Posts Tagged ‘destruction

24
Jan
13

Exhibition: ‘WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath’ at the Museum of Fine Arts, Houston – Posting Part 4

Exhibition dates: 11th November 2012 – 3rd February 2013

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Part 4 of the biggest posting on one exhibition that I have ever undertaken on Art Blart!

As befits the gravity of the subject matter this posting is so humongous that I have had to split it into 4 separate postings. This is how to research and stage a contemporary photography exhibition that fully explores its theme. The curators reviewed more than one million photographs in 17 countries, locating pictures in archives, military libraries, museums, private collections, historical societies and news agencies; in the personal files of photographers and service personnel; and at two annual photojournalism festivals producing an exhibition that features 26 sections (an inspired and thoughtful selection) that includes nearly 500 objects that illuminate all aspects of WAR/PHOTOGRAPHY.

I have spent hours researching and finding photographs on the Internet to support the posting. It has been a great learning experience and my admiration for photographers of all types has increased. I have discovered the photographs and stories of new image makers that I did not know and some enlightenment along the way. I despise war, I detest the state and the military that propagate it and I surely hate the power, the money and the ethics of big business that support such a disciplinarian structure for their own ends. I hope you meditate on the images in this monster posting, an exhibition on a subject matter that should be consigned to the history books of human evolution.

**Please be aware that there are graphic photographs in all of these postings.** Part 1Part 2Part 3

Marcus

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Many thankx to the Museum of Fine Arts, Houston for allowing me to publish some of the photographs in the posting. Please click on the photographs for a larger version of the image.

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25. Photographs in the “Memorials” section range from the tomb of an unknown World War I soldier in England, by Horace Nicholls; and a landscape of black German crosses throughout a World War II burial site, by Bertrand Carrière; to an anonymous photograph of a reunion scene in Gettysburg of the opposing sides in the Civil War; and Joel Sternfeld’s picture of a woman and her daughter at the Vietnam Veterans Memorial in Washington, DC, in 1986. (8 images)

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Horace Nicholls. 'The Unknown Warrior at Westminster Abbey, London, November 1920' 1920

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Horace Nicholls
The Unknown Warrior at Westminster Abbey, London, November 1920
1920
Silver gelatin print
© IWM (Q 31514)

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In order to commemorate the many soldiers with no known grave, it was decided to bury an ‘Unknown Warrior’ with all due ceremony in Westminster Abbey on Armistice Day in 1920. The photograph shows the coffin resting on a cloth in the nave of Westminster Abbey before the ceremony at the Cenotaph and its final burial.

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Anon. 'Under blue & gray - Gettysburg' July 1913

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Anon
Under blue & gray – Gettysburg
July 1913
Photo shows the Gettysburg Reunion (the Great Reunion) of July 1913, which commemorated the 50th anniversary of the Battle of Gettysburg
Library of Congress Prints and Photographs Division Washington, D.C.

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Bertrand Carrière. 'Untitled' 2005-2009

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Bertrand Carrière
Untitled
2005-2009
from the series Lieux Mêmes [Same Places]

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Joel Sternfeld American (born 1944) 'Vietnam Veterans Memorial, Washington, D.C.,' May 1986

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Joel Sternfeld American (born 1944)
Vietnam Veterans Memorial, Washington, D.C.,
May 1986
Chromogenic print, ed. #1/25 (printed October 1986)
The Museum of Fine Arts, Houston, the Target Collection of American Photography, gift of the artist
© 1986 Joel Sternfeld

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26. The last gallery in the exhibition is “Remembrance.” Most of these images were taken by artists seeking to come to terms with a conflict after fighting had ceased. Included are Richard Avedon’s picture of a Vietnamese napalm victim; a survivor of a machete attack in a Rwandan death camp, by James Nachtwey; a 1986 portrait of a hero who rescued Jews during the Holocaust, by Houston native Gay Block; and Suzanne Opton’s 2004 portrait of a soldier who survived the Iraq War and returned to the United States to work as a police officer, only to be murdered on duty by a fellow veteran. The final wall features photographs by Simon Norfolk of sunrises at the five D-Day beaches in 2004. The only reference to war is the title of the series: The Normandy Beaches: We Are Making a New World(33 images)

