Posts Tagged ‘fashion

30
Dec
14

Exhibition: ‘Horst: Photographer of Style’ at the Victoria & Albert Museum, London

Exhibition dates: 6th September 2014 – 4th January 2015

Curator: Susanna Brown, Curator of Photographs at the V&A

 

 

Steichen, Penn, Avedon, Newman – and then there is Horst, master of them all. Style, elegance, lighting, framing, colour but above all panache – the guts and talent to push it just that little bit further.

Marcus

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

 

 

“Fashion is an expression of the times. Elegance is something else again.”

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Horst, 1984

 

 

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

 

Installation images of Horst – Photographer of Style at the V&A
© Victoria and Albert Museum, London

 

 

“This autumn, the V&A will present the definitive retrospective exhibition of the work of master photographer Horst P. Horst (1906-1999) – one of the leading photographers of the 20th century. In his illustrious 60-year career, German-born Horst worked predominantly in Paris and New York and creatively traversed the worlds of photography, art, fashion, design, theatre and high society.

Horst: Photographer of Style will display 250 photographs, alongside haute couture garments, magazines, film footage and ephemera. The exhibition explores Horst’s collaborations and friendships with leading couturiers such as Coco Chanel and Elsa Schiaparelli in Paris; stars including Marlene Dietrich and Noël Coward; and artists and designers such as Salvador Dalí and Jean-Michel Frank. Highlights of the exhibition include photographs recently donated to the V&A by Gert Elfering, art collector and owner of the Horst Estate, previously unpublished vintage prints, and more than 90 Vogue covers by Horst.

The exhibition will also reveal lesser-known aspects of Horst’s work: nude studies, travel photographs from the Middle East and patterns created from natural forms. The creative process behind some of his most famous photographs, such as the Mainbocher Corset, will be revealed through the inclusion of original contact sheets, sketches and cameras. The many sources that influenced Horst – from ancient Classical art to Bauhaus ideals of modern design and Surrealism in 1930s Paris – will be explored.

Martin Roth, Director of the V&A said: “Horst was one of the greatest photographers of fashion and society and produced some of the most famous and evocative images of the 20th century. This exhibition will shine a light on all aspects of his long and distinguished career. Horst’s legacy and influence, which has been seen in work by artists, designers and performers including Herb Ritts, Robert Mapplethorpe, Bruce Weber and Madonna, continues today.” 

Horst’s career straddled the opulence of pre-war Parisian haute couture and the rise of ready-to-wear in post-war New York and his style developed from lavish studio set-ups to a more austere approach in the latter half of the 20th century. The exhibition will begin in the 1930s with Horst’s move to Paris and his early experiments in the Vogue studio. Among his first models and muses were Lisa Fonssagrives, Helen Bennett and Lyla Zelensky. Vintage black and white photographs from the archive of Paris Vogue will be displayed alongside garments in shades of black, white, silver and gold by Parisian couturiers such as Chanel, Lanvin, Molyneux and Vionnet.

The exhibition will then focus on Horst’s Surreal-inspired studies and collaborations with Salvador Dalí and Elsa Schiaparelli. Fashion photographs will be shown with trompe l’oeil portraits and haunting still lifes. Horst excelled at portraiture and in the 1930s he captured some of Hollywood’s brightest stars: Rita Hayworth, Bette Davis, Vivien Leigh, Noël Coward, Ginger Rogers, Marlene Dietrich and Joan Crawford, to name a few.

Horst travelled widely throughout the 1940s and 1950s to Israel, Iran, Syria, Italy and Morocco. An escape from the world of fashion and city environs, his little-known travel photographs reveal a fascination for ancient cultures, landscapes and architecture. On display will be works taken in Iran such as the Persepolis Bull, Horst’s powerful image of a vast sculpture head amidst the ruins of a once magnificent palace, and images documenting the annual migration of the nomadic Qashqai clan.

Detailed studies of natural forms such as flowers, minerals, shells and butterfly wings from the project Patterns From Nature, will be shown alongside a series of kaleidoscopic collages made by arranging photographs in simple repeat; his intention was that these dynamic patterns could be used as designs for textiles, wallpaper, carpets, plastics and glass.

Horst was admired for his dramatic lighting and became one of the first photographers to perfect the new colour techniques of the 1930s. A short film of him at work in the Vogue studios during the 1940s will be shown with an introduction to his peers including Lee Miller, Cecil Beaton and Irving Penn. The advent of colour enabled a fresh approach and Horst went on to create more than 90 Vogue covers and countless pages in vivid colour. A selection of 25 large colour photographs, newly printed from the original transparencies from the Condé Nast Archive, will demonstrate Horst’s exceptional skill as a colourist. These prints feature Horst’s favourite models from the 1940s and 50s, such as Carmen Dell’Orefice, Muriel Maxwell and Dorian Leigh, and will be shown together with preparatory sketches, which have never previously been exhibited.

In the early 1950s, Horst created a series of male nudes for an exhibition in Paris for which the models were carefully posed and dramatically lit to accentuate their musculature. The series evokes the classical sculpture that Horst so admired throughout his career. During the 1960s and 1970s, Horst photographed some of the world’s most beautiful and luxurious homes for House and Garden and Vogue under the editorship of his friend Diana Vreeland. A three-sided projection and interactive screens will present these colourful studies. Among the most memorable are the Art Deco apartment of Karl Lagerfeld, the three lavish dwellings of Yves Saint Laurent and the Roman palazzo of artist Cy Twombly.

In the latter years of Horst’s life, his early aesthetic experienced a renaissance. The period also witnessed a flurry of new books, exhibitions, and television documentaries celebrating his work. Horst produced new, lavish prints in platinum-palladium for museums and the collector’s market, selecting emblematic works from every decade of his career, which will be showcased as the finale to the exhibition.”

Press release from the V&A

 

Behind the scenes at American Vogue, 1946 from Victoria and Albert Museum

 

Showing clips from the publication house’s cutting room floor, as well as editors at work, this never-before-seen footage shot from late 1946 to early 1947 gives a fascinating insight into the history of fashion publishing. This film is comprised of outtakes from the documentary Fashion Means Business. Dorian Leigh models the latest American designs in the Condé Nast studio for Horst and his assistant Vassilov, overseen by Vogue editors Muriel Maxwell and Priscilla Peck. The photographs are selected with editor Jessica Daves and art director Alexander Liberman, and the page layout finalised with Marcel Guillaume and Liberman.

With permission from HBO Archives/The March of Time. Provided by Condé Nast Archive

 

Horst P. Horst. 'Chanel, Vogue France' 1935

 

Horst P. Horst
Chanel, Vogue France
1935
© Condé Nast/Horst Estate

A fore-runner of the timeless look of Chanel, here in brown and white check rayon with collar, cuffs and lapels in white piquè that matches the buttoned top.

 

Horst P. Horst. 'Hat and coat-dress by Bergdorf Goodman, modelled by Estrella Boissevain' 1938

 

Horst P. Horst
Hat and coat-dress by Bergdorf Goodman, modelled by Estrella Boissevain
1938
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Corset by Detolle for Mainbocher' 1939

 

Horst P. Horst
Corset by Detolle for Mainbocher
1939
© Conde Nast / Horst Estate

 

Horst P.Horst. 'Lisa with Turban, New York' 1940

 

Horst P.Horst
Lisa with Turban, New York
1940
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Gertrude Stein at Balmain Fashion Show' 1946

 

Horst P. Horst
Gertrude Stein at Balmain Fashion Show
1946
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Birthday Gloves, New York' 1947

 

Horst P. Horst
Birthday Gloves, New York
1947
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Lillian Marcuson in Dior's belted two-piece suit in black rustic wool, called 'Milieu du Siècle'' 1949

 

Horst P. Horst
Lillian Marcuson in Dior’s belted two-piece suit in black rustic wool, called ‘Milieu du Siècle’
1949
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Nina de Voe' 1951

 

Horst P. Horst
Nina de Voe
1951
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Lillian Marcuson, New York' 1950

 

Horst P. Horst
Lillian Marcuson, New York
1950
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Outfit by Tina Leser' Vogue, April 1950

 

Horst P. Horst
Outfit by Tina Leser
Vogue, April 1950
© Condé Nast/Horst Estate

 

Horst P.Horst. 'Bombay Bathing Fashion' 1950

 

Horst P.Horst
Bombay Bathing Fashion
1950
© Condé Nast/Horst Estate

Model (unidentified) and Dorian Leigh (r) in bathing suit and sleeveless shirt cover-up by Carolyn Schnurer 1951 Vogue

 

Haute Couture

When Horst joined Vogue in 1931, Paris was still the world’s undisputed centre of high fashion. Photography had begun to eclipse graphic illustration in fashion magazines and the publisher Condé Montrose Nast devoted large sums to improving the quality of image reproduction. He insisted that Vogue photographers work with a large format camera, which produced richly detailed negatives measuring ten by eight inches.

The creation of a Horst photograph was a collaborative process, involving the talents of the photographer and model, the art director, fashion editor, studio assistants and set technicians. The modelling profession was still in its infancy in the 1930s and many of those who posed under the hot studio lights were stylish friends of the magazine’s staff, often actresses or aristocrats.

By the mid 1930s, Horst had superseded his mentor George Hoyningen-Huene as Paris Vogue‘s primary photographer. His images frequently appeared in the French, British and American editions of the magazine. Many of the photographs on display in the exhibition are vintage prints from the company’s archive.

 

Horst P. Horst. 'Dress by Hattie Carnegie' 1939

 

Horst P. Horst
Dress by Hattie Carnegie
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Dress by Hattie Carnegie' 1939

 

Horst P. Horst
Dress by Hattie Carnegie
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Muriel Maxwell, American Vogue' 1939

 

Horst P. Horst
Muriel Maxwell, American Vogue
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Summer Fashions, American Vogue cover' 1941

 

Horst P. Horst
Summer Fashions, American Vogue cover
1941
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Dinner suit and headdress by Schiaparelli' 1947

 

Horst P. Horst
Dinner suit and headdress by Schiaparelli
1947
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Millicent Rogers in a Charles James gown and a gold necklace of her own design' Vogue, February 1, 1949

 

Horst P. Horst
Millicent Rogers in a Charles James gown and a gold necklace of her own design
Vogue,
February 1, 1949
© Conde Nast / Horst Estate

 

Horst in Colour from Victoria and Albert Museum

 

This film reveals the process of creating new colour prints for the exhibition Horst: Photographer of Style. Horst was quick to master new colour processes, introduced in the late 1930s, and he created hundreds of vibrant fashion photographs for Vogue.

The V&A team worked closely with specialists at the Condé Nast Archive and expert printer Ken Allen to select and print from Horst’s early transparencies, which date from the 1930s to the 1950s. The film includes insights into Horst’s dynamic approach from model Carmen Dell’Orefice and Vogue’s International Editor at Large, Hamish Bowles.​

 

Fashion in Colour

The 1930s ushered in huge technical advancements in colour photography. Horst adapted quickly to a new visual vocabulary, creating some of Vogue’s most dazzling colour images. In 1935 he photographed the Russian Princess Nadejda Sherbatow in a red velveteen jacket for the first of his many Vogue cover pictures.

The occupation of Paris transformed the world of fashion. The majority of French ateliers closed and many couturiers and buyers left the country. Remaining businesses struggled with extreme shortages of cloth and other supplies. The scarcity of French fashions in America, however, enabled American designers to come into their own.

