Exhibition: ‘Lee Miller’ at the Albertina, Vienna

Exhibition dates: 8th May – 16th August 2015

Curator: Walter Moser

 

Lee Miller (American, 1907-1977) 'Floating Head (Mary Taylor), New York Studio, New York, USA' 1933

 

Lee Miller (American, 1907-1977)
Floating Head (Mary Taylor), New York Studio, New York, USA
1933
© Lee Miller Archives England 2015. All Rights Reserved

 

 

Leave artist’s alone

It takes some time to form an opinion as to the merit of Lee Miller’s work, given the amount of photographs available online, including the ones available on the Lee Miller Archives website. It is also difficult to separate the muse / socialite from the artist, the icon from the person.

Certainly there are unforgettable photographs, such as the haunting SS Guard in Canal, Dachau, Germany (1945, below). Once seen, never forgotten. But then there are the usual fashion photographs for Vogue that are no different from anyone else, a lot of pretty average social documentary photographs, some excellent and not so excellent portraits of friends and artists, and some surreal offerings that sometimes hit the mark.

Only so often do her photographs raise themselves above the mundane. This is not the fault of Lee Miller, but the fault of people claiming that someone is more than they are. The fault of people in control of her image. And that all comes down to money and power.

Instead of limiting access to her photographs, if her work was just left to breathe – just letting Lee Miller be nothing, in a Zen sense – just let the work be what it is, then she and the work might attain more credibility than it has at the moment. If Lee Miller was not set up as this icon, if she just is, then the work would be all the better for it. Icon and artist need to be separated. Let’s see more of the work freely available, for only then can we truly understand, believe.

Dr Marcus Bunyan


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

 

 

Lee Miller (1907-1977) is considered one of the most fascinating artists of the 20th century. In only 16 years, she produced a body of photographic work of a range that remains unparalleled, and that unites the most divergent genres. Miller’s oeuvre extends from surrealistic images to photography in the fields of fashion, travelling, portraiture and even war correspondence; the Albertina presents a survey of the work in its breadth and depth, with the aid of 100 selected pieces.

Lee Miller began her artistic career as a surrealist photographer in the Paris of 1929. She alienated motifs by using narrow image frames and applying experimental techniques like solarisation, so that it would be possible to see paradox reality. Travel photography, in which she translated the landscape into modernistic and ambiguous shapes, originated in Egypt in 1934.

As one of just a handful of female photojournalists, she began to photograph the disastrous consequences of the Second World War back in 1940. Lee Miller photographed the attack on London by the German Luftwaffe (“the Blitz”), as well as the eventual liberation of Paris. Her reporting led her to Vienna via Salzburg in 1945 where she photographed a cityscape destroyed by war, as well as the hardships in the children’s hospitals. In this exhibit, the focus is specifically placed on the vast bulk of this unpublished group of works.

 

 

Lee Miller | Surrealist Photography from Albertina Vienna.

 

 

Lee Miller | War Photography from Albertina Vienna.

 

Man Ray (American, 1890-1976) 'Portrait of Lee Miller, Paris, France' 1929

 

Man Ray (American, 1890-1976)
Portrait of Lee Miller, Paris, France
1929
© MAN RAY TRUST / ADAGP, Paris / Bildrecht Wien 2015
Courtesy Lee Miller Archives, England 2015. All rights reserved

 

Lee Miller (American, 1907-1977) 'Untitled (Exploding Hand), Paris, France' c. 1930

 

Lee Miller (American, 1907-1977)
Untitled (Exploding Hand), Paris, France
c. 1930
© Lee Miller Archives England 2015. All Rights Reserved

 

Lee Miller (American, 1907-1977) 'Self Portrait, New York Studio, New York, USA' 1932

 

Lee Miller (American, 1907-1977)
Self Portrait, New York Studio, New York, USA
1932
© Lee Miller Archives England 2015. All Rights Reserved

 

Lee Miller (American, 1907-1977) 'Paris' 1944

 

