Posts Tagged ‘found images

16
Jan
12

Exhibition: ‘The Three Graces’ at The Art Institute of Chicago

Exhibition dates: 29th October 2011 – 22nd January 2012

 

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

 

 

Artist unknown c. 1930s

 

Artist unknown
c. 1930s
Gelatin silver print
8.9 x 14.7 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

Artist unknown. 'Look Pleasant' c. 1910s

 

Artist unknown
Look Pleasant
c. 1910s
Gelatin silver print
8.9 x 8.6 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

Artist unknown c. 1910s

 

Artist unknown
c. 1910s
Gelatin silver print
11.6 x 6.8 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

 

This exhibition explores the early years of vernacular photography through graceful snapshots of female trios. Displaying more than 500 “found” images the exhibition features photographs of celebrations, vacations, and gatherings of family and friends are taken and kept with the aim of preserving moments in life for future generations. What happens, however, when a snapshot becomes an image “type” – transferred into the hands of a collector and folded into a broader cultural history?

This subject is explored in the Art Institute of Chicago’s The Three Graces – on view October 29, 2011, through January 22, 2012, in the museum’s Photography Galleries 3 and 4. The exhibition, featuring a private collection of more than 500 anonymous images depicting female trios, spans nearly a century of female role-playing for the camera. These mostly American “found” photographs, spanning from the 1890s to the 1970s, collectively reveal a great deal about the evolving ritual of women’s self-presentation, a theme already idealised in Classical culture with depictions of “The Three Graces.”

New York collector Peter J. Cohen, who has spent decades scouring flea markets, shops, and galleries in search of rare amateur photographs, amassed this image collