Posts Tagged ‘Eugène Atget Boulevard de Strasbourg

24
Oct
12

Exhibition: ‘Eugène Atget: Old Paris’ at the Art Gallery of New South Wales, Sydney

Exhibition dates: 24th August – 4th November 2012

 

Eugène Atget. 'Fireplace, Hôtel Matignon, former Austrian embassy, 57 rue de Varenne, 7th arrodissement' 1905

 

Eugène Atget (French, 1857-1927)
Fireplace, Hôtel Matignon, former Austrian embassy, 57 rue de Varenne, 7th arrodissement
1905
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

 

“… I have assembled photographic glass negatives… in all the old streets of Old Paris, artistic documents showing the beautiful civil architecture from the 16th to the 19th century. The old mansions, historic or interesting houses, beautiful façades, lovely doors, beautiful panelling, door knockers, old fountains, stylish staircases (wrought iron and wood) and interiors of all the churches in Paris… This enormous documentary and artistic collection is now finished. I can say that I possess the whole of Old Paris.”

.
Eugène Atget 1920

 

“The first time I saw photographs by Eugène Atget was in 1925 in the studio of Man Ray in Paris. Their impact was immediate and tremendous. There was a sudden flash of recognition – the shock of realism unadorned. The subjects were not sensational, but nevertheless shocking in their very familiarity. The real world, seen with wonderment and surprise, was mirrored in each print.”

.
Berenice Abbott 1964

 

Spaces That Matter…

[In revelatio, in revelation] the photographers trained eye is perhaps more of a hindrance than may at first be thought. The photographer may struggle with, “a sense of intense inevitability, insofar as this kind of image seems to be one that the photographer ‘could not not photograph’.”9 Awareness may become a double bind for the photographer. It may force the photographer to photograph because he can do nothing else, because he is aware of the presence of ‘punctum’ within a space, even an empty ‘poetic space’, but this awareness may then blind him, may ossify the condition of revealing through his directed gaze, unless he is very attentive and drops, as Harding says, “memory and imagination and desire, and just take what’s given.”10 The object, as Baudrillard notes,”isolates itself and creates a sense of emptiness … and then it irradiates this emptiness,”11 but this irradiation of emptiness does require an awareness of it in order to stabilise the transgressive fluctuations of the ecstasy of photography (which are necessarily fluid), through the making of an image that, as Baudrillard notes, “may well retrieve and immobilise subjective and objective punctum from their ‘thunderous surroundings’.”12 Knowledge of awareness is a key to this immobilisation and image making. The philosopher Krishnamurti has interesting things to say about this process, and I think it is worth quoting him extensively here:

“Now with that same attention I’m going to see that when you flatter me, or insult me, there is no image, because I’m tremendously attentive … I listen because the mind wants to find out if it is creating an image out of every word, out of every contact. I’m tremendously awake, therefore I find in myself a person who is inattentive, asleep, dull, who makes images and gets hurt – not an intelligent man. Have you understood it at least verbally? Now apply it. Then you are sensitive to every occasion, it brings its own right action. And if anybody says something to you, you are tremendously attentive, not to any prejudices, but you are attentive to your conditioning. Therefore you have established a relationship with him, which is entirely different from his relationship with you. Because if he is prejudiced, you are not; if he is unaware, you are aware. Therefore you will never create an image about him. You see the difference?”13

.
Now apply this attention to the awareness of the photographer. If he does not create images that are prejudice, could this not stop a photographer ‘not not’ photographing because he sees spaces with clarity, not as acts of performativity, spaces of ritualised production overlaid with memory, imagination, desire, and nostalgia?

Here an examination of the work of two photographers is instructive. The first, the early 20th century Parisian photographer Eugène Atget, brings to his empty street and parkscapes visions that elude the senses, visions that slip between dreaming and waking, between conscious and subconscious realms. These are not utopian spaces, not felicitous spaces that may be grasped and defined with the nostalgic fixity of spaces we love,14 but spaces of love that cannot be enclosed because Atget made no image of them.