Lee Miller (American, 1907-1977)
Paris
1944
Silver gelatin print
© Lee Miller Archives England 2015. All Rights Reserved

 

Lee Miller (American, 1907-1977) 'Picnic, Ile Sainte Marguerite, France' 1937

 

Lee Miller (American, 1907-1977)
Picnic, Ile Sainte Marguerite, France [Man Ray second from right]
1937
© Lee Miller Archives England 2015. All Rights Reserved

 

Lee Miller (American, 1907-1977) 'Nude bent forward' 1930

 

Lee Miller (American, 1907-1977)
Nude bent forward
1930
© Lee Miller Archives England 2015. All Rights Reserved

 

Lee Miller exhibition text

Lee Miller 'Surrealism: Paris and New York, 1929-1934' exhibition text

Lee Miller 'Travels: Egypt. 1934-1939' and 'War: England and France, 1940-1944' exhibition text

Lee Miller 'Zero Hour: Germany and Austria, 1945' and 'After the war: Vienna 1945' exhibition text

 

Lee Miller exhibition texts

 

Lee Miller (American, 1907-1977) 'Fire Masks, London, England' 1941

 

Lee Miller (American, 1907-1977)
Fire Masks, London, England
1941
© Lee Miller Archives England 2015. All Rights Reserved

 

Lee Miller (American, 1907-1977) 'Irmgard Seefried, Opera Singer, Singing an Aria from Madame Butterfly, Vienna Opera House, Vienna, Austria' 1945

 

Lee Miller (American, 1907-1977)
Irmgard Seefried, Opera Singer, Singing an Aria from Madame Butterfly, Vienna Opera House, Vienna, Austria
1945
© Lee Miller Archives England 2015. All Rights Reserved

 

Irmgard Seefried (German, 1919-1988)

Irmgard Seefried (9 October 1919 – 24 November 1988) was a distinguished German soprano who sang opera, sacred music, and lieder.

One of the outstanding singers to emerge immediately after the Second World War, she was noted for her Mozart and Richard Strauss roles. But she also sang in other composers’ operas; the title role in Puccini’s Madama Butterfly, Marie in Alban Berg’s Wozzeck, Eva in Meistersinger, Blanche in Poulenc’s Dialogues des Carmélites, and the title role in Janáček’s Káťa Kabanová. She was also a noted lieder singer, and a number of her Salzburg Festival recitals were recorded. She left many recordings of oratorio and sacred music by Bach, Mozart, Haydn (including at least four different renditions of the Archangel Gabriel in Die Schöpfung), Brahms, Fauré, Beethoven, Dvořák, Verdi and Stravinsky.

Although she was a high soprano, she performed, and recorded, both the trouser roles of the Composer and Octavian in Richard Strauss’s Ariadne auf Naxos and Der Rosenkavalier, respectively. These roles are usually associated with weightier voices, and today are usually sung by mezzo-sopranos.

She often sang with Elisabeth Schwarzkopf, who said in interview that Seefried was naturally able to achieve results effortlessly which other singers, including Schwarzkopf herself, had to work hard to produce.

Text from the Wikipedia website

 

Lee Miller (American, 1907-1977) with David E. Scherman (American, 1916-1997) 'Lee Miller in Hitler's Bathtub, Munich, Germany' 1945

 

Lee Miller (American, 1907-1977) with David E. Scherman (American, 1916-1997)
Lee Miller in Hitler’s Bathtub, Munich, Germany
1945
© Lee Miller Archives England 2015. All Rights Reserved

 

Lee Miller (American, 1907-1977) 'Luxembourg' 1944

 

Lee Miller (American, 1907-1977)
Luxembourg
1944
© Lee Miller Archives England 2015. All Rights Reserved

 

Lee Miller (American, 1907-1977) 'SS Guard in Canal, Dachau, Germany' 1945

 

Lee Miller (American, 1907-1977)
SS Guard in Canal, Dachau, Germany
1945
© Lee Miller Archives England 2015. All Rights Reserved