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Richard Avedon. 'Napalm Victim #1, Saigon, South Vietnam, April 29, 1971' 1971

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Richard Avedon
Napalm Victim #1, Saigon, South Vietnam, April 29, 1971
1971
Silver gelatin print
© Richard Avedon

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Gay Block American, b.1942 'Zofia Baniecka, Poland' 1986

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Gay Block American, b.1942
Zofia Baniecka, Poland
1986
From the series Rescuers: Portraits of Moral Courage in the Holocaust, a record of non-Jewish citizens from European countries who risked their lives helping to hide Jews from the Nazis
Chromogenic print, printed 1994
Courtesy of Museum of Fine Arts, Houston, gift of Clinton T. Wilour in honour of Eve France

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Zofia Baniecka (born 1917 in Warsaw – 1993) was a Polish member of the Resistance during World War II. In addition to relaying guns and other materials to resistance fighters, Baniecka and her mother rescued over 50 Jews in their home between 1941 and 1944.

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James Nachtwey. 'A Hutu man who did not support the genocide had been imprisoned in the concentration camp, was starved and attacked with machetes.  He managed to survive after he was freed and was placed in the care of the Red Cross, Rwanda, 1994' 1994

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James Nachtwey
A Hutu man who did not support the genocide had been imprisoned in the concentration camp, was starved and attacked with machetes. He managed to survive after he was freed and was placed in the care of the Red Cross, Rwanda, 1994
1994
Silver gelatin print
© James Nachtwey / TIME

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Simon Norfolk British (born Nigeria, 1963) 'Sword Beach' 2004

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Simon Norfolk British (born Nigeria, 1963)
Sword Beach
2004
from the series The Normandy Beaches: We Are Making a New World
Chromogenic print, ed. #1/10 (printed 2006)
The Museum of Fine Arts, Houston, gift of Bari and David Fishel, Brooke and Dan Feather and Hayley Herzstein in honor of Max Herzstein and a partial gift of the artist and Gallery Luisotti, Santa Monica
© Simon Norfolk / Gallery Luisotti

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Other photographs from the exhibition

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Matsumoto Eiichi Japanese, 1915-2004 'Shadow of a soldier remaining on the wooden wall of the Nagasaki military headquarters (Minami-Yamate machi, 4.5km from Ground Zero)' 1945

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Matsumoto Eiichi Japanese, 1915-2004
Shadow of a soldier remaining on the wooden wall of the Nagasaki military headquarters (Minami-Yamate machi, 4.5km from Ground Zero)
1945
Gelatin silver print
Collection of the Tokyo Metropolitan Museum of Photography
© Matsumoto Eiichi

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Gilles Caron French, 1939-1970 'Young Catholic demonstrator on Londonderry Wall, Northern Ireland' 1969

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Gilles Caron French, 1939-1970
Young Catholic demonstrator on Londonderry Wall, Northern Ireland
1969
Gelatin silver print
Courtesy of Foundation Gilles Caron and Contact Press Images
© Gilles Caron

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Alexander Gardner, American, 1821-1882- ‘The Home of a Rebel Sharpshooter, Gettysburg, Pennsylvania’. Albumen paper print

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Alexander Gardner American, 1821-1882
The Home of a Rebel Sharpshooter / Dead Confederate soldier in the devil’s den, Gettysburg, Pennsylvania
July 1863
Albumen paper print copied from glass, wet collodion negative
Library of Congress, Prints and Photographs Division

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Ziv Koren Israeli, b.1970 'A sniper’s-eye view of Rafah, in the Southern Gaza strip, during an Israeli military sweep' 2006

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Ziv Koren Israeli, b.1970
A sniper’s-eye view of Rafah, in the Southern Gaza strip, during an Israeli military sweep
2006
Inkjet print, printed 2012
© Ziv Koren/Polaris Images