Horst’s colour photographs are rarely exhibited because few vintage prints exist. Colour capture took place on a transparency which could be reproduced on the magazine page without the need to create a photographic print. The size of the new prints displayed in this room of the exhibition echoes the large scale of a group of Horst images printed in 1938 at the Condé Nast press.

 

Horst P. Horst. 'Marlene Dietrich, New York' 1942

 

Horst P. Horst
Marlene Dietrich, New York
1942
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Gloria Vanderbilt age 17 wearing a dress by Howard Greer, New York' 1941

 

Horst P. Horst
Gloria Vanderbilt age 17 wearing a dress by Howard Greer, New York
1941
© Conde Nast / Horst Estate

At 17, in Beverly Hills wearing a tabletop dress by Howard Greer. Tabletop dresses looked good from the waist up when stars were photographed sitting in restaurants and nightclub

 

Stage and Screen

Horst’s portraits spanned a wide cross-section of subjects, from artists and writers to presidents and royalty. In the 1930s, he became aware of a new focus for his work. As he later noted in his book Salute to the Thirties (1971), glamorous Hollywood movie stars were imperceptibly assuming the place left vacant by Europe’s vanishing royal families. With the approach of the Second World War, the escapism offered by theatre and cinema gained in popularity. Horst began to photograph these new, classless celebrities, both in costume and as themselves.

The first well-known star Horst photographed was the English performer Gertrude Lawrence, then appearing in Ronald Jeans’ play Can the Leopard…? at the Theatre Royal, Haymarket. Horst’s first portrait of a Hollywood actress, Bette Davis, appeared in Vogue‘s sister magazine Vanity Fair in 1932.

 

Horst P. Horst. 'Round the Clock, New York' 1987

 

Horst P. Horst
Round the Clock, New York
1987
© Conde Nast / Horst Estate

 

Platinum

The 1980s witnessed a flurry of new books, exhibitions and television documentaries about Horst. He produced new prints for museums and the collector’s market, selecting emblematic works from every decade of his career to be reprinted in platinum-palladium, sometimes with new titles. This was a complex and expensive technique, employing metals more expensive than gold. Failing eyesight finally forced him to stop working in 1992.

Horst’s platinum-palladium prints are treasured for their nuanced tones, surface quality and permanence. His style had experienced a renaissance in 1978 when Francine Crescent, French Vogue‘s editor in chief, had invited him to photograph the Paris collections. Horst’s work for her echoed his atmospheric, spot-lit studies of the 1930s. His use of the platinum process for creating new and reproducing early works ensured his mastery of light, mood and composition would be enjoyed by a new audience.

 

Horst P. Horst. 'Male Nude #3' 1952, printed 1980s

 

 

Horst P. Horst
Male Nude #3
1952, printed 1980s
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Still Life' Nd

 

Horst P. Horst
Still Life
Nd
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Male Nude' 1952

 

Horst P. Horst
Male Nude
1952
© Conde Nast / Horst Estate

 

Male Nudes

In the early 1950s Horst produced a set of distinctive photographs unlike much of his previous output. These male figure studies were exhibited for the first time in Paris in 1953 and reprinted using the platinum-palladium process in the 1980s. The studies exemplify Horst’s sense of form. All emphasis is on the idealised human body, expressive light and shadow. Monumental and anonymous nudes resemble classical sculptures. As Mehemed Agha (1929-78), art director of American Vogue, commented:

“Horst takes the inert clay of human flesh and models it into the decorative shapes of his own devising. Every gesture of his models is planned, every line controlled and coordinated to the whole of the picture. Some gestures look natural and careless, because carefully rehearsed; the others, like Voltaire’s god, were invented by the artist because they did not exist.”

 

Horst P. Horst. 'Salvador Dali's costumes for Leonid Massine's ballet 'Bacchanale'' 1939

 

Horst P. Horst
Salvador Dali’s costumes for Leonid Massine’s ballet Bacchanale
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Lisa Fonssagrives hands, New York' 1941

 

Horst P. Horst
Lisa Fonssagrives hands, New York
1941
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Odalisque I' 1943

 

Horst P. Horst
Odalisque I
1943
© Conde Nast / Horst Estate

 

Horst P.Horst. 'Bunny Hartley' Vogue, 1938

 

Horst P.Horst
Bunny Hartley
Vogue,
1938
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Lisa Fonssagrives "I Love You"' 1937

 

Horst P. Horst
Lisa Fonssagrives “I Love You”
1937
© Conde Nast / Horst Estate

 

Surrealism

The Surrealist art movement explored unique ways of interpreting the world, turning to dreams and the unconscious for inspiration. During the 1930s Surrealism escaped its radical avant-garde roots and transformed design, fashion, advertising, theatre and film. Horst’s photographs of this period feature mysterious, whimsical and surreal elements combined with his classical aesthetic. He created trompe l’oeil still lifes, photographed the surreal-infused dress designs of his friend Elsa Schiaparelli and collaborated with the artist Salvador Dalí. He shared with the Surrealists a fascination with the representation of the female body, often fragmenting and eroticising the human form in his images.

His most celebrated photograph of the era is Mainbocher Corset (1939). Decades after the photograph was made, Main Bocher himself expressed his admiration for Horst’s virtuosity, writing,

“Your photographs are sheer genius and delight my soul … each one is perfect by itself.”

 

Horst P. Horst. 'Patterns from Nature Photographic Collage' 1945

 

Horst P. Horst
Patterns from Nature Photographic Collage
1945
© Conde Nast / Horst Estate

 

Patterns from Nature

Horst’s second book, Patterns from Nature (1946), and the photographs from which it originated, are a surprising diversion from the high glamour of his fashion and celebrity photographs. These close-up, black and white images of plants, shells and minerals were taken in New York’s Botanical Gardens, in the forests of New England, in Mexico, and along the Atlantic and Pacific coasts.

This personal project was partly inspired by photographs of plants by Karl Blossfeldt (1865-1932). Horst was struck by “their revelation of the similarity of vegetable forms to art forms like wrought iron and Gothic architecture.” Horst’s interest was also linked to the technical purity of ‘photographic seeing’, a philosophy associated with the New Objectivity movement of the 1920s and ’30s. Practitioners took natural forms out of their contexts and examined them with such close attention that they became unfamiliar and revelatory.

 

Horst P. Horst. 'View of ruins at the palace of Persepolis, Persia' 1949

 

Horst P. Horst
View of ruins at the palace of Persepolis, Persia
1949
© Conde Nast / Horst Estate

 

Travel

In the summer of 1949, Horst journeyed to the Middle East with his partner Valentine Lawford, then political counsellor at the British Embassy in Tehran. They travelled by road from Beirut to Persepolis, where Horst was able to photograph parts of the ancient Persian city that had only recently been uncovered. Afterwards, Horst visited the newly established State of Israel on a photographic assignment for Vogue.

The trip left a strong impression on Horst and he returned in the spring of 1950. He spent a week with Lawford at the relatively remote south-eastern shore of the Caspian Sea, before documenting the annual migration of the Qashqa’i clan. Horst and Lawford were invited by Malik Mansur Khan Qashqa’i to spend ten days with his tribe as they travelled by camel and horse, in search of vegetation for their flocks.

 

Horst P. Horst. 'Yves Saint Laurent poses in the apartment's grand salon for a November 1971 'Vogue' photo spread' 1971

 

Horst P. Horst
Yves Saint Laurent poses in the apartment’s grand salon for a November 1971 ‘Vogue’ photo spread
1971
© Conde Nast / Horst Estate

 

Living in Style

In 1947 Horst acquired five acres of land in Oyster Bay Cove, Long Island, part of the estate once owned by the designer Louis Comfort Tiffany. On the land he described as ‘everything I had ever dreamed of’, Horst built a unique house and landscaped garden. British diplomat Valentine Lawford visited for the first time in 1947, with Noël Coward, Christopher Isherwood, and Greta Garbo. It was the beginning of a relationship with Horst that would last until Lawford’s death in 1991.

They welcomed many friends and visitors to Long Island, including the dynamic editor Diana Vreeland. She left Harper’s Bazaar for Vogue in 1962 and soon put the couple to work on Vogue‘s ‘Fashions in Living’ pages. The homes and tastes of everyone from Jackie Onassis to the Duke and Duchess of Windsor, Andy Warhol and Karl Lagerfeld featured in their articles. Horst’s creative chemistry with Vreeland brought him a new lease of life.

 

Roy Stevens. 'Horst directing fashion shoot with Lisa Fonssagrives' 15 May 1941

 

Roy Stevens
Horst directing fashion shoot with Lisa Fonssagrives
15 May 1941
© Time & Life Pictures / Getty Images

 

In the Studio

During the 1940s Horst worked primarily in the Condé Nast studio on the 19th floor of the Graybar Building, an Art Deco skyscraper on Manhattan’s Lexington Avenue. The busy studio was well equipped with a variety of lights and props and Horst worked closely with talented art director Alexander Liberman. Like Horst, he had found refuge in the artistic circles of Paris and New York, and enjoyed a long career with Condé Nast.

By 1946 dressing the American woman had become one of the country’s largest industries, grossing over six billion dollars a year. The staff of Vogue expanded accordingly. In 1951 Horst found a studio of his own, the former penthouse apartment of artist Pavel Tchelitchew, with high ceilings and a spectacular view over the river. Horst developed a new approach to photography in response to the abundance of daylight and for a time his famous atmospheric shadows disappeared.

 

 

Victoria and Albert Museum
Cromwell Road, London SW7 2RL

Opening hours:
The V&A is open daily from 10.00 to 17.45 and until 22.00 on Fridays

Victoria and Albert Museum website, Horst web page

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19
Aug
14

Review / Interview: Simon Maidment, co-curator of the exhibition ‘David McDiarmid: When This You See Remember Me’ at NGV Australia, Melbourne

Exhibition dates: 9th May – 31st August 2014

 

Here’s winking at you, sweetie…

My apologies for the slightly out of focus nature of some of the installation photographs, but I had to take them quickly as I walked through the gallery with co-curator Simon Maidment. If you relied on the nine press images supplied by the NGV (bottom of the posting), you would have no idea of the complexity of this artists work nor would you possess an understanding of the scale, intimacy, brashness, beauty and confrontational visibility of the art. You would also have no idea what a stunning installation the NGV has produced to display the work.

Simply put, this is the best exhibition I have seen in Melbourne this year.

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David McDiarmid (1952-95) – activist (the first gay person ever to be arrested in Australia) and multi-dimensional artist – proves the personal IS political AND influential. His work moves from early personal narratives through decorative to visually commanding and confrontational art. As homosexual identity transits from camp to gay to queer, McDiarmid deconstructs and redefines this identity using context as a FOIL for his art making. As Robert Nelson in his excellent review of the exhibition in The Age newspaper observes, “McDiarmid’s expression of the erotic is an act of protest as well as festivity. When McDiarmid began in full fervour, gay sex was not only reviled but illegal; and as he ended his career, homosexuality seemed to pass from the police to the undertaker. He began his expose of gay eroticism in the spirit of a demonstration and ended it as an act of compassion.”1

Well said. Homosexuality was illegal were McDairmid started making art and was deathly when he himself succumbed to the Grim Reaper. But during the journey that he took the key thing to remember is that McDiarmid never “passed” as something he was not. He was always up front, out there, doing his thing since he was first arrested in 1971. He was always pushing the boundaries, offering a wider perspective on social histories and political contexts. He questioned the marginalization of minorities (Secret Love, 1976), the boundaries of self and society and examined taboo and transgression in a conservative society. He lived at the cutting edge of culture. Later, he waged a life and death struggle for HIV/AIDS funding, awareness and compassion with a fierce determination combined with sparkling wit, humour and sardonic aphorisms. Sexual politics and safe sex campaigns went hand in hand.