 

Lee Miller (American, 1907-1977) 'Scharnhorst Boy, Vienna, Austria' 1945

 

Lee Miller (American, 1907-1977)
Scharnhorst Boy, Vienna, Austria
1945
© Lee Miller Archives England 2015. All Rights Reserved

 

Lee Miller (American, 1907-1977) 'The latest hat model, Vogue Studios, London, April 1942' 1942

 

Lee Miller (American, 1907-1977)
The latest hat model, Vogue Studios, London, April 1942
1942
© Lee Miller Archives England 2015. All Rights Reserved

 

Man Ray (American, 1890-1976) 'Solarised Portrait of Lee Miller' c. 1929

 

Man Ray (American, 1890-1976)
Solarised Portrait of Lee Miller
c. 1929
© MAN RAY TRUST / ADAGP, Paris / Bildrecht Wien 2015

 

Lee Miller (American, 1907-1977) 'Solarized Portrait of an unknown model' 1930

 

Lee Miller (American, 1907-1977)
Solarized Portrait of an unknown model
1930
© Lee Miller Archives England 2015. All Rights Reserved

 

Man Ray (American, 1890-1976) and Lee Miller (American, 1907-1977) 'Neck (Portrait of Lee Miller), Paris, France' c. 1930

 

Man Ray (American, 1890-1976) and Lee Miller (American, 1907-1977)
Neck (Portrait of Lee Miller), Paris, France
c. 1930
© Lee Miller Archives England 2015. All Rights Reserved
© MAN RAY TRUST / ADAGP, Paris / Bildrecht Wien 2015

 

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Exhibition: ‘Thomas Demand’ at the National Gallery of Victoria, Melbourne

Exhibition dates: 30th November 2012 – 17th March 2013

 

Thomas Demand German 1964- 'Copyshop' 1999

 

Thomas Demand (German, b. 1964)
Copyshop
1999
C-Print / Perspex
183.5 × 300cm
Collection of John Kaldor, Sydney
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

 

Sitting here in my non-air-conditioned flat trying to survive Melbourne’s autumn heatwave is no fun; my mind has turned to mush. So instead of trying to write an in depth review of this exhibition I shall just make some salient comments, for fear my sweat would literally buckle Demand’s meticulously constructed paper models before he could photograph them.

Demand is firstly a sculpture, constructing studio-sized models of photographs that reference “source material in the archive that already has some fateful resonance,” (Robert Nelson, The Age, 12th December 2012) such as the control room of the Fukushima nuclear reactor, the Geneva hotel bath tub where the German politician Uwe Barschel found a brutal death – personally my mind went to David E. Scherman’s photograph of Lee Miller in Hitler’s bathtub (see below); scenes of nature such as Clearing (2003, below) or Grotto (2006, below) that are hyperreal simulacra of natural phenomena; and modular environments and objects, such as Copyshop (1999), Space Simulator (2003) and Bullion (2003, all below) that strip away the relational intimacy between man and environment by the removal of all labelling and tactility of surface. Demand then photographs his denuded “models” before destroying them, the photograph then becoming the soul evidence of their intrinsic existence (much like the documentary evidence of photographs of Land Art). Demand’s visualisation of the environment is triple coded (photograph, model, photograph), a hybrid tri-articulation that produces new identities that release energies of multiplicity, irony and destabilisation.

Robert Nelson observes in The Age that Demand’s world is paper thin and because the eye detects the forgery, “the famous icon of unthinkable fortune [Bullion] – which might have played a part in some famous heist or the security of a national economy – is also a lie, a tinsel falsehood of no substance… All of Demand’s pictures have an empty or hollow character, which defies the earnest weight of their associations.” Dan Rule insightfully notes that, “By removing the image’s reference or index, only to so painstakingly recast it, he [Demand] begs us to look and look again. These resolutely “unreal” images demand that we consider reality with much greater care.” (Dan Rule, The Age, 19th January 2013). Christopher Allen in The Weekend Australian (2nd March, 2013) states that Demand’s huge final prints, hidden under a layer of Perspex, “adds another level of truth and illusion that preoccupies Demand as it must any serious photographer today. In this case, the photographs can claim to be, for what this is worth, absolutely and literally true in their recording of their subject; it is only the subject itself that is entirely illusory and fabricated.”