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David Leeson American, b.1957 'Death of a Soldier, Iraq' March 24, 2003

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David Leeson American, b.1957
Death of a Soldier, Iraq
March 24, 2003
Inkjet print, printed 2012
Courtesy of the artist

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August Sander German, 1876-1964 'Soldier' c. 1940

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August Sander German, 1876-1964
Soldier
c. 1940
Gelatin silver print, printed by Gunther Sander, 1960s
The MFAH, gift of John S. and Nancy Nolan Parsley in honour of the 65th birthday of Anne Wilkes Tucker
© Die Photographische Sammlung/SK StiftungKultur – August Sander Archiv, Cologne; DACS, London 2012

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Museum of Fine Arts, Houston
1001 Bissonnet Street
Houston, TX 77005

Opening hours:
Tuesday, Wednesday 10.00 am – 5.00 pm
Thursday 10.00 am – 9.00 pm
Friday, Saturday 10.00 am – 7.00 pm
Sunday 12.15 pm – 7.00 pm
Closed Monday, except Monday holidays
Closed Thanksgiving Day and Christmas Day

Museum of Fine Arts, Boston website

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18
Jan
13

Exhibition: ‘WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath’ at the Museum of Fine Arts, Houston – Posting Part 3

Exhibition dates: 11th November 2012 – 3rd February 2013

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“War is, above all, grief.”

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Dmitri Baltermants

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“Violence is the last refuge of the incompetent”

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Salvor Hardin in Isaac Asimov’s ‘Foundation’ series

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Part three of the biggest posting on one exhibition that I have ever undertaken on Art Blart!

As befits the gravity of the subject matter this posting is so humongous that I have had to split it into 4 separate postings. This is how to research and stage a contemporary photography exhibition that fully explores its theme. The curators reviewed more than one million photographs in 17 countries, locating pictures in archives, military libraries, museums, private collections, historical societies and news agencies; in the personal files of photographers and service personnel; and at two annual photojournalism festivals producing an exhibition that features 26 sections (an inspired and thoughtful selection) that includes nearly 500 objects that illuminate all aspects of WAR/PHOTOGRAPHY.

I have spent hours researching and finding photographs on the Internet to support the posting. It has been a great learning experience and my admiration for photographers of all types has increased. I have discovered the photographs and stories of new image makers that I did not know and some enlightenment along the way. I despise war, I detest the state and the military that propagate it and I surely hate the power, the money and the ethics of big business that support such a disciplinarian structure for their own ends. I hope you meditate on the images in this monster posting, an exhibition on a subject matter that should be consigned to the history books of human evolution.

**Please be aware that there are graphic photographs in all of these postings.** Part 1Part 2Part 4

Marcus

.
Many thankx to the Museum of Fine Arts, Houston for allowing me to publish some of the photographs in the posting. Please click on the photographs for a larger version of the image.

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21. Civilians spans World War II through 2008. The subsection “Dead and Wounded” includes Grief, Kerch, Crimea, by Dmitri Baltermants, of civilians in 1942 searching the bodies of Russian Jewish family members who had been executed by Germans soldiers as they retreated. A 2003 photograph, taken by Ahmed Jadallah for the news agency Reuters while he lay wounded from shrapnel, shows bodies in the street in the largest refugee camp in the Gaza Strip. “Daily Life” shows a Congolese woman breastfeeding as a tank rolls by, in a 2008 image by Walter Astrada; Londoners sleeping in an underground train station in 1940, by Bill Brandt; a woman eating bread in Amsterdam during the Hongerwinter famine of 1944, by Cas Oorthuys; a 1940/41 meeting in New York of members of the Bund, an American Nazi party, by Otto Hagel; a monk burning himself in Saigon in 1963, in protest against alleged religious persecution by the South Vietnamese government, by Malcolm Browne; and a man uncovering an anti-personnel land mine in Angola in 2004, by Sean Sutton. Pictures of civilian “Grief” are common, and the images here include a woman in Tehran inspecting photographs of the missing, by Gilles Peress; a man at an airport, grieving alone and holding a folded American flag, by Harry Benson; a father digging a grave for his daughter in a soccer field in Somalia, by Howard Castleberry; and a woman mourning in Afghanistan in 1996, at the grave of her brother who was killed by a Taliban rocket, by James Nachtwey. (46 images)