Of course, sexuality and sexual identity were at the core of his creativity. He explored the urban gay male world and the struggle for gay rights, sexual and emotional sensibilities and the cultural politics of HIV/AIDS. Early work was influenced by time spent in New York (where he knew Keith Haring) and San Francisco, where he experienced the development of the clone scene and the music of the clubs. His mode of construction has a lot in common with folk and women’s art (in particular patchwork and quilting) coupled with the use of contemporary materials (such as holographic foil).

McDiarmid’s later work becomes more symbolic and universal but still contains that cutting edge of the personal (DEMENTED QUEEN REMEMBERS HER NAME – forgets to die; POSITIVE QUEEN FEELS NEGATIVE – goes shopping). In the most amazing room of art I have seen this year, McDiarmid uses reflective cut and tiled holographic foils to create moving tribute and biting comment on the HIV/AIDS epidemic. In this darkened room the viewer is surrounded by tiles that “scintillate in spectral transience, changing their colours holographically according to your movement. The image is blunt and horny but also melancholy and scary; and similarly the medium impenetrable, deflecting the gaze and forcing you to change perspective.” (Robert Nelson)

But it’s more than that. You are surrounded by metallic flesh and embedded amongst the iridescence is both love and hate, life and death, winking eyes and holographic rainbow coloured skulls. Body language (1990, below) contains the names of McDairmid’s dead lovers woven into its fabric, a Swastika with the word AIDS for a head and the desire for the anus as a man pulls his arse cheeks apart. But here’s the rub – the tiny, puckered hole contains a holographic image of a winking eye, inviting you in, sharing the death/life joke with you. It’s a classic. In this room it feels as though you are surrounded by the fires of hell as the opalescence of the work changes from footstep to footstep, from positive to negative, from love to hate – and the pure beauty of the work is overwhelming. These are absolutely stunning works of art by any mark of the imagination, up there with the very best art ever made in Australia. His famous Rainbow Aphorisms series 1994 (below) are strong but they are are not a patch on the silver foil works. Less successful are the textile and costume designs, the weakest part of the exhibition.

One question springs to mind. Would his art have been as strong without the impetus of “death art” behind it? What would it have looked like?

I wonder which direction his art would have taken after his initial investigation of gay male identity had he not contracted HIV/AIDS and started making art about the disease. This strong focus gives the work the impetus and grunt it needed to move from the purely decorative and graphic, ney camp in some cases, to work with serious gravitas. In these later works McDiarmid lays it all on the line and just goes for it. I am so glad he did. They are powerful, concise, confrontational, beautiful, shimmering renditions of a soul living life to the full while he still had time.

It’s a pity the NGV has not advertised and promoted this exhibition more extensively. With a stunning catalogue, insightful research, amazing installation and world class art this is one exhibition you shouldn’t miss in Melbourne this winter.

Dr Marcus Bunyan for the Art Blart blog

ART BLART: THE ONLY PLACE TO SEE INSTALLATION PHOTOGRAPHS OF THIS EXHIBITION ON THE WEB.

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Many thankx to Simon for allowing me to take the installation photographs during our discussion and to the NGV for allowing me to publish them, along with the nine press images at the bottom of the posting. Please click on the photographs for a larger version of the image.

 

 

Unidentified photographer. 'David McDiarmid at his first one-man show 'Secret Love', Hogarth Gallery, Sydney, 1976' 1976

 

Unidentified photographer
David McDiarmid at his first one-man show ‘Secret Love’, Hogarth Gallery, Sydney, 1976
1976
Silver gelatin photograph
Dennis Altman Collection, Australian Lesbian and Gay Archives (ALGA)

 

David McDiarmid Installation photograph of early works

David McDiarmid Installation photograph of early works

 

David McDiarmid
Installation photograph of early works including, in the case, Vest (c. 1972), hand-embroidered by McDiarmid with the words ‘sydney gay liberation’ as a gift for John Lee with photographs of McDiarmid and artist Peter Tully used as a wallpaper on the wall behind at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid Installation photograph of early works including 'Secret Love art show, poster' (1976, far left), 'Secret Love' (1976, top centre left), 'Ken's Karate Klub' (1976, centre below left) and 'Tube of joy' (1976, above right) - all from the 'Secret Love' series, 1976 except KKK

 

David McDiarmid
Installation photograph of early works including Secret Love art show, poster (1976, far left), Secret Love (1976, top centre left), Ken’s Karate Klub (1976, centre below left) and Tube of joy (1976, above right) – all from the Secret Love series, 1976 except KKK – at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid. 'Secret Love' 1976

 

David McDiarmid
Secret Love
1976
From the Secret Love series, 1976
Metallic paint, red fibre-tipped pen, coloured pencil, collage of cut photo-offset lithograph and red and black ink on graph paper
78 x 66 cm
Collection of Paul Menotti and Bryce Kerr, Sydney

 

David McDiarmid. 'Secret Love' 1978

 

 

David McDiarmid
Secret Love
1978
Collage of cut colour photo-offset lithographs on plastic, metal and plastic
135 x 142.8 cm
Collection of Bernard Fitzgerald, Sydney

 

David McDiarmid. 'Secret Love' 1978 (detail)

 

David McDiarmid
Secret Love (detail)
1978
Collage of cut colour photo-offset lithographs on plastic, metal and plastic
135 x 142.8 cm
Collection of Bernard Fitzgerald, Sydney

 

David McDiarmid Various artworks from 1978

 

 

David McDiarmid
Various artworks from 1978 including Strangers in the night (top second left), Mardi Gras (top fourth left), Juicy fruit (top second right) and Real confessions (bottom second left)
All National Gallery of Victoria

 

Bush Couture, Sydney (fashion house) Linda Jackson (designer) David McDiarmid (painter) 'Paua kimono' 1984

 

Bush Couture, Sydney (fashion house) (front)
Linda Jackson (designer)
David McDiarmid (painter)
Paua kimono
1984
National Gallery of Victoria, Melbourne

 

 

Interview with co-curator Simon Maidment

MB: First of all Simon, can I ask how long have you been at the National Gallery of Victoria and what brought you to the institution?

SM: I’ve been at the NGV since June 2013 and I joined because of a new vision for the gallery which is making contemporary art a priority, both in collecting practices in the exhibitions that the NGV holds. Recently, there has been a real push for change, precipitated by the appointment of Max Delany who is a friend and colleague I respect a lot and who has been really supportive of my career.

MB: So what was your background in terms of training?

SM: I studied as an artist and immediately before coming to the NGV I was undertaking my PhD at The University of Melbourne’s Victorian College of the Arts Centre for Ideas with Elizabeth Presa as one of my supervisors.

MB: And what new knowledge was your PhD based around?

SM: It investigated curatorial practices that could be thought of as context responsive, looking at artists who seek to enact some sort of social and/or political change.

MB: So this exhibition would be perfect to fit into that…

SM: Yes, indeed… so largely my background has been working with living artists. I have done a few shows in which I have worked with existing bodies of work, but I have done a lot of shows where I have been facilitating artists works. I started as an artist working in media arts – sound, video, projection and digital technologies – and often worked as a studio assistant for more senior artists, people like Sue Ford, Susan Fereday, Ian de Gruchy and my role with them became more and more about facilitation. Then the directorship of Westspace came up and I got that, and my focus turned more from collaboration and working as a studio assistant to facilitation. I became a curator because basically that is what I was doing.

MB: So can you tell me Simon, what was the lead in time for this exhibition? I know it was postponed and delayed at various times, what were the reasons for that?

SM: It was kind of before my time so I am not really sure, but there have been different curators at different times from the NGV involved with the project. So Ted Gott was involved with the exhibition, even before he began work at the NGV. Ted was involved with David’s estate with Sally Gray, my co-curator, right from the start, so he’s been an advisor to Sally right from the start of this long journey. I think the initial discussion about the show was with Ted, and then when Jason Smith was in my position he was involved in this project. When I was talking with Sally the very first discussions about holding the exhibition at the NGV was maybe 15 years ago…

MB: So to finally get it here and up on the walls…

SM: So when I started 11 months ago there was really very little in place. So Max Delany and Sally started a conversation about working towards this show probably about 14 months ago. When Tony Ellwood started he was like, “We’re doing this show.” He’s a big fan of David McDiarmid. He was very familiar with his work so I think that helped speed things along and he really facilitated getting this exhibition done. It was scheduled for 2011.

MB: To get it together from start to finish in 14 months is pretty amazing really…

SM: It was a lot of work but bearing in mind how familiar Sally is with the material we kind of had a real head start.

MB: But then you have to pull it all together from lenders and institutions that hold works and that would have been very intensive. Then to design it all and to make it look like it does. It looks fantastic! Everyone at the opening was just smiling and having a good time, looking at the work, remembering.

SM: I knew the work en masse would blow people away.

MB: Reading the catalogue, you can see that David comes from a period where there was a ground swell of social movements, which was almost like one movement. Everybody went to everyone else’s rallies and they all protested together. David McDiarmid was the very first gay person to get arrested in Australia and at the moment I am digitally restoring the image of him being marched away by two policemen at the ABC protest in Sydney. It is so degraded it will take a long time to restore but it is a really important image. Out of that there comes a real social conscience, fighting for your rights and freedom. So leading on from that, when you think about having this exhibition here now (after Ted Gott’s seminal exhibition Don’t Leave Me This Way: Art in the Age of AIDS at the National Gallery of Australia in 1994), you observe that marginalised voices rarely enter institutional centres of art, rarely enter the mainstream art. It’s usually ARI’s or small public galleries. Not that the artist is gay (because they are just artists) but that the CONTENT addresses gay issues – which is why it’s so fantastic to see this exhibition here at the NGV.

So were there any barriers here to doing David’s show?

SM: No, not really. I think one of the really important things to note is that they show would not have really happened without the large gift from the estate. Becoming the key holder and custodian of David McDiarmid’s work added extra emphasis and responsibility about doing the right thing. At that point the organisation is implicated in that legacy and somehow we have to disseminate the work out into the community.

MB: It is quite a confronting show, how do you think the general public will respond to it?

SM: I have done a couple of tours of people through the exhibition, members and other, and one of the things that has been surprising to me, in a way, which has only become apparent when I have been describing the show in which David makes work in response to particular social and political conditions and contexts… is how different things are. AIDS is now not a terminal illness. To speak to a younger generation than even myself, they have no idea about dying from lack of a viable treatment, of AIDS being a death sentence.

MB: Last night I had a cry for all the people I had loved and lost. But it’s not just the public coming in to see this exhibition, it’s young gay men who don’t ever see anybody ill, don’t understand about the side effects of taking the medication, about what living with HIV is like. They don’t understand the struggle that went on for them to live as they do now. Do you think they will engage with that?

SM: We have structured the show in a way that teases those things out. One of the aspects of McDiarmid as a figure that I find very interesting is that, in 20 short years of practice, he spanned incredible key moments and periods of change in broader society and also within gay society. The legal, medical, institutional change… and really looking at that 20 years is looking at a period of immense social change. The narrative of the exhibition is then to reflect on that broader cultural shift through the biography of one person.

MB: It’s interesting when I looked at the show, when you start making work as an artist it’s always about personal narratives – lovers, friends, places – which then widens out into more universal concerns. You can see in David’s early work him scribbling, writing and really intimately notating his world, investigating his self and his relations to the world around him. And then to take that insight and then to mould it into these reflective images into the Rainbow Aphorisms at the end is an incredible journey. Stephen Alkins was saying to be last night that even the last works were still grounded in this humorous, ironic look at life. He as a really important multimedia artist when you actually study the work.