Interesting comments all. Demand’s recasting of the relationship between image and referent (image and the object being photographed) is critical to his practice, but I am unsure that all photographers have to be preoccupied with the relationship between truth and illusion as Allen states. As my recent review of the exhibition Confounding: Contemporary Photography noted not all photographs have to confound the relationship between truth and illusion in order to be art. “Collectively, it is the ideas contained within the images in this exhibition that unsettle the relationship between the photograph and the world in the mind of the viewer, not their confounding.” As in the Jeff Wall Photographs exhibition, there is not much emotion in any of these images and perhaps this is an outcome of the long pre-photographic production process.

Demand’s recordings, re-orderings of a constructed reality are fabrications of the highest calibre, amazing to witness at first hand (is that really a model, how does he do that with paper and lighting?!), and yet one is left with a feeling that the work needed something more to go beyond this illusion, some layering that takes the viewer beyond the surface of the image, beyond the understanding of image / model / reality. I look at the photographs, I understand the skill, the imbrication of the process – I think that is the word I want, meaning the covering with a design in which one element covers a part of another – the looking again at a fabricated (our!) reality but the photographs still leave me a little cold of heart, of empty and hollow character. Perhaps that is the point, however it doesn’t make me want to look at the photographs over weeks, months and years and let them reveal themselves to me. Like the paper on which they are printed they are a little paper thin.

Dr Marcus Bunyan

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

 

 

Thomas Demand German 1964- 'Kontrollraum / Control Room' 2011

 

Thomas Demand (German, b. 1964)
Kontrollraum / Control Room
2011
C-Print / Perspex
200 × 300cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Thomas Demand German 1964- 'Labor / Laboratory' 2000

 

Thomas Demand (German, b. 1964)
Labor / Laboratory
2000
C-Print / Perspex
180 × 268cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Thomas Demand German 1964- 'Space Simulator' 2003

 

Thomas Demand (German, b. 1964)
Space Simulator
2003
C-Print / Perspex
300 × 429.4cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Thomas Demand German 1964- 'Regen / Rain' (still) 2008

 

Thomas Demand (German, b. 1964)
Regen / Rain (still)
2008
35 mm colour film, sound, 4 min, looped
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Thomas Demand German 1964- 'Lichtung / Clearing' 2003

 

Thomas Demand (German, b. 1964)
Lichtung / Clearing
2003
C-Print / Perspex
192 × 495cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Thomas Demand German 1964- 'Grotte / Grotto' (detail) 2006

 

Thomas Demand (German, b. 1964)
Grotte / Grotto (detail)
2006
C-Print / Perspex
Photograph: Marcus Bunyan

 

Thomas Demand German 1964- 'Bullion' 2003

 

Thomas Demand (German, b. 1964)
Bullion
2003
C-Print / Perspex
42 × 60cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

David E. Scherman. 'Lee Miller in Hitler's bath, Hitler's apartment, Munich, Germany 1945' 1945

 

David E. Scherman (American, 1916-1997)
Lee Miller in Hitler’s bath, Hitler’s apartment, Munich, Germany 1945
1945
From Lee Miller: A Life by Carolyn Burke
© Lee Miller Archives

 

Thomas Demand German 1964- 'Badezimmer / Bathroom' 1997

 

Thomas Demand (German, b. 1964)
Badezimmer / Bathroom
1997
C-Print / Perspex
160 × 122cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Thomas Demand German 1964- 'Tribute' 2011

 

Thomas Demand (German, b. 1964)
Tribute
2011
C-Print / Perspex
166 × 125cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

 

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