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Dmitri Baltermants
Grief, Kerch, Crimea
Spring 1942
Silver gelatin print

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“War, is, above all, grief. I photographed non-stop for years and I know that in all that time I produced only five or six real photographs. War is not for photography. If, heaven forbid, I had to photograph war again, I would do it quite differently. I agonise now at the thought of all the things that I did not photograph.”

Dmitri Baltermants quoted in “The Russian War, 1941-1945” (J. Cape, London, 1978)

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Walter Astrada, Argentinean (born 1974)
Congolese women fleeing to Goma
2008
from the series Violence against women in Congo, Rape as weapon of war in DRC
Chromogenic print (printed 2010)
The Museum of Fine Arts, Houston, museum purchase with funds provided by Photo Forum 2010
© Walter Astrada

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Cas Oorthuys
Portrait of starving woman in the hunger winter, Amsterdam
1944-1945
Silver gelatin print

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Otto Hagel
German-Americans at a meeting in New Jersey of the Deutsche Bund
1940/41
Silver gelatin print

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Malcolm Browne
Burning Monk – The Self-Immolation
1963

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Harry Benson
Grieving man, holding flag
1971

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22. Children have been consistently photographed during wartime as both victims and soldiers. Images in this section include Sir Cecil Beaton’s Three-year-old Eileen Dunne in Hospital for Sick Children, England (1940); children viewing the bodies of other children who were hanged as collaborators in Russia in the 1940s, by Mark Redkin; Philip Jones Griffiths’ image of a young boy, Called “Little Tiger” for killing two “Vietcong women cadre” – his mother and teacher, it was rumored (1968); children playing “execution” in Italy, by Enzo Sellerio; two orphaned boys smoking cigarettes in post-World War II Japan, by Hayashi Tadahiko; a father home on leave reading the newspaper with his son, who wears his dad’s helmet, by Andrea Bruce; and the 2005 photograph, by Chris Hondros, of a blood-splattered Iraqi girl whose family was mistakenly ambushed by U.S. troops. (13 images) 

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Andrea Bruce. 'Untitled [A father home on leave reading the newspaper with his son, who wears his dad’s helmet]' 2006

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Andrea Bruce
Untitled [A father home on leave reading the newspaper with his son, who wears his dad’s helmet]
2006
from the series When the War Comes Home

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Cecil Beaton. 'Eileen Dunne, aged three, sits in bed with her doll at Great Ormond Street Hospital for Sick Children, after being injured during an air raid on London in September 1940' 1940

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Cecil Beaton
Eileen Dunne, aged three, sits in bed with her doll at Great Ormond Street Hospital for Sick Children, after being injured during an air raid on London in September 1940
1940
Gelatin silver print
© IWM (MH 26395)

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Philip Jones Griffiths Welsh (1936-2008) 'Called "Little Tiger” for killing two "Vietcong women cadre” - his mother and teacher, it was rumored, Vietnam' 1968

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Philip Jones Griffiths Welsh (1936-2008)
Called “Little Tiger” for killing two “Vietcong women cadre” – his mother and teacher, it was rumored, Vietnam
1968
Gelatin silver print
The Philip Jones Griffiths Foundation, courtesy of Howard Greenberg Gallery
© Philip Jones Griffiths / Magnum Photos

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23. Portraits are the most common type of photograph made during conflicts. Dispersed throughout the exhibition, lining the main walkway through the galleries, are the faces of leaders, the enlisted, heroes and war criminals, as well as group portraits. One of the earliest prints in the exhibition is a daguerreotype from the Mexican-American War of a high-ranking officer. Matthew Brady, one of the most famous photographers of the 19th century, was renowned for coverage of the Civil War; his MajorGeneral Joseph Hooker, c. 1863, is on view. Among the most recent is a self-portrait by American Cpl. Reynaldo Leal USMC. Leal – who was born and grew up in Edinburg, Texas, and now lives in El Paso – served in Iraq conducting combat patrols through the villages along the Euphrates. (40 images)