SM: Just to pick up on one aspect that you are mentioning, and going back into my own background, one of things that Max Delany and I have been talking about that has in some ways illuminated this project is that, in the 1970s and 80s that saying ‘The personal is political’, is very important. David’s work is talking very much about the political as his own biography. Perhaps there is a shift in his later work to a more symbolic realm, and I would argue that nowadays artists working in a political and social context and to affect social change is not so much now as a personal identity – a woman, a black man, a gay man – it’s not necessarily about individual identities anymore, in some ways those battles seem to have been won within Western society. Actually for artists now in this context it’s more about neo-liberalism or capitalism. So it tends to be more on an institutional level and people tackling that in a much more symbolic realm. For instance I am thinking of such people as Jeremy Deller, an English artist who engages with British history and in particular his Battle of Orgreave, a reenactment of the actual Battle of Orgreave which occurred during the UK miners’ strike in 1984.

MB: People like Tom Nicholson in Australia, then, who did the Monument for the flooding of Royal Park (2008-2010), a proposition for the scattering of nardoo sporocarp throughout Royal Park, a vast Park in Melbourne’s inner north which was Burke and Wills departure point, now commemorated by a small cairn.

SM: Exactly. Artists like Tom are working in very propositional ways about memory, social imagination, monuments and memorialisation. All those kind of things are very much within a symbolic realm now. McDiarmid’s work fills the personal and then moves into the symbolic.

MB: But then Stephen Alkins said it was always personal to David, still based in the personal. He was very loyal to his friends, he was a very quiet person, very loving person with great energy. But he didn’t suffer fools gladly, and I think that this comes out of that culture of standing up for yourself and being strong because of the stuff we had to go through to where we are today. Seeing this exhibition actually shows you that difference and what we had to fight for.

SM: There’s a real drive there in that last room. He made so much work, across so much media, at the end of his life – that impending death drive was the source of so much creativity.

MB: McDiarmid was heavily influenced by international artists such as Keith Haring but he never really showed overseas. What do you think about that diaspora, that going overseas and then returning home to then begin exhibiting?

SM: Well the earlier work is, as you say, heavily influenced by the New York scene, the clone scene that was prevalent in the 80s – San Francisco, New York – so he’s definitely channelling those places… Interestingly, unlike many other artists, his art practice is nearly all Australian.

MB: Finally, what do you think is is his legacy in terms of his standing as an artist?

SM: In the last ten years of his life he was heavily involved as a community artist. He was incredibly busy and incredibly involved with things like the organisation of the Sydney Gay Mardi Gras and the design of the posters and floats. He was director of Mardi Gras from 1988-90 and he worked up float designs for various groups. You really get a sense of, as you said, of the solitary work of an artist and a real commitment to that work. In terms of his legacy as an artist, I don’t think that we will know until the exhibition is over. His work, such as the Rainbow Aphorisms, has been distributed widely but not really in an art context, and certainly not in a museum show such as this. People have not had the opportunity to visualise his work as a whole body of work until now.

MB: That brings me to the international context. The Keith Haring Foundation relentlessly promotes his work through books, exhibitions and conferences throughout the world. Do you think that you will start promoting his work overseas to other galleries and getting it into international exhibitions?

SM: I think the book will open a lot of doors. Because his work reproduces so well, because his writing is so interesting there is a broad range of voices for the scholars to investigate. But I think because the work reproduces so beautifully that will be hugely important. One of the aspects that the book will hopefully communicate to a younger audience is that of an infected muscular, sexually active, virile man not an emaciated artist… but to understand that and where that came from, and how radical that was at the time. I think that is one of the legacies that people will take away from David’s work. He is one of the artists that has been really instrumental in redefining that imaginary representation of a dying gay man.

MB: I remember seeing those + and – posters in gay sex venues, and thinking to myself, wow those are so amazing, who did those!

SM: Yes, those posters are about not closing down, about always been open to possibilities.

MB: Thank you so much Simon for taking the time to talk to me, it’s been great.

SM: Always a pleasure.

 

Dr Marcus Bunyan with Simon Maidment for the Art Blart blog June 2014

Simon Maidment is Curator of Contemporary Art at the NGV.

 

David McDiarmid Installation views of various Sydney party posters with a black and white background wallpaper of David and the HIV Living group's 'Day of the dead skeleton for the Sydney Gay and Lesbian Mardi Gras, 1992'

David McDiarmid Installation views of various Sydney party posters with a black and white background wallpaper of David and the HIV Living group's 'Day of the dead skeleton for the Sydney Gay and Lesbian Mardi Gras, 1992'

 

David McDiarmid
Installation views of various Sydney party posters with a black and white background wallpaper of David and the HIV Living group’s Day of the dead skeleton for the Sydney Gay and Lesbian Mardi Gras, 1992 (commissioned by the AIDS Council of NSW) at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid. 'Sleaze Ball, Horden Pavilion, 12 October 1985' 1985

 

David McDiarmid
Sleaze Ball, Horden Pavilion, 12 October 1985
1985
Screenprint printed in black and gold ink
91.2 x 65 cm (sheet)
National Gallery of Australia, Canberra
Gift of the artist, 1991

 

dm-o-WEB

 

 

David McDiarmid
So I walked into the theatre
1984-85
Synthetic polymer paint, iron-on transfer, and cotton thread on cotton
Heide Museum of Modern Art, Melbourne
Gift of the Estate of David McDiarmid, 1998

 

dm-p-WEB

 

David McDiarmid
So I walked into the theatre (detail)
1984-85
Synthetic polymer paint, iron-on transfer, and cotton thread on cotton
Heide Museum of Modern Art, Melbourne
Gift of the Estate of David McDiarmid, 1998

 

So I walked into the

theatre and lit a cigarette

I looked around. Then I

saw Tony. He lives in

Brooklyn and has a nice

beard and greasy hair.

He didn’t acknowledge

me, but I expected that.

I’d already made it with

him several times before

and each time, he pretended

was the first. He had

even told me his name

once, and that he lived

with a lover. We always

have great sex, but he doesn’t

want me to do anything

but stand there. He has

an incredible mouth…

 

David McDiarmid. 'Disco kwilt' c. 1980

 

David McDiarmid
Disco kwilt
c. 1980
Artbank collection

 

David McDiarmid Installation view of works, mainly from the series 'Kiss of Light', 1990-92 including at left 'Mighty real' 1991

 

 

David McDiarmid
Installation view of works from the series Kiss of Light, 1990-92 including at left Mighty real 1991 with Kiss of Light 1990 right at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne
Collage of cut self-adhesive holographic film on enamel paint on plywood

 

David McDiarmid. 'Mighty real' (detail) 1991

 

 

David McDiarmid
Mighty real (detail)
1991
From the Kiss of light series 1990-92
Collage of cut self-adhesive holographic film on enamel paint on plywood
144.5 x 123.6 cm
Collection of Bernard Fitzgerald, Sydney

 

dm-r-WEB

 

Detail of one of David McDiarmid’s holographic film art works showing the winking eyes

 

David McDiarmid. 'Body language' 1990

 

David McDiarmid
Body language
1990
From the Kiss of light series 1990-92
Collage of cut self-adhesive holographic film on enamel paint on plywood
152.4 x 121.8 cm
National Gallery of Victoria, Melbourne

.
There is a holographic winking eye in the arsehole of this work

 

dm-v-WEB

 

 

David McDiarmid
Thinking of you (detail)
1990
Collage of cut self-adhesive holographic film on enamel paint on plywood
140 x 120 cm
Collection of Steven Alkins, Mullumbimby, New South Wales

 

Installation photograph of the last room showing, at left on the wall, work from the 'Rainbow Aphorisms' series 1994 with in front 'Totem works' 1992-95

 

 

Installation photograph of the last room showing, at left on the wall, work from the Rainbow Aphorisms series 1994 with in front Totem works 1992-95 at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid. 'Standard bold condensed' 1994

 

David McDiarmid
Standard bold condensed
1994
Screenprint on mylar on colour laser print
255.7 x 242.3 cm (overall)
National Gallery of Victoria, Melbourne
Gift of the Estate of David McDiarmid, 1998

 

Peter Tully (1947-1992) David McDiarmid Australia 1952-1995 Lived in United States 1979-1987 Ron Smith born Australia (1950s) 'Totem works' 1992-95

Peter Tully (1947-1992) David McDiarmid Australia 1952-1995 Lived in United States 1979-1987 Ron Smith born Australia (1950s) 'Totem works' 1992-95

 

David McDiarmid
Works from the Rainbow Aphorisms series
1994, printed 2014
Computer generated colour inkjet prints
149.1 x 110 cm (image and sheet each)
Collection of the McDiarmid Estate, Sydney

 

Peter Tully (1947-1992)

David McDiarmid
Australia 1952-1995
Lived in United States 1979-1987

Ron Smith
born Australia (1950s)
Totem works
1992-95
Anodised aluminium, found objects (installation)
Dimensions variable
Collection of Ron Smith, Woonona, New South Wales

 

Installation photograph of the last room showing, at right on the wall, work from the 'Rainbow Aphorisms' series 1994 with in front 'Totem works' 1992-95, then at left on the wall 'Pictograms' 1995

 

Installation photograph of the last room showing, at right on the wall, work from the Rainbow Aphorisms series 1994 with in front Totem works 1992-95, then at left on the wall Pictograms 1995 at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

 David McDiarmid. 'Pictograms' 1995

 

David McDiarmid
Pictograms
1995
Vinyl and reflective plastic on aluminium

 

 

“I never saw art as being a safe thing. I know that exists but that’s not something that involves me.”

David McDiarmid, 1993

 

The vibrant, provocative and pioneering work of leading Australian artist, designer and gay activist David McDiarmid will be presented in a retrospective exhibition at the National Gallery of Victoria. Defying classification, McDiarmid’s work encompasses the complex and interconnected histories of art, craft, fashion, music, sex, gay liberation and identity politics.

David McDiarmid: When This You See Remember Mewill bring together more than 200 works, including the artist’s early gay liberation work; New York graffiti and disco quilts; fashion collaborations with Linda Jackson; his pioneering Rainbow aphorisms andGothic aphorisms digital work; material he produced as Sydney Mardi Gras Artistic Director; posters created for the AIDS Council of NSW; and, his significant and highly influential international campaigns developed in the context of AIDS, sexual politics and safe sex in the 1990s.

Tony Ellwood, Director, NGV, said, “The NGV is pleased to be staging this retrospective of an artist whose work had enormous impact on both the gay liberation movement and the international dialogue around AIDS, and whose clear messages of liberation, equality and emancipation continue to resonate today. David McDiarmid: When This You See Remember Me explores the social history, as well as political and art historical context, that informed McDiarmid’s work, which inspires through its courage, poetry, exuberance and cultural impact.”

Defying classification, the work of David McDiarmid encompasses the complex and interconnected histories of art, craft, fashion, music, sex, gay liberation and identity politics; happily residing in the spaces between high and low art, popular culture and community engagement. At once kaleidoscopic, celebratory and darkly humorous in tone, the artist’s idiosyncratic, highly personal and at times, confessional work highlights the redefinition and deconstruction of identities – “from camp to gay to queer” – drawing on the experiences of a life intensely lived in Melbourne, Sydney and New York. Charting the shifts in politics and individual and community expression that unfold across the decades of the 1970s, 80s and 90s, this exhibition also reveals McDiarmid’s artistic and grassroots political response to the impact of HIV / AIDS during the 1980s and beyond, for which he is best known internationally.