I believe Atget moved his photographs onto a different spatio-temporal plane by not being aware of making images, aware-less-ness, dropping away the appendages of image making (technique, reality, artifice, reportage) by instinctively placing the camera where he wanted it, thus creating a unique artistic language. His images become a blend of the space of intimacy and world-space as he strains toward, “communion with the universe, in a word, space, the invisible space that man can live in nevertheless, and which surrounds him with countless presences.”15 These are not just ‘localised poetics’16 nor a memento of the absent, but the pre-essence of an intimate world space re-inscribed through the vision (the transgressive glance not the steadfast gaze) of the photographer. Atget is not just absent or present, here or there,17 but neither here nor there. His images reverberate (retentir), in Minkowski’s sense of the word, with an essence of life that flows onward in terms of time and space independent of their causality.18”

.
Dr Marcus Bunyan

Excerpt from the paper Spaces That Matter: Awareness and Entropia in the Imaging of Place (2002). Read the full paper…

 

Endnotes

9. Barthes, Roland. Camera Lucida. (trans. Richard Howard). New York: Hill and Wang, 1981, p. 47, quoted in Zurbrugg, Nicholas. “‘Apocalyptic’? ‘Negative’? ‘Pessimistic’?: Baudrillard, Virilio, and techno-culture,” in Koop, Stuart (ed.,). Photography Post Photography. Melbourne: Centre for Contemporary Photography, 1995, p. 79.

10. See Endnote 2. I believe that this form of attentiveness to present experience is not the same as Featherstone’s fragmentation of time into affect-charged experiences of the presentness of the world in postmodern culture. “Postmodern everyday culture is … a culture of stylistic diversity and heterogeneity (comprising different parts or qualities), of an overload of imagery and simulations which lead to a loss of the referent or sense of reality. The subsequent fragmentation of time into a series of presents through a lack of capacity to chain signs and images into narrative sequences leads to a schizophrenic emphasis on vivid, immediate, isolated, affect-charged experiences of the presentness of the world – of intensities.”
Featherstone, Mike. Consumer Culture and Postmodernism. London: Sage Publications, 1991, p. 124.

11. Baudrillard, Jean. The Transparency of Evil. (trans. James Benedict). London: Verso, 1993, quoted in Zurbrugg, Nicholas. “‘Apocalyptic’? ‘Negative’? ‘Pessimistic’?: Baudrillard, Virilio, and techno-culture,” in Koop, Stuart (ed.,). Photography Post Photography. Melbourne: Centre for Contemporary Photography, 1995, p. 80.

12. Baudrillard, Jean. The Art of Disappearance. (trans. Nicholas Zurbrugg). Brisbane: Institute of Modern Art, 1994, p.9, quoted in Zurbrugg, Nicholas. “‘Apocalyptic’? ‘Negative’? ‘Pessimistic’?: Baudrillard, Virilio, and techno-culture,” in Koop, Stuart (ed.,). Photography Post Photography. Melbourne: Centre for Contemporary Photography, 1995, p. 83.

13. Krishnamurti. Beginnings of Learning. Harmondsworth: Penguin Books, 1978, pp. 130-131.

14. Bachelard, Gaston. The Poetics of Space. (trans Maria Jolas). Boston: Beacon Press, 1994, p. xxxv.

15. Ibid., p. 203.

16. Palmer, Daniel. “Between Place and Non-Place: The Poetics of Empty Space,” in Palmer, Daniel (ed.,). Photofile Issue 62 (‘Fresh’). Sydney: Australian Centre for Photography, April 2001, p. 47.

17. Bachelard, Gaston. The Poetics of Space. (trans Maria Jolas). Boston: Beacon Press, 1994, p. 212.

18. See the editor’s note by Gilson, Etienne (ed.,) in Bachelard, Gaston. The Poetics of Space. (trans Maria Jolas). Boston: Beacon Press, 1994, p. xvi.