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Reynaldo Leal. 'Self portrait after a patrol' 2004-06

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Corporal Reynaldo Leal USMC American, born 1983
Self‑portrait after a Patrol
c. 2004-06
Inkjet print
The Museum of Fine Arts, Houston, museum purchase with funds provided by Will Michels and Clinton T. Willour
© Reynaldo Leal

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Mathew B. Brady American (1823-1896) 'Major-General Joseph Hooker' c. 1863

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Mathew B. Brady American (1823-1896)
Major-General Joseph Hooker
c. 1863
Salted paper print, hand colored
The Museum of Fine Arts, Houston, museum purchase with funds provided by the S. I. Morris Photography Endowment

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Matthew Brady. 'Colonel William Gates, believed to have been taken upon his return from the Mexican War' ca. 1848

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Matthew B. Brady American (1823-1896)
Colonel William Gates, believed to have been taken upon his return from the Mexican War
c. 1848
Half plate daguerreotype, gold toned
Library of Congress

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24. War’s End is identifiable at the moment a photograph is taken. The subsection “Victory/Defeat” is the visual manifest of the outcome of war, from the Japanese signing peace documents on board the USS Missouri, by Carl Mydans; to German generals discussing terms of surrender in the woods just four days after Adolf Hitler committed suicide in 1945, by E. G. Malindine; and the raising of the Hammer and Sickle over the Reichstag in Berlin in 1945, by Evgeny Khaldey. Also included is Simon Norfolk’s Victory arch built by the Northern Alliance at the entrance to a local commander’s headquarters in Bamiyan. The empty niche housed the smaller of the two Buddhas, destroyed by the Taliban in 2001, from the series Afghanistan: Chronotopia. “Retribution” contains a 1945 image, by Lee Miller, of a concentration-camp guard who was beaten by prisoners after their liberation; and a photograph by Robert Capa of a Frenchwoman who had been impregnated by a German soldier, as she walks through a jeering crowd with her head shaved in punishment and carrying her baby. The photographs in “Homecoming” establish an emotive connection: a family reunion on the tarmac at an Air Force base in California in 1973, by Sal Veder; a mother and son embracing at the Ben-Gurion Airport in Israel in 1976, by Micha Bar-Am; and a man who has returned from duty in Bosnia in 1995 to discover that his home and everyone in it is gone, by Ron Haviv. (23 images) 

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Carl Mydans. 'Japanese signing peace documents on board the USS Missouri' 1945

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Carl Mydans
Japanese signing peace documents on board the ‘USS Missouri’
1945

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Simon Norfolk. 'Victory arch built by the Northern Alliance at the entrance to a local commander’s headquarters in Bamiyan. The empty niche housed the smaller of the two Buddhas, destroyed by the Taliban in 2001' 2001

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Simon Norfolk
Victory arch built by the Northern Alliance at the entrance to a local commander’s headquarters in Bamiyan. The empty niche housed the smaller of the two Buddhas, destroyed by the Taliban in 2001
2001
from the series Afghanistan: Chronotopia

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Robert Capa. 'Collaborator woman who had a German soldier's child, Chartres, 18 August 1944' 1944

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Robert Capa
Collaborator woman who had a German soldier’s child, Chartres, 18 August 1944
1944
Gelatin silver print
33 x 49 cm

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Sal Velder. 'Released prisoner of war Lt. Col. Robert L. Stirm is greeted by his family at Travis Air Force Base in Fairfield, California on March 17, 1973, as he returns home from the Vietnam War' 1973

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Sal Velder
Released prisoner of war Lt. Col. Robert L. Stirm is greeted by his family at Travis Air Force Base in Fairfield, California on March 17, 1973, as he returns home from the Vietnam War
1973
Silver gelatin print
© Sal Velder