Recognising the cultural climate in which the artist worked, including the burgeoning of the gay rights movement, and a decade later, the advent of the AIDS crisis, the playful and provocative nature of McDiarmid’s work was critically related to changes that were occurring throughout this time to sexual identity and politics in Australia.

Dr Sally Gray, Guest Curator, said, “McDiarmid’s work speaks so eloquently of its time yet its importance and relevance endures today. David McDiarmid: When This You See Remember Me is the first exhibition in which the full scope of McDiarmid’s creative oeuvre is on display and is the culmination of painstaking research, with the support of many of his collaborators, friends and fans.”

David McDiarmid: When This You See Remember Me will coincide with the 20th International AIDS Conference in Melbourne in July 2014.

This exhibition includes coarse language and sexual content. Press release from the NGV website

 

William Yang. 'Artist David McDiarmid' May 1995

 

William Yang
Artist David McDiarmid photographed at the Art Gallery of New South Wales adjacent to his giant artwork on the gallery’s facade for Perspecta May, 1995
1995
© Reproduced with permission of William Yang

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87) 'Judy' 1976

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Judy
1976
from the Secret love series 1976
Metallic paint, red fibre-tipped pen, cut photo-offset lithograph and red and black ink on graph paper
78.0 x 66.0 cm
Collection of Paul Menotti and Bryce Kerr, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87) 'Strangers in the night' 1978

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Strangers in the night
1978
Collage of cut coloured paper and photocopy on mulberry paper
62.6 x 50.7 cm
National Gallery of Victoria, Melbourne
Proposed acquisition
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87) 'Hand and heart' 1984

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Hand and heart
1984
Synthetic polymer paint on cotton
250.0 x 230.0 cm
Powerhouse Museum, Sydney
Gift of the Estate of the late David McDiarmid, 1998
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Sydney Gay and Lesbian Mardi Gras, poster' 1989-90

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Sydney Gay and Lesbian Mardi Gras, poster
1989-90
Colour photo-offset lithograph
69.0 x 49.0 cm
Powerhouse Museum, Sydney
Gift of Sydney Gay & Lesbian Mardi Gras Limited, 1995
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Untitled' 1990-95

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Untitled
1990-95
Self-adhesive holographic film and self-adhesive colour plastic on plastic
122.7 x 122.7 cm
Collection of Bernard Fitzgerald, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Discard after use' 1990

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Discard after use
1990
from the Kiss of light series 1990-92
Collage of self-adhesive holographic film on enamel paint on plywood
61.2 x 61.2 cm
National Gallery of Victoria, Melbourne
Gift from the Estate of David McDiarmid, 1998
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'I want a future that lives up to my past'  From the 'Rainbow aphorisms' series 1994, printed 2014

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
I want a future that lives up to my past
From the Rainbow aphorisms series 1994, printed 2014
computer generated colour inkjet prints
149.1 x 110.0 cm
Collection of the McDiarmid Estate, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Q' From the 'Rainbow aphorisms' series 1994, printed 2014

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Q
From the Rainbow aphorisms series 1994, printed 2014
Computer generated colour inkjet prints
149.1 x 110.0 cm
Collection of the McDiarmid Estate, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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12
May
14

Exhibitions: ‘New Women’ and ‘The Chanel Legend’ at Museum für Kunst und Gewerbe Hamburg

The Chanel Legend exhibition dates: 28th February – 18th May 2014
New Women exhibition dates: 28th February – 27th July 2014

 

Do you feel like a new woman?

Do you feel like a god?

You, in the oft mentioned (ten times in the accompanying texts) LBD (Little Black Dress) or Chanel Suit (ten times as well)

It’s like the ten commandments.

.
And ~ on we go… say after me,

“Sashay! Shantay!”

 

PS some of the photos ain’t half bad tho!

.
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.

 

 

Yva. 'Silk stockings' Nd

 

Yva
Silk stockings
Nd
Silver gelatin print
Museum für Kunst und Gewerbe Hamburg

 

Aenne Biermann. 'Self-Portrait with silver ball' 1931

 

Aenne Biermann
Self-Portrait with silver ball
1931
Silver gelatin print
Museum für Kunst und Gewerbe, Hamburg

 

Horst P. Horst. 'Coco Chanel' 1937

 

Horst P. Horst
Coco Chanel
1937
Silver gelatin print
Museum für Kunst und Gewerbe Hamburg

 

Boris Lipnitzki. 'Coco Chanel' 1937

 

Boris Lipnitzki
Coco Chanel
1937
© Getty Images

 

 

New Women

In the 1920s Coco Chanel chiefly influenced the type of the “new woman”. She established skirts that reached just below the knee, encouraged women to wear trousers and represents functional ladies wear. In the photographs by among others Yva, Franz Roth, Lotte Jacobi and Hein Gorny presented here, women show legs in silk stockings, wear cropped hair, drive motorbikes or automobiles and play tennis or go into baths. In this period women begin to take charge of their lives. Being a photographer offered the opportunity to express this new notion of the self in images and in life. The special display of the Photography Department coincides with the exhibition The Chanel Legend.

 

The Chanel Legend

Coco Chanel (1883-1971) is one of the most eminent couturières of the twentieth century. She already appears as an advocate of simple, comfortable clothes in the years just after 1910, thus helping to pave the way for a style which has retained its major importance in the fashion world till today. Such outstanding fashion classics as the “little black dress”, the Chanel Suit and the Chanel handbag are inseparably linked with her person. Since her start-up in 1913, Chanel has built up an international and, till the present day, astoundingly successful fashion empire. It is not until 1983, in the shape of Karl Lagerfeld, that a personality with anything like her charisma and influence becomes her successor. Coco – her real name was Gabrielle – Chanel launched her perfume Chanel N° 5, whose overwhelming commercial success guaranteed her a financial independence which was to last all her life, at the beginning of the 1920s. She combined fashion jewellery and genuine gemstones with surefooted confidence and had herself portraited by celebrity photographers such as Man Ray or Horst P. Horst.

The Chanel Legend investigates why it is that the person of Coco Chanel and the brand she established have attracted such huge attention up to and including the present. It will turn the spotlight both on the fashion designer’s biography and the image which she created for herself, as well as the brilliant achievement of Karl Lagerfeld (*1933) in combining this legacy with the fluctuating currents of contemporary taste since 1983. The exhibition shows a total of more than 200 objects from eminent collections, including women’s suits, accessoires, jewellery, advertising graphic, historical photographs and over 75 fashion magazines spanning a period from 1920 to1971. Besides more than 54 original garments, among them 38 created by Coco Chanel, and some 50 jewellery creations, over 35 adaptions of the Chanel classics can be seen for the first time, which in their own individual way give us a new appreciation of the “Chanel Legend”.

The exhibition approaches the “Chanel Legend” in three chapters. The first documents, with 38 original garments, accessoires and more than 50 items of fashion jewellery from the period between 1925 and 1971 the fashion designer’s oeuvre. Designs for evening and day wear and the perfume Chanel N° 5, of which an original flacon is on show, belong to Chanel’s pre-Second World War creative phase. After her return to Paris in 1954, Chanel continued to lead her firm up to her death in 1971. The exhibition shows, among other items from this period, some 10 garments which Chanel designed for the actress and singer Marlene Dietrich, including day wear and garments for representative occasions. On top of this, a large quantity of pieces of fashion jewellery can be seen, supplemented by original photographs.

The second chapter throws light on the Chanel classics, which have retained their fascination till today. Thus historical original examples of the Chanel Suit are juxtaposed with some 20 different adaptations of it, including models from other fashion houses, unknown ateliers and garment manufacturers. The procession of “lookalikes” and “distant cousins” by no means comes to an end with Chanel’s lifetime, but integrates aspects of contemporary fashion. A selection of the endless variations on the theme of the “little black dress” from the 1920s till the present will also be on show, some of them by designers such as Yves Saint Laurent, Max Heyman and Issey Miyake or Nina Ricci. They should by no means be seen as just copies of Chanel models. The short black dress was in keeping with the modern, dynamic lifestyle of the 1920s. Later the “little black dress” is an indispensable requisite in every woman’s wardrobe and, in the Fifties and Sixties, the epitome of Parisian chic.

In the third section, the focus is on Karl Lagerfeld’s creations for the House of Chanel. He succeeded in modernising the brand without sacrificing the features which were typical for it. The exhibition shows in particular items which quote the Chanel classics, or pay homage to his revered predecessor in some of their details. This selection, too, is complemented by fashion jewellery. The development comes full circle here, since Lagerfeld’s present winter collection for 2013/14 playfully quotes references to Coco Chanel’s legendary initial phase in the 1920s. More than 100 historical fashion magazines spanning a period from 1920 to 1971 can also be seen in the exhibition, including an issue of the American Vogue dated 1st October 1926 in which the “little black dress” is shown. Magazines were the most important medium for the propagation and reception of Chanel’s fashion. Visitors can leaf through them on the tablet computers provided.

Text from press release from the Museum für Kunst und Gewerbe Hamburg website

 

Aenne Biermann. 'Portrait of Anneliese Schiesser' 1929

 

Aenne Biermann
Portrait of Anneliese Schiesser
1929
Silver gelatin print
Museum für Kunst und Gewerbe, Hamburg

 

Hein Gorny. 'Portrait of a Woman' c. 1930/1972

 

Hein Gorny
Portrait of a Woman
c. 1930/1972
Silver gelatin print, Reprint ofHeinrich Riebesehl
Museum für Kunst und Gewerbe, Hamburg

 

Atelier Benda/d'Ora. 'The actress Marlene Dietrich with beret' 1927

 

Atelier Benda/d’Ora
The actress Marlene Dietrich with beret
1927
Silver gelatin print
Museum für Kunst und Gewerbe Hamburg

 

Madame D'Ora. 'The fashion designer Coco Chanel' about 1927

 

Madame D’Ora
The fashion designer Coco Chanel
about 1927
Silver gelatin print
Museum für Kunst und Gewerbe Hamburg

 

Unknown. 'Chanel' 1931

 

Unknown
Chanel
1931
© Corbis Images

 

Man Ray. 'Chanel with cigarette' 1935

 

Man Ray
Chanel with cigarette
1935
© VG Bildkunst Bonn, 2014, and Man Ray Trust

 

Roger Schall. 'Ritz Apartment' Nd

 

Roger Schall
Ritz Apartment
Nd
© Roger Schall-Collection Schall

 

Douglas Kirkland. 'Chanel im Atelier' (Chanel in the studio) 1962

 

Douglas Kirkland
Chanel im Atelier (Chanel in the studio)
1962
© Corbis Images

 


Coco Chanel

Gabrielle Chanel, who grew up in humble circumstances, opened her first Couture Salon in Paris in 1913, after she had already set up in business in 1908 as a modiste. In 1919 she moved to the Rue Cambon 31, which is still the address of the House of Chanel today. Coco Chanel’s first creative phase ended with the outbreak of war in 1939. Her fashion house stayed shut for 15 years before she dared a comeback in 1954, at the age of 70. The exhibition shows creations by Chanel from both periods. The “little black dress” becomes her trademark. Further models of day and evening wear show to what extent the fashion designer had her finger on the pulse of her time, and at the same time bear witness to the high quality of her models both in design and execution. In the 1950s and 1960s it is her women’s suits which cause a furore, first and foremost the “Chanel Suit”, which she first presented at a fashion show in 1957. Her celebrated quilted handbag, launched in February 1955 and called, simply, “2.55”, has long since attained the status of a classic and is a must in every collection of the luxury label. Her collections were always supplemented by matching fashion jewellery. Till today, Coco Chanel appears as an enigmatic and fascinating personality, and has been the theme of many films and books. Fierce controversy also surrounds her links to decision-makers of the Third Reich too, however, up to the present day.