.
Many thankx to the Art Gallery of New South Wales for allowing me to publish the photographs in this posting. Please click on the photographs for a larger version of the image.

 

 

Eugène Atget. 'Boulevard de Strasbourg' 1912

 

Eugène Atget (French, 1857-1927)
Boulevard de Strasbourg
1912
Albumen photograph
George Eastman House, International Museum of Photography and Film, Rochester

 

Eugène Atget. 'Cabaret au Tambour, 62 quai de la Tournelle, 5th arrodissement' 1908

 

Eugène Atget (French, 1857-1927)
Cabaret au Tambour, 62 quai de la Tournelle, 5th arrodissement
1908
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

Eugène Atget. 'Street vendor, place Saint-Médard, 5th arrondissement' September 1898

 

Eugène Atget (French, 1857-1927)
Street vendor, place Saint-Médard, 5th arrondissement
September 1898
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

Eugène Atget. "'Spring', by the sculptor François Barois, jardin des Tuileries, 1st arrondissement" 1907

 

Eugène Atget (French, 1857-1927)
‘Spring’, by the sculptor François Barois, jardin des Tuileries, 1st arrondissement
1907
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

 

The first comprehensive exhibition in Australia of Eugène Atget’s (1857-1927) work will showcase over 200 photographs primarily from the more than 4000 strong collection of Musée Carnavalet, Paris with the important inclusion of Atget’s work, as compiled by Man Ray, from the collection of George Eastman House, Rochester, USA.

Atget was considered a commercial photographer who sold what he called ‘documents for artists’, ie. photographs of landscapes, close-up shots, genre scenes and other details that painters could use as reference. As soon as Atget turned his attention to photographing the streets of Paris, his work attracted the attention of leading institutions such as Musée Carnavalet and the Bibliothèque Nationale which became his principal clients. It is in these photographs of Paris that we find the best of Atget, the artist who shows us a city remote from the clichés of the Belle Époque. Atget’s images of ‘old Paris’ depict areas that had not been touched by Baron Haussmann’s 19th century modernisation program of the city. We see empty streets and buildings, details that usually pass unnoticed, all presented as rigorous, original compositions that offer a mysterious group portrait of the city.

The exhibition is organised into 11 sections that correspond to the thematic groupings used by Atget himself. They are: small trades, Parisian types and shops 1898-1922; the streets of Paris 1898-1913; ornaments 1900-1921; interiors 1901-1910; vehicles 1903-1910; gardens 1898-1914; the Seine 1900-1923; the streets of Paris 1921-1924; and outside the city centre 1899-1913.

The equipment and techniques deployed by Atget link him to 19th-century photography. He had an 18 x 24 cm wooden, bellows camera which was heavy and had to be supported on a tripod. The use of glass plates allowed Atget to capture every tiny detail with great precision. Also traditional was his printing method, usually on albumen paper made light-sensitive with silver nitrate, exposed under natural light and subsequently gold-tinted. Atget’s vision of photography was, however, an astonishingly modern one. The photographs selected by Man Ray, who met Atget in the 1920s, indicate the immediate interest that the work aroused among the Surrealists because of the composition, ghosting, reflections, and its very mundanity. The first to appreciate his talents and importance as an artist were the photographer Berenice Abbott and Man Ray himself, both of whom lobbied to preserve Atget’s photographs.

As a result, he inspired artists and photographers such as Brassaï, the Surrealists, Walker Evans and Bernd & Hilla Becher amongst many others, and he can also be considered a starting-point for 20th-century documentary photography.