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Ron Haviv, American, b.1965 'A Bosnian soldier stands on what is believed to be a mass grave outside his destroyed home. He was the sole survivor of 69 people' 1995

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Ron Haviv American, b.1965
A Bosnian soldier stands on what is believed to be a mass grave outside his destroyed home. He was the sole survivor of 69 people
1995
Inkjet print
Courtesy of Ron Haviv/VII
© Ron Haviv

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Micha Bar-Am Israeli (born Germany, 1930) 'The return from Entebbe, Ben-Gurion Airport, Israel' 1976

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Micha Bar-Am Israeli (born Germany, 1930)
The return from Entebbe, Ben-Gurion Airport, Israel
1976
from the series Promised Land
Inkjet print
Courtesy of the artist and Andrea Meislin Gallery, New York
© Micha Bar-Am / Magnum Photos

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Museum of Fine Arts, Houston
1001 Bissonnet Street
Houston, TX 77005

Opening hours:
Tuesday, Wednesday 10.00 am – 5.00 pm
Thursday 10.00 am – 9.00 pm
Friday, Saturday 10.00 am – 7.00 pm
Sunday 12.15 pm – 7.00 pm
Closed Monday, except Monday holidays
Closed Thanksgiving Day and Christmas Day

Museum of Fine Arts, Boston website

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03
Nov
11

Exhibition: ‘Joel Meyerowitz – Aftermath’ at the Miami Art Museum

Exhibition dates: 19th August – 6th November 2011

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“And do you know what “the world” is to me? Shall I show it to you in my mirror? This world: a monster of energy, without beginning, without end; a firm, iron magnitude of force that does not grow bigger or smaller, that does not expend itself but only transforms itself; as a whole, of unalterable size, a household without expenses or losses, but likewise without increase or income; enclosed by “nothingness” as by a boundary; not something blurry or wasted, not something endlessly extended, but set in a definite space as a definite force, and not a space that might be “empty” here or there, but rather a force throughout, as a play of forces and waves of forces, at the same time one and many, increasing here and at the same time decreasing there …”

Frederick Nietzsche, The Will to Power.

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Sadness. And light. Hope. Amidst the inferno. Study the masterpiece Finding More Fireman (below) in the enlarged version and you cannot fail to be moved. It is all there: monumental, intimate, hellish, redemptive – a modern, “disastrous” form of the The Night Watch.

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

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Joel Meyerowitz 
Searchers in Rubble
2001
Vintage contact print
Collection Miami Art Museum, gift of Steven E. and Phyllis Gross

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Joel Meyerowitz
Flower Offering
2001
Vintage contact print
Collection Miami Art Museum, gift of Steven E. and Phyllis Gross

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Joel Meyerowitz
Pit Looking North
2002
Vintage contact print
Collection Miami Art Museum, gift of Steven E. and Phyllis Gross

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Joel Meyerowitz
Smoke and Spray
2001
Vintage contact print
Collection Miami Art Museum, gift of Jeffrey Hugh Newman

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Joel Meyerowitz
Moving the Monument
2001
Vintage contact print
Collection Miami Art Museum, gift of Jeffrey Hugh Newman

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Joel Meyerowitz
Finding More Fireman
2001
Vintage contact print
Collection Miami Art Museum, gift of Charles S. and Elynne B. Zucker

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Joel Meyerowitz
Searchers
2002
Vintage contact print
Collection Miami Art Museum, gift of Charles S. and Elynne B. Zucker

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Joel Meyerowitz
Welders in South Tower
2001
Vintage contact print
Collection Miami Art Museum, gift of Charles S. and Elynne B. Zucker

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“In commemoration of the 10th anniversary of 9/11, Miami Art Museum presents Focus Gallery: Joel Meyerowitz – Aftermath, an exhibition of photographs taken by the only photographer granted right of entry into Ground Zero after the September 11, 2001 attacks on the World Trade Center in New York City. For nine months during the day and night, Meyerowitz photographed “the pile,” as the World Trade Center came to be known, and the over 800 people a day that were working in it. The exhibition consists of 24, recently-donated photographs, presented in the Focus Gallery section of the Museum’s Permanent Collection installation. Admission to Miami Art Museum will be free to all emergency personnel, including police and firefighters, and their guests throughout the exhibition’s run, August 19 – November 6, 2011. A special preview for emergency personnel will be held on Thursday, August 18, 2011, 4-7pm. Author and photography critic Vicki Goldberg will give a lecture entitled “What Remains” on Thursday, September 8, 2011, beginning at 6:30pm.