 

The “little black dress” and suits by Chanel – their reception

he reception of Coco Chanel’s fashion and her style is already very widespread in her lifetime. A comparison with other contemporary couturiers reveals that Coco Chanel operated a very tolerant policy as regards the copyright for her models: The fashion designer allowed her models to be copied up to a certain point with her consent. For her, it was an acknowledgement of her eminence if women all over the world dressed in her style – an aspect whose influence on the “Chanel Legend” should not be underestimated, and which is investigated in this exhibition for the first time. In October 1926, the American Vogue magazine described a short black dress by Chanel as “The Chanel Ford – the frock that all the world will wear”. This drew a parallel between Chanel’s dress in its universality and modernity and one of the most important inventions of the time and prophesied a great future for it.

This is the birth of the “little black dress”. And although Chanel was not the first couturier to design simple black dresses for day wear it nevertheless remains inseparably linked with her name. Even the perhaps most celebrated “little black dress”, that worn by Audrey Hepburn in the film classic “Breakfast at Tiffany’s”, is often wrongly attributed to Chanel. The exhibition traces the development of the fashion classic from the 1920s till today. Another model which has gone down as an icon in fashion history is the “Chanel Suit” with its boxy, collarless jacket and often contrasting braided edgings. The term “Chanel Suit” is even quoted as a reference in the Duden. The exhibition shown here also document the fact that Coco Chanel produced a whole range of women’s suits which were adapted by other fashion houses or even home dressmakers. It is mostly no longer possible today to reconstruct whether individual models were made under licence or whether they were freely interpreted or simply copied. Irrespective of this, however, it is certain that all these models also made their contribution to the “Chanel Legend”.

Text from press release from the Museum für Kunst und Gewerbe Hamburg website

 

Gabrielle Chanel. 'Ensemble' 1960s

 

Gabrielle Chanel
Ensemble
1960s
Jahre Seidencloqué mit Lurex
Deutsche Kinemathek – Marlene Dietrich Collection, Berlin
© Draiflessen Collection, Mettingen, Fotografie von Christin Losta

 

Gabrielle Chanel. 'Tageskleid/Day Dress' 1960-62

 

Gabrielle Chanel
Tageskleid/Day Dress
1960-62
Seiden-Crêpe de Chine
Gemeentemuseum, Den Haag
© Draiflessen Collection, Mettingen, Fotografie von Christin Losta

 

Gabrielle Chanel. 'Costume, C. H. Kuehne & Zn' Autumn / Winter 1966/67, licensed by Chanel

 

Gabrielle Chanel
Costume, C. H. Kuehne & Zn
Autumn / Winter 1966/67, licensed by Chanel
Silk brocade
Gemeentemuseum, Den Haag © Draiflessen Collection, Mettingen, Fotografie von Christin Losta

 

Karl Lagerfeld. 'Costume, Chanel Boutique' Autumn/Winter 1989/90

 

Karl Lagerfeld
Costume, Chanel Boutique
Autumn/Winter 1989/90
Wool tweed, Wool georgette
Museum für Kunst und Gewerbe Hamburg
© Draiflessen Collection, Mettingen, Fotografie von Christin Losta

 

Karl Lagerfeld. 'Costume, Chanel Boutique' Spring/Summer 1986

 

Karl Lagerfeld
Costume, Chanel Boutique
Spring/Summer 1986
Cotton poplin, cotton pique
Museum für Kunst und Gewerbe Hamburg
© Draiflessen Collection, Mettingen, Fotografie von Christin Losta

 

 

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday to Sunday 11 am – 6 pm
Wednesday and Thursday 11 am – 9 pm

Museum fur Kunst und Gewerbe Hamburg website

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16
Apr
13

Exhibition: ‘Gordon Parks: Centennial’ at Jenkins Johnson Gallery, San Francisco

Exhibition dates: 21st February – 27th April 2013

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What an admirable photographer Gordon Parks was. It is a joy to see five of his colour photographs in this posting because I have never seen any before. They are glorious, complex compositions that ebb and flow like music whilst at the same time they are also damning indictments of the racially segregated society that was America in the 1950s. The little girl looks on in Ondria Tanner and Her Grandmother Window-shopping (1956, below), her left index finger bent upward on the pane of glass as the prettily dressed white, automaton mannequins march on, oblivious to her gaze; Mr. and Mrs. Albert Thornton, Mobile, Alabama  (1956, below) are surrounded by photographs, their pose mimicking that of their parents hanging behind them, while before them on the coffee table (under glass) are other, younger members of their extended family. Past, present and future coalesce in this one poignant image.

The sensibility of Parks photographs is a refined sensitivity based on experience. “Sensibility” is based on personal impressions of pleasure or pain. These are hard-wired responses that will vary from person to person. The discrimination of men towards each other mattered to Parks, this was his hard-wired response. This was his feeling towards subject matter and that is why these wonderful photographs still matter to us today.

Marcus

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Many thankx to the Jenkins Johnson Gallery 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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Gordon Parks is the most important black photographer in the history of photojournalism. Long after the events that he photographed have been forgotten, his images will remain with us, testaments to the genius of his art, transcending time, place and subject matter.

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Dr Henry Louis Gates

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Gordon Parks. 'Ondria Tanner and Her Grandmother Window-shopping, Mobile, Alabama' 1956

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Gordon Parks
Ondria Tanner and Her Grandmother Window-shopping, Mobile, Alabama
1956
Edition 19 of 25
Pigment print
14 x 14 inches
Modern print

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Gordon Parks. 'At Segregated Drinking Fountain, Mobile, Alabama' 1956

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Gordon Parks
At Segregated Drinking Fountain, Mobile, Alabama
1956
Edition 19 of 25
Pigment print
14 x 14 inches
Modern print

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Gordon Parks. 'Department Store, Mobile, Alabama' 1956

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Gordon Parks
Department Store, Mobile, Alabama
1956
Edition 20 of 25
Pigment print
14 x 14 inches
Modern print

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Gordon Parks. 'Mother and Children, Mobile, Alabama' 1956

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Gordon Parks
Mother and Children, Mobile, Alabama
1956
Edition 17 of 25
Pigment print
13 7/8 x 14 inches
Modern print

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Gordon Parks. 'Mr. and Mrs. Albert Thornton, Mobile, Alabama' 1956

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Gordon Parks
Mr. and Mrs. Albert Thornton, Mobile, Alabama
1956
Edition 17 of 25
Pigment print
14 1/8 x 14 inches
Modern print

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In celebration of the 100th birthday of Gordon Parks, one of the most influential African American photographers of the 20th century, Jenkins Johnson Gallery in collaboration with The Gordon Parks Foundation presents Gordon Parks: Centennial, on view from February 21 through April 27, 2013. Gordon Parks, an iconic photographer, writer, composer, and filmmaker, would have turned 100 on November 30, 2012. This will be the first solo exhibition for Parks on the West Coast in thirteen years. The exhibition will survey works spanning six decades of the artist’s career starting in 1940. The exhibition consists of more than seventy-five gelatin silver and pigment prints, including selections from Life magazine photo essays: Invisible Man, 1952; Segregation Story, 1956; The Black Panthers, 1970; and Flavio, 1960, about favelas in Brazil. Also included in the exhibition is his reinterpretation of American Gothic and his elegant depictions of artists like Alexander Calder, fashion models, and movie stars.

Noteworthy highlights include groundbreaking prints from the Invisible Man series which unfolds a visual narrative based on Ralph Ellison’s award winning novel. The images capture the essence of social isolation and the struggle of a black man who feels invisible to the outside world. Also on view will be a number of color prints from Segregation Story, 1956, which are a part of a limited edition portfolio of twelve color photographs with an essay by Maurice Berger. Newly released, these images were produced from transparencies found in early 2012, discovered in a storage box at The Gordon Parks Foundation. In the late 1960s Life magazine asked Gordon Parks to report on the Oakland, California-based Black Panther Party, including Eldridge Cleaver. Parks’ striking image of Eldridge Cleaver and His Wife, Kathleen, Algiers, Algeria, 1970 depicts Cleaver recovering from gun wounds after being ambushed by the Oakland police as well as an insert of Huey P. Newton, co-founder of the party along with Bobby Seale.

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About Gordon Parks

Parks was born into poverty in Fort Scott, Kansas in 1912, the youngest of fifteen children. He worked several odd jobs until he bought a camera at a Pawn Shop in 1937 in Seattle and was hired to photograph fashion at a department store in Minneapolis. In 1942 Parks received a photography fellowship from the Farm Security Administration, succeeding Dorothea Lange among others. While at the F.S.A., Parks created American Gothic, now known as one of his signature images, in which he shows Ella Watson, a cleaning women, holding a mop and broom, standing in front of an American flag. The image makes a poignant commentary on social injustice whilst referencing Grant Wood’s celebrated painting American Gothic which it is also named after. He became a freelance photographer working for Vogue as well as publishing two books, Flash Photography (1947) and Camera Portraits: Techniques and Principles of Documentary Portraiture (1948). In 1948 Parks was hired by Life magazine to do a photographic essay on Harlem gang leader, Red Jackson, which led to a permanent position at Life, where he worked for twenty years. Parks developed his skills as a composer and author and in 1969 he became the first African American to direct a major motion picture, The Learning Tree based on his best selling novel and in 1971 he directed Shaft. A true Renaissance man, Gordon Parks passed away in 2006.

As Philip Brookman, curator of photography and media arts at the Corcoran, states, “Gordon Parks’ art has now changed the way we perceive and remember chronic issues, such as race, poverty, and crime, just as it has influenced our understanding of beauty: of nature, landscape, childhood, fashion, and memory.”

Press release from the Jenkins Johnson Gallery website

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Gordon Parks. 'Norman Fontenelle, Sr., Harlem, New York' 1967

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Gordon Parks
Norman Fontenelle, Sr., Harlem, New York
1967
Gelatin silver print
13 x 9 1/8 inches
Modern print

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Gordon Parks. 'Ellen's Feet, Harlem, New York' 1967

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Gordon Parks
Ellen’s Feet, Harlem, New York
1967
Gelatin silver print
6 1/4 x 9 3/8 inches
Modern print

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Gordon Parks. 'Mysticism, Harlem, New York' 1952

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Gordon Parks
Mysticism, Harlem, New York
1952
Gelatin silver print
10 5/8 x 10 3/8 inches
Vintage print

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Gordon Parks. 'Tenement Dwellers, Fort Scott, Kansas' 1949

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Gordon Parks
Tenement Dwellers, Fort Scott, Kansas
1949
Gelatin silver print
7 x 9 inches
Modern print

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Gordon Parks. 'Harlem Neighborhood, Harlem, New York' 1952

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Gordon Parks
Harlem Neighborhood, Harlem, New York
1952
Gelatin silver print
10 3/8 x 13 1/2 inches
Vintage print

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Gordon Parks. 'Drugstore Cowboys, Turner Valley, Canada' 1945

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Gordon Parks
Drugstore Cowboys, Turner Valley, Canada
1945
Gelatin silver print
9 7/8 x 12 7/8 inches
Modern print

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Gordon Parks. 'The Invisible Man, Harlem, New York' 1952

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Gordon Parks
The Invisible Man, Harlem, New York
1952
Edition 1 of 10
Pigment print
14 1/8 x 14 inches
Modern print

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Jenkins Johnson Gallery
464 Sutter Street
San Francisco, CA 94108
T: 415.677.0770

Opening hours:
Tuesday – Friday 10am – 6pm
Saturday 10am – 5pm

Jenkins Johnson Gallery website

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20
Apr
12

Exhibition: ‘Unexpected Pleasures: The Art and Design of Contemporary Jewellery’ at the National Gallery of Victoria, Melbourne

Exhibition dates: 20th April – 26th August 2012

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An elegant, refined exhibition of contemporary jewellery at the National Gallery of Victoria’s newly redeveloped Contemporary Exhibitions space. The most striking and beautiful pieces are the neck ornaments, although I am a very much over some relatively unstructured jewellery made out of found objects. It really has been done to death. Trying to take photographs of jewellery in cases with reflections and extraneous light is very difficult but I hope my photographs below give you an idea of the design, installation and some specific pieces in the exhibition.