Press release from the AGNSW website

 

Eugène Atget. 'The former Collège de Chanac, 12 rue de Bièvre, 5th arrondissement' 1900

 

Eugène Atget (French, 1857-1927)
The former Collège de Chanac, 12 rue de Bièvre, 5th arrondissement
August 1900
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

Eugène Atget. 'Rue de l'Hôtel de Ville' 1921

 

Eugène Atget (French, 1857-1927)
Rue de l’Hôtel de Ville
1921
Gelatin silver photograph
22.8 x 17.7 cm
Collection Art Gallery of New South Wales

 

Eugène Atget. 'Rue de l'Hôtel de Ville' 1921 (detail)

 

Eugène Atget (French, 1857-1927)
Rue de l’Hôtel de Ville (detail)
1921
Gelatin silver photograph
22.8 x 17.7cm
Collection Art Gallery of New South Wales

 

Eugène Atget. 'Rue Hautefeuille, 6th arrondissement' 1898

 

Eugène Atget (French, 1857-1927)
Rue Hautefeuille, 6th arrondissement
1898
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

Eugène Atget. 'Shop sign, au Rémouleur' 1899

 

Eugène Atget (French, 1857-1927)
Shop sign, au Rémouleur on the corner of the rue des Nonnains-d’Hyères and rue de l’Hôtel-de-Ville, 4th arrondissement
July 1899
Albumen photograph
© Musée Carnavalet, Paris / Roger-Viollet / TopFoto

 

 

Art Gallery of New South Wales
Art Gallery Road, The Domain
Sydney NSW 2000, Australia

Opening hours:
Open every day 10am – 5pm
except Christmas Day and Good Friday

Art Gallery of New South Wales website

LIKE ART BLART ON FACEBOOK

Back to top

24
Mar
11

Exhibition: ‘ “Our Future Is In The Air”: Photographs from the 1910s’ at the Metropolitan Museum of Art, New York

Exhibition dates: 10th November 2010 – 10th April 2011

 

What an eclectic group of photographs in this posting as well as a great title for an exhibition!

Marcus

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

 

 

Anton Giulio Bragaglia (Italian, 1890–1960) 'Change of Position' 1911

 

Anton Giulio Bragaglia (Italian, 1890-1960)
Change of Position
1911
Gelatin silver print
12.8 x 17.9 cm (5 1/16 x 7 1/16 in.)
The Metropolitan Museum of Art, Gilman Collection
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005

 

Stanislaw Ignacy Witkiewicz (Polish, 1885-1939) 'Tadeus Langier, Zakopane' 1912-1913

 

Stanislaw Ignacy Witkiewicz (Polish, 1885-1939)
Tadeus Langier, Zakopane
1912-1913
Gelatin silver print
12.6 x 17.6 cm (4 15/16 x 6 15/16 in.)
The Metropolitan Museum of Art, Gilman Collection
Purchase, Denise and Andrew Saul Gift, 2005

 

Jacques Henri Lartigue (French, 1894-1986) 'Le Grand Prix A.C.F.' 1913

 

Jacques Henri Lartigue (French, 1894-1986)
Le Grand Prix A.C.F.
1913
Gelatin silver print
11.5 x 17.1 cm (4 1/2 x 6 3/4 in.)
The Metropolitan Museum of Art, Gilman Collection
Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005
© Ministère de la Culture-France/AAJHL

 

Unknown Artist, American School. '(Charlie Chaplin and Douglas Fairbanks Selling Liberty Loans during the Third Loan Campaign at the Sub Treasury Building on Wall Street, New York City)' 1918

 

Unknown artist (American School)
(Charlie Chaplin and Douglas Fairbanks Selling Liberty Loans during the Third Loan Campaign at the Sub Treasury Building on Wall Street, New York City)
1918
Gelatin silver print
19.4 x 24.1 cm. (7 5/8 x 9 1/2 in.)
The Metropolitan Museum of Art
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1996

 

 

The twentieth century was truly born during the 1910s. This exhibition, which accompanies Stieglitz, Steichen, Strand, surveys the range of uses to which photography was put as its most advanced practitioners and theorists were redefining the medium as an art. The title “Our Future Is in the Air is taken from a military aviation pamphlet that figures prominently (in French) in a 1912 Cubist tabletop still life by Picasso; it suggests the twinned senses of exhilarating optimism and lingering dread that accompanied the dissolution of the old order.