After September 11, 2001, the Ground Zero site in New York City was classified as a crime scene and only those directly involved in the recovery efforts were allowed inside. The press was prohibited from the site. Influenced by Walker Evans’s and Dorothea Lange’s work for the Farm Security Administration during the Great Depression, Meyerowitz, long recognized as one of the pioneers of color photography, was convinced that if a photographic record of the unprecedented recovery efforts was not made, “there would be no history.” With the help of sympathetic officials, he managed to become the only photographer granted right of entry into Ground Zero.

“I was making photographs for everyone who didn’t have access to the site,” says Meyerowitz, “I wanted to communicate what it felt like to be in there as well as what it looked like: to show the pile’s incredible intricacy and visceral power. I could provide a window for everyone else who wanted to be there, too, to help, or to grieve, or simply to try to understand what had happened to our city.”

Armed with a large-format wooden camera, Meyerowitz spent nine months photographing the site. In the first few weeks, he was chased off the site repeatedly, but over time, with the help of officials on and off site, the use of forged workers’ passes, and by assuming the “uniform” of hard hat, goggles, respirator, gloves, boots and duct taped pants, Meyerowitz became “woven into the fabric of the site.”

About the experience, Meyerowitz has written, “The nine months I worked at Ground Zero were among the most rewarding of my life. I came in as an outsider, a witness bent on keeping the record, but over time I began to feel a part of the very project I’d been intent on recording… the intense camaraderie I experienced at Ground Zero inspired me, changing both my sense of myself and my sense of responsibility to the world around me. September 11th was a tragedy of almost unfathomable proportions. But living for nine months in the midst of those individuals who faced that tragedy head-on, day after day, and did what they could to set things right, was an immense privilege.”

The photographs in MAM’s collection are from a unique set of contact prints (photographs printed on a 1:1 scale from the negatives) issued by the artist in 2006. As a group, they span the entire nine month period that Meyerowitz was on site, presenting a poignant, condensed view of the clean up effort, including portraits of the workers involved. The set is introduced by a single image of the World Trade Center towers taken by the artist in the 1980s from his apartment window.

The entire set of more than 8,000 photographs taken by Meyerowitz form an archive at the Museum of the City of New York. The Aftermath series was the focus of a 2006 book, Aftermath: World Trade Center Archives published by Phaidon (reissued this year in a special 10th anniversary edition) and an exhibition organized by the US Department of State that traveled worldwide from 2002 to 2005.”

Press release from the Miami Art Museum website

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Joel Meyerowitz
Explosion Squad Detective
2001
Vintage contact print
Collection Miami Art Museum, gift of Steven E. and Phyllis Gross

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Joel Meyerowitz
Steps Down to Plaza
2001
Vintage contact print
Collection Miami Art Museum, gift of Jeffrey Hugh Newman

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Joel Meyerowitz
Fireman at Last Column
2002
Vintage contact print
Collection Miami Art Museum, gift of Charles S. and Elynne B. Zucker

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Joel Meyerowitz
Building #5 and Woolworth
2001
Vintage contact print
Collection Miami Art Museum, gift of Simon and Bonnie Levin

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Joel Meyerowitz
Welder and Rubble
2001
Vintage contact print
Collection Miami Art Museum, gift of Steven E. and Phyllis Gross

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Miami Art Museum
101 W Flagler St., Miami, FL 33130

Opening hours:
Tuesday – Friday,10am – 5pm
Saturday – Sunday, 12pm – 5pm

Miami Art Museum website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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