began to exhibit their work and were soon recognized internationally as specialists in the multicolor gum bichromate printing process. Some of their large-format one-off images are found in the collection of the MKG.

A good idea of the brothers’ prodigious productivity and clever marketing is however supplied by their landscape scenes, which Munich publisher Hermann A. Wiechmann reproduced using the rotogravure process. He published these scenes taken on rambles through the countryside, meant to reflect the “characteristic effect” of various parts of the country and hence the “German soul,” in over twenty “homeland books,” combining them with poems by German authors, as well as in portfolios and as “Hofmeister picture postcards.” The Hofmeister brothers themselves amassed an extensive collection of postcards of their own making – addressed in some cases to family members – as well as copies of postcards by other photographers. TG

Heman Chong

In his conceptual works, the artist, writer, and curator Heman Chong often deals with social practices and different kinds of archives. The installation God Bless Diana presents 550 postcards as if in a museum shop display. The artist is alluding here to the contemporary flood of commercial and private photographs, inviting the viewer to respond and make his own selections. Chong offers viewers scenes evoking ephemeral traces and grotesque situations he has filtered out of the daily big-city jungle in Beijing, London, New York, and Singapore and captured on analogue 35mm film. In contrast to the data in an Internet image archive, the postcards are actual material objects: for one euro, as symbolic antipode to the exorbitant art market prices, the exhibition visitor can purchase his favorites among these works, take them home with him, and use them to curate his own “show” or as the bearer of a written message, thus sharing them with friends. TG

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

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Thursday 10 am – 9 pm
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Museum fur Kunst und Gewerbe Hamburg 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.

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Marcus Bunyan black and white archive: ‘Mask’ 1994

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Exhibition dates: 30th September – 12th November 2017

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Exhibition dates: 30th April – 30th July 2017

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Exhibition dates: 30th April – 30th June 2016

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Exhibition dates: 20th November 2015 – 23rd March 2016

Guggenheim Examines New Developments in Contemporary Photography with Photo-Poetics: An Anthology

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Marcus Bunyan black and white archive: ‘Mask’ 1994

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