Photography was handmaiden and witness to the upheavals that revolutionised perception and consciousness during this tumultuous era. Space and time were overcome by motorcars and airplanes, radio and wireless, and man seemed liberated from the bounds of gravity and geography. This seemingly limitless expanse was mirrored by a new understanding of the unconscious as infinitely deep, complex, and varied – a continent ripe for discovery. The camera was seen as the conduit between these two states of self and world, and “straight photography” – stripped of the gauzy blur of Pictorialist reverie – was espoused by Alfred Stieglitz and Paul Strand among others.

This turn was not accidental: since handheld cameras became available in the late 1880s, anyone could be a photographer; similarly, photography had snaked its way into every corner of the culture. Elevated perception would distinguish the new artists from the amateur and the tradesman. The exhibition casts the widest possible net in order to show the foundations upon which the medium staked its claim as an independent art.

The 1910s – a period remembered for “The Great War,” Einstein’s theory of relativity, the Russian Revolution, and the birth of Hollywood – was a dynamic and tumultuous decade that ushered in the modern era. This new age – as it was captured by the quintessentially modern art of photography – will be the subject of the exhibition “Our Future Is In The Air”: Photographs from the 1910s, on view at The Metropolitan Museum of Art from November 10, 2010, through April 10, 2011.

An eclectic centennial exhibition devoted to photography of the 1910s, “Our Future Is In The Air” provides a fascinating look at the birth of modern life through 58 photographs by some 30 artists, including Eugène Atget, Alvin Langdon Coburn, Eugène Druet, Lewis Hine, Jacques-Henri Lartigue, Adolph de Meyer, Christian Schad, Morton Schamberg, Charles Sheeler, and Stanislaw Witkiewicz, among others. Drawn exclusively from the Museum’s collection, the exhibition also features anonymous snapshots, séance photographs, and a family album made by Russian nobility on the eve of revolution. “Our Future Is In The Air” complements the Museum’s concurrent presentation of groundbreaking photographs by Alfred Stieglitz, Edward Steichen, and Paul Strand in the exhibition Stieglitz, Steichen, Strand. The exhibition’s title is taken from a pamphlet for military aviation that figures prominently (in French) in a 1912 Cubist tabletop still-life by Picasso, but is used here because of its double meaning: the feelings of excitement and anxiety that accompanied such radical change.

“Our Future Is In The Air” opens in dramatic fashion with a series of photographs showing moments in the funeral procession and burial of Leo Tolstoy on November 9, 1910. The great Russian novelist passed away just after walking away from his great wealth and literary fame to lead a life of Christian charity. Certain details that can be seen in the photo-postcards – such as whether or not to kneel by the grave – represented a long simmering struggle between old and new, spiritual and secular, that would lead to revolution seven years later.

As cameras became smaller, faster, and easier to operate, amateur photographers such as the child prodigy Jacques-Henri Lartigue pushed the medium in directions that trained photographers shied away from. Since Lartigue was only recognised much later as a key figure in photography, prints such as the ones included here – showing speeding motorcars – are exceedingly rare. Lartigue made one of his most memorable photographs, Le Grand Prix A.C.F. (1913), by swinging his camera in the same direction as the car, as it sped by.

The camera also afforded access to the previously invisible, whether capturing a broken leg bone, revealed in an X-ray from 1916 or the trajectory created by a simple change in body position, in a 1911 motion study by the Futurist artist Anton Giulio Bragaglia.