Many thankx to the NGV for inviting me to the media preview and for allowing me to take photographs of the exhibition. Please click on the photographs for a larger version of the image. All photographs not otherwise labelled © Marcus Bunyan and the National Gallery of Victoria.

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Installation photograph of the exhibition Unexpected Pleasures at the National Gallery of Victoria

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Caroline Broadhead
Necklace/Veil
1983
Nylon

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Caroline Broadhead
Veil, necklace
1983
Nylon
60.0 x 30.0 x 30.0 cm
Collection of the artist
© Caroline Broadhead
Photo: David Ward

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Susanne Klemm
Frozen
2007
Polyolefin
Courtesy of Anna Schwartz Gallery

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Lisa Walker
Necklace
2009
Plastic, thread

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Beverley Price
Nespresso Collier
2012
Anodised aluminium, plastic coated wire, fine gold

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Grjs Bakker
Shoulder piece
1967
Anodised aluminium

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Unexpected Pleasures: The Art and Design of Contemporary Jewellery displays over 200 works by important Australian and international contemporary jewellers who have pushed conceptual and material boundaries within their practices. This Design Museum, London exhibition is curated by Guest Curator and Melbourne jeweller Susan Cohn, and is complemented by a selection of NGV Collection works and private loans.

Unexpected Pleasures looks at what we mean by jewellery from a number of different perspectives. Taking as its starting point the radical experiments of the Contemporary Jewellery Movement that challenged a conventional understanding of the language of personal adornment, and looking instead at the essential meanings of jewellery, the exhibition brings together important work from around the world, and looks at it from the point of view of the wearer as well as the maker. Contemporary Jewellery in this sense is at the intersection of art and design.

Dr Gerard Vaughan, Director, NGV said: “This is a remarkable and exciting exhibition, brilliantly installed in the Gallery’s newly redeveloped Contemporary Exhibitions space at NGV International.”

The exhibition explores the essential meanings of jewellery, bypassing traditional perceptions and instead tracing the radical experiments of contemporary jewellers who have challenged the conventions of jewellery design. The exhibition is curated through a number of themes: Worn Out – celebrating the experience of wearing jewellery; Linking Links – looking at the ways in which ‘meaning’ and narratives are invested and expressed through sub-themes such as Social Expressions and Creative Systems, and; A Fine Line – offering insight into the origins of contemporary jewellery today, highlighting key instigators of the Contemporary Jewellery Movement that started in the late 1970s.

Each theme within the exhibition provides an outline of current thinking and offers a unique view on how people use and interact with objects, through which design and production processes come to light. Photography in this context becomes a vital instrument for expressing the ‘wearability’ and the performative aspects of jewellery, and a selection of photographic works are also included in the exhibition.

New techniques and experimentation continue to question the relevance of preciousness, highlighting the shifting values from material worth to the personal associations that jewellery holds. The exhibition celebrates jewellery from the point of view of both the maker and the wearer. It considers the pleasures of wearing jewellery and the many meanings associated with jewellery which are at times unpredictable and, in turn, unexpected.”

Press release from the NGV website

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Otto Künzli
Wallpaper brooches
1982
Wallpaper, synthetic polymer core, steel

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Kiko Gianocca
Who am I? rings
2008-11
gold, silver, polyurethane
various sizes
Collection of the artist
© Esther Knobel
Photo: Jeremy Dillon

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Paul Derrez
Pleated Collar
1982
Plastic, steel
Collection of Paul Derrez

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Doug Bucci
Trans-Hematopoietic neckpiece
2010
3-D printed acrylic resin as one interlinked piece
45.7 x 45.7 x 5.1 cm
Collection of the artist
© Doug Bucci
Photo: Rebecca Annand

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David Bielander
Scampi
2007
silver (copper anodised), elastic
10.0 cm (diam)
Collection of the artist
© David Bielander
Photo: Simon Bielander

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Blanche Tilden
Speed, neckpiece
2000
borosilicate glass, titanium, anodised aluminium
1.2 x 24.0 cm
Collection of the artist
© Blanche Tilden
Photo: Marcus Scholz

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Karl Fritsch
Screw ring
2010
silver, nails, screws
6.0 x 4.0 x 4.0 cm
Collection of the artist
© Karl Fritsch
Photo: Karl Fritsch

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Tota Recliclados
Theorie du champ mechanique
2010
Found objects, book cover, mixed media

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NGV International
180 St Kilda Road

Opening hours
10am – 5pm. Closed Tuesdays.

National Gallery of Victoria website

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08
Nov
11

Review: ‘ManStyle’ at the National Gallery of Victoria, Melbourne

Exhibition: 2 venues

NGV International (St Kilda Road) 11 March – 30 October 2011
NGV Australia (Federation Square) 11 March – 27 November 2011

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Dr Marcus Bunyan at the opening of Manstyle in front of a two-piece Simpsons of Picadilly, London blue pin-stripped suit c. 1949 and Van Heusen 1940’s tie loaned from his collection for the exhibition. Photograph courtesy of the National Gallery of Victoria.

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The joy of this exhibition, spread across two NGV locations, is the creativity of local contemporary designers such Gavin Brown, Leigh Bowery, Peter Tully, Michael Glover and Sarah Thorn – a match for anything the international contingent has to offer. Another positive is the wonderful catalogue with its luscious colour plates, insightful essays and interviews with people such as Benny Castles, Luke Sales, Rick Owens and Walter Van Beirendonck.

Less enamouring is the prosaic way that the male attire is displayed – either hermetically sealed behind glass (look, but don’t touch!) or assembled in serried ranks on mannequins that make the clothes look two-dimensional. The display of these historical objects takes all the fun out of their being visually alive garments; it takes all the fun out of men “dressing up.” While acknowledging the conservation issues inherent when displaying such costume the display, the performance, the spectacle of male attire could have been better conveyed to the viewing public. Moving images, placing the work in context both locally and internationally, would have helped.

Continuing with these thoughts, what we wear can be seen as a spectacular, hypertextual construction. This construction comprises the authorship/designer of individual pieces (such as jacket, trousers, shirt) which can be seen as lexias, or nodal points, complimented by the wearer (reader) as author. The wearer appropriates and recasts individual garments, partially constructing the outfit through active choice, through a dissolution of the author-reader binary, through a very public characterisation of form: look at me, look at my style! Fashion can be seen as a “set of interconnecting and competing discourses than can never result in a single articulation,”1 discourses that generate and dissolve meaning. Men now use these discourses to enact the ‘performing self’, as it is known, which places greater emphasis on appearance.

“Within consumer culture … the new conception of self which has emerged, which we shall refer to as the ‘performing self’, places greater emphasis upon appearance, display and the management of impressions.”2

Appearance is critical to an understanding of self-concept. This self-concept consists of:

a/ the actual self (how a person perceives him/herself),
b/ the ideal self (how a person would like to perceive him/herself), and
c/ the social self (how a person presents him/herself to others).3

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As Sproles and Burns observe, “Appearance is an extremely important part of the self-concept. Through personal appearance – dress, cosmetics, fashion expressions, body movements – an individual presents personal identity, attitudes, moods, and value or self-worth. In addition, individuals receive positive or negative evaluations from others with regard to appearance. Hence, appearance is one of the most prominent ways to display and reinforce a self-concept.”4

Appearance and the textuality of representation (stressing that representations are presentations entailing the use of codes and conventions of the available cultural forms of presentation),5 are continually being subverted throughout the history of fashion. In postmodernist fashion imitation and integration of an eclectic mixture of styles and periods into a new discourse (or montage, or collage, or bricolage)6 is critical to the constant regeneration of self using appearance as the embodiment of self-concept. Why this exhibition is so crucial is it shows that men are becoming more and more adept at manipulating their aesthetic style, not as something to be afraid of, not as something that they have to conform to, but as an expression of personal freedom. Which makes it all the more disappointing that the display of the male attire is so staid and reserved. The aesthetic display of these garments did not match up to the clothes exuberance.

Small things also irritated. At the opening a great deal was made of the multimedia element where local designers and celebrities talked about male style. In several of these videos, the men being interviewed mentioned how the shoe was always the basis for a good outfit. Fast forward to the exhibition and what do we find – photostated paper cut-outs of shoes on the mannequins instead of the real thing! Apparently the multimedia was shot after the design of the exhibition was finalised. Surely, if several people mention the basis of a good outfit is the shoe, and you promote the videos heavily, then you need to follow through on this concept. It is like putting the cart before the horse.

The fragmentary dis/locating mix and match eclecticism of contemporary male fashion needed more of a run in this exhibition, but as it stands it gives the viewer a solid overview of male attire throughout the centuries.

Marcus Bunyan for the Art Blart blog

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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.

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H. Lehmann, Aldershot (tailor)
active in England c.1900
Royal Gloucester Hussar’s uniform
c. 1900
wool, cotton, metal
(a) 51.0 cm (centre back), 64.0 cm (sleeve length) (jacket)
(b) 48.0 cm (centre back), 44.0 cm (width) (waistcoat)
National Gallery of Victoria, Melbourne
Gift of the Stone Family, 1963

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England
Coat
1740s
silk, wood, wool, linen
102.0 cm (centre back), 65.0 cm (sleeve length)
National Gallery of Victoria, Melbourne
Purchased, 1970

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England
Coat (detail)
1740s
silk, wood, wool, linen
102.0 cm (centre back), 65.0 cm (sleeve length)
National Gallery of Victoria, Melbourne
Purchased, 1970

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France
Coat
c. 1810
wool, silk, wood
105.8 cm (centre back), 70.5 cm (sleeve length)
National Gallery of Victoria, Melbourne
Purchased, 1975

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England
Waistcoat
c. 1850
silk, cotton, leather, metal
65.5 cm (centre back), 51.5 cm (waist, flat)
National Gallery of Victoria, Melbourne
Gift of Mrs A. Butler, 1954

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Nutters, London (tailor)
est. 1968
Tommy Nutter (designer)
born Wales 1943, lived in England c. 1952–
Suit and tie 1971 (detail)
wool, silk, cotton, acetate (lining), metal
(a) 77.0 cm (centre back), 58.0 cm (sleeve length) (jacket)
(b) 52.0 cm (centre back), 40.4 cm (waist, flat) (vest)
(c) 103.0 cm (outer leg), 37.0 cm (waist, flat) (trousers)
(d) 142.0 x 10.5 cm (tie)
National Gallery of Victoria, Melbourne
Gift of Roger Evans, 1998

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“This March, the National Gallery of Victoria will showcase the first exhibition in Australia to focus on men’s fashion from the 18th century to the present day. Drawn largely from the NGV Collection, ManStyle will feature over 80 works including outfits and a selection of paintings exploring influential ideas in menswear over the past three centuries.

Charting a course between flamboyant display and absolute restraint, the exhibition begins in the 18th century with the evolution of the modern suit and concludes with contemporary outfits from today’s menswear designers. ManStyle will explore the elegantly honed lines and details of the dandy in the 19th century, a period which heralded the rise of tailoring with its focus on perfect cut and fit.

This exhibition will include recent works by contemporary designers such as Hedi Slimane for Dior Homme who have drawn upon this legacy of exacting tailoring for a new generation of young men. Roger Leong, Curator, International Fashion and Textiles, NGV said: “Men’s fashion is often seen as bound by tradition when, in fact, it has undergone a number of profound changes that reflect the shifting attitudes to class, sexuality, work and leisure over the past three centuries.

From the beginnings of the modern suit in the 18th century to 20th century sportswear, sub-cultural attire and street wear, men’s fashion has continued to transform in style and function to the present day,” said Mr Leong.

The most dramatic changes to men’s fashion occurred during the 1960s when designers such as Pierre Cardin challenged convention by creating streamlined Space-Age style outfits. Likewise, the ‘peacock revolution’ of this era reintroduced the phenomenon of the decorated man, adorned with colour, pattern and texture. Katie Somerville, Curator, Australian Fashion and Textiles, NGV said the House of Merivale was Australia’s answer to this new, colourful trend.

“Embodying the Carnaby Street look and style of bands like The Beatles, design houses such as Biba and the House of Merivale dressed men in flamboyant, body-hugging suits with wide flared trousers and shirts of contrasting patterns.

During this period, men ‘dressed up’, preened and flaunted their bodies in a new display of ostentatious masculine style.”

By the late 1970s, men’s style had fractured into a heady mix of alternatives. ManStyle features works by Vivienne Westwood and Malcolm McLaren, who defined the punk era with their ripped and distressed clothes plastered with offensive and anarchic slogans and symbols. This exhibition also captures the intense mood of the 1980s; which witnessed an outpouring of creativity across the spectrum of art, music and fashion, unleashing ideas from underground club cultures that reconfigured ideas about men’s sexuality.

“Today, new and traditional modes of dressing are continually merging to challenge our view of masculinity and contemporary style. ‘ManStyle’, it seems, offers greater possibilities than ever before,” said Ms Somerville.

Gerard Vaughan, NGV Director said: “By defining these periods in men’s fashion, visitors will be able to discover the contrasting identities men have experimented with over the past three centuries.

Visitors will be mesmerised and surprised by the richness of works in this Australia-first exhibition, showcasing the NGV’s magnificent Collection of this otherwise under-documented genre.”

ManStyle will be on display at the National Gallery of Victoria’s two locations. NGV Australia will look at transformations in the history of tailoring beginning with the notion of the dandy – a gallant man who put a lot of effort into a flawless appearance. The most famous dandy was Beau Brummell (1778-1840) who was always immaculately dressed, seeking to reflect an aristocratic style of life. The display at NGV International will focus on the peacock male, tracing a history of sartorial decoration and display that has its roots in the Renaissance and Tudor eras, and which was spectacularly revived during the 1960s when plain dark suits were discarded in favour of colour, cravats and frilled collars. Ever since then, the peacock phenomenon continues to surface with vivid intensity.

This exhibition will feature works by Vivienne Westwood, Jean Paul Gaultier, Morrissey & Edmiston, Leigh Bowery, Walter Van Beirendonck, Romance Was Born, Bernhard Willhelm, Rick Owens, Pierre Cardin, Biba and many more.”

Press release from the National Gallery of Victoria website

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WORLD, Auckland (fashion house)
est. 1989
Born Hong Kong 1964, emigrated to New Zealand 1972
Denise L’Estrange-Corbet (designer)
born New Zealand 1964
Percy shops at WORLD
1999
wool, acetate, raffia, leather, velcro, brass
(a) 68.1 cm (centre back), 60.0 cm (sleeve length) (jumper)
(b) 90.0 x 40.0 cm (corset)
(c) 59.4 cm (outer leg), 35.5 cm (waist, flat) (knickerbockers)
(d) 120.0 x 4.0 cm
(e-f) 40.0 x 11.0 cm (each) (socks)
(g-h) 27.0 x 15.0 x 12.0 cm (each) (sandals)
(i) 85.0 cm (outer circumference), 22.0 cm (height), 25.9 cm (width) (hat)
National Gallery of Victoria, Melbourne
Purchased, 1999

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Plain Jane, Melbourne (fashion house)
Australia 1984–87
Gavin Brown (designer)
born Australia 1964
Indian snakes and ladders outfit
1985
screenprinted cotton, metal, plastic, wood
(a) 109.0 cm (centre back), 61.0 cm (sleeve length) (frock shirt)
(b) 114.0 cm (outer leg), 41.0 cm (waist, flat) (pants)
(c) 52.0 x 20.5 x 4.5 cm (necklace)
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2009

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Leigh Bowery
Australia 1961–94, worked in England 1981–94
Pregnant tutu head
1992
cotton, rayon, polyester, nylon, foam, leather
(a) 87.0 cm (centre back), 25.0 cm (sleeve length) (top)
(b) 130.0 cm (length), 92.0 cm (inner leg) (tights)
(c) 45.0 cm (height), 130.0 cm (outer circumference) (headpiece)
(d-e) 54.0 x 14.0 cm irreg. (each) (gloves)
(f-g) 35.0 x 29.5 x 50.0 cm (each) (shoes)
National Gallery of Victoria, Melbourne
Gift of Nicola Bateman Bowery, 1999

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Sara Thorn, Melbourne (fashion house)
1983–85
Sara Thorn (designer)
born Australia 1961
Bruce Slorach (designer)
born Australia 1961
Jacket and kilt
1985
screenprinted cotton
(a) 57.0 cm (centre back), 59.0 cm (sleeve length) (jacket)
(b) 73.0 cm (centre back), 43.0 cm (waist, flat) (kilt)
National Gallery of Victoria, Melbourne
Presented by the National Gallery Women’s Association, 1995
© Courtesy of the artists

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Vivienne Westwood, London (fashion house)
est. 1985
Vivienne Westwood (designer)
born England 1941
Outfit (detail)
1991
spring-summer 1991 Cut and Slash collection
cotton, polyester, metal buttons
(a) 62.5 cm (centre back), 55.0 cm (sleeve length) (jacket)
(b) 93.4 cm (outer leg), 41.2 cm (waist, flat) (jeans)
(c) 27.0 x 17.0 cm (codpiece)
National Gallery of Victoria, Melbourne
Purchased, 1995

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Peter Tully
Australia 1947–92
Early flight attendant’s vest
1990
retrospectra graphic plastic, lamé, metallic thread, cotton
48.5 cm (centre back), 48.0 cm (width)
National Gallery of Victoria, Melbourne
Purchased from Admission Funds, 1991
© Courtesy of the artist’s Estate

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1.  Johnson-Eilola cited in Mason, J.S. From Text To Hypertext [Online] Cited 28th May, 2003.
http://www.masondissertation.elephanthost.com/comptohyper.htm (no longer available).

2.  Lasch, C. The Culture of Narcissism. New York: Norton, 1979, quoted in Featherstone, Mike. “The Body in Consumer Culture,” in Featherstone, Mike and Hepworth, Mike and Turner, Bryan (eds.). The Body. London: Sage Publications, 1991, p.187.

3. Sproles, George and Burns, Leslie Davis. Changing Appearances: Understanding Dress in Contemporary Society. New York: Fairchild Publications, 1994, pp.208-209.

4. Ibid.,

5. Dyer, Richard. The Matter of Images: Essays on Representations. London: Routledge, 1993, pp.2-3.

6. Tseëlon, E. The Masque of Femininity: The Representation of Women in Everyday Life. London: Sage, 1995, pp.132-133.

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NGV International
180 St Kilda Road

Opening hours:
10am – 5pm
Closed Tuesdays.

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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11
Jun
09

Exhibition photographs: ‘Salvador Dali: Liquid Desire’ Melbourne Winter Masterpieces at the National Gallery of Victoria, Melbourne

Exhibition dates: 13th June – 4th October 2009

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You saw it first on Art Blart!

Installation photographs from the latest Winter Masterpieces blockbuster from the media preview on the day the exhibition opened at NGV International, Melbourne. Thank you to Jemma Altmeier, Media and Public Affairs Administrator at the NGV for the invitation. Photographs were taken using a digital camera, tripod and available light. There is a posting on the Melbourne Jeweller blog about this exhibition, complete with interesting drawings of the jewellery – well worth a look.

Fantastic to see my friend and curator of the exhibition, Dr Ted Gott, at the opening. Congratulations on a wonderful show!

Marcus Bunyan for Art Blart

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© All photographs copyright Marcus Bunyan 2009 and the National Gallery of Victoria. All rights reserved. Photographs may not be reproduced without permission.

Do you need a photographer for your exhibition, opening or installation in Melbourne?
Please contact
Marcus Bunyan for more information.

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Photographs proceed from the beginning to the end of the exhibition in chronological order.

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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Entrance to the 'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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Entrance to the ‘Salvador Dali: Liquid Desire’ Winter Masterpieces exhibition

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3 panel video installation of the Catalan countryside around where Salvador Dali lived

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3 panel video installation of the Catalan countryside where Salvador Dali lived. 13 minutes duration.

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Early work from the 'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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Early work from the ‘Salvador Dali: Liquid Desire’ Winter Masterpieces exhibition

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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Early work from the 'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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To the left ‘View of the Cadaques from the Creus Tower’ 1923; to the right ‘Table in front of the Sea. Homage to Eric Satie’ 1926

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Early work from the 'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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In the centre ‘The First Days of Spring’ 1929; to the right ‘Surrealist composition’ 1928

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dali-installation-j

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Installation view with The Age art critic Associate Professor Robert Nelson at centre right

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dali-installation-l

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Installation view with ‘Memory of the child-woman’ 1932 at right

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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‘Lobster Telephone’ 1936

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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Jewellery Gallery at the ‘Salvador Dali: Liquid Desire’ Winter Masterpieces exhibition

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Television with film installation at 'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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Televisions with film installation at ‘Salvador Dali: Liquid Desire’ Winter Masterpieces exhibition

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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Installation of black and white photography with Dr Ted Gott, curator of the exhibition, with back to camera at centre

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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Reproduction of ‘Gala foot. Stereoscopic paintings’ 1975 – 76 in an installation using mirrors that would have been originally used to obtain the stereoscopic effect

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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Final exhibition space at ‘Salvador Dali: Liquid Desire’ Winter Masterpieces exhibition

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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'Salvador Dali: Liquid Desire' Winter Masterpieces exhibition at NGV International, Melbourne

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Final gallery space at the ‘Salvador Dali: Liquid Desire’ Winter Masterpieces exhibition featuring ‘The Ecumenical Council’ 1960

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National Gallery of Victoria (International)
180 St Kilda Road, Melbourne

Opening hours: ‘Salvador Dalí: Liquid Desire’ is open 7 days a week and until 9pm every Wednesday from 17 June

Tickets
Adult: $23
Concession: $18
Child: $11 (ages 5-15)
Family (2 adults + 3 children): $60
NGV Member Adult: $16
NGV Member Family: $40

Unlimited entry tickets
Adult: $55
Concession: $45
NGV Member Adult: $40

National Gallery of Victoria Dali website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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