At the same time, photography became an agent of democratic communication, and documentary photographers used its growing influence to expose degrading conditions of workers, the injustice of child labor, and the devastation of war. Beginning in 1908, Lewis Hine made 5,000 photographs of children working in mills, sweatshops, factories, and street trades; six of his photographs will be featured in this exhibition, including Newsboy asleep on stairs with papers, Jersey City, New Jersey, February 1912. Hine’s reports and slide lectures were meant to trigger a profound, empathetic response in the viewer.

During World War I, photography was utilised to document the mass casualties of mechanised warfare; in the exhibition, an affecting image from 1916, by an unknown artist, shows wounded French soldiers performing drills in the nave of the Grand Palais in Paris as part of their rehabilitation.

Also in the exhibition is an evocative 1918 photograph, again by an unknown artist, of Charlie Chaplin and Douglas Fairbanks entertaining a huge crowd at a war bonds rally on Wall Street.

“Our Future Is In The Air” accompanies the exhibition Stieglitz, Steichen, Strand, which focuses on contemporaneous works by three modernist masters of American photography: Alfred Stieglitz, Edward Steichen, and Paul Strand. It includes photographs by several friends and compatriots of Alfred Stieglitz, from Adolph de Meyer, Alvin Langdon Coburn, Paul Haviland, and Karl Struss to Morton Schamberg and Charles Sheeler, in whose works one can trace the transition from soft focus Pictorialism to a harder-edged, more detached “straight photography.”

Press release from the Metropolitan Museum of Art website

 

Charles Sheeler (American, 1883-1965) 'Doylestown House - Stairs from Below' 1917

 

Charles Sheeler (American, 1883-1965)
Doylestown House – Stairs from Below
1917
Gelatin silver print
21 x 15 cm (8 1/4 x 5 15/16 in.)
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933
© The Lane Collection

 

Lewis Hine (American, 1874-1940) 'Newsboy asleep on stairs with papers, Jersey City, New Jersey' February 1912

 

Lewis Hine (American, 1874-1940)
Newsboy asleep on stairs with papers, Jersey City, New Jersey
February 1912
Gelatin silver print
Image: 11.5 x 16.8 cm (4 1/2 x 6 5/8 in)
Metropolitan Museum of Art
Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005

 

Lewis Hine (American, 1874-1940) 'Addie Card, 12 years' 1910

 

Lewis Hine (American, 1874-1940)
Addie Card, 12 years. Spinner in North Pownal Cotton Mill. Girls in mill say she is ten years. She admitted to me she was twelve; that she started during school vacation and now would “stay”. Location: Vermont, August 1910
Gelatin silver print
24.4 x 19.3 cm (9 5/8 x 7 5/8 in.)
The Metropolitan Museum of Art, Gilman Collection
Purchase, Anonymous Gifts, by exchange, 2005

 

Eugène Atget (French, 1857-1927) 'Boulevard de Strasbourg' 1912

 

Eugène Atget (French, 1857-1927)
Boulevard de Strasbourg
1912
Albumen silver print from glass negative
22.4 x 17.5 cm (8 13/16 x 6 7/8 in.)
The Metropolitan Museum of Art, Gilman Collection
Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005

 

Unknown Artist, American School. '(Man Holding Baseball in Catcher’s Mitt)' 1910

 

Unknown artist (American School)
(Man Holding Baseball in Catcher’s Mitt)
1910
Gelatin silver print
13.8 x 8.7 cm (5 7/16 x 3 7/16 in.)
The Metropolitan Museum of Art
Funds from various donors, 1998

 

 

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Information: 212-535-7710

Opening hours:
Sunday – Thursday: 10.00 am – 5.30 pm
Friday and Saturday: 10.00 am – 9.00 pm
Open Seven Days a Week

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top




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: ‘Dogs, chickens, cattle’ 1994-95

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,688 other followers

If you would like to unsubscribe from the email list please email Marcus at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

October 2020
M T W T F S S
 1234
567891011
12131415161718
19202122232425
262728293031  

Archives

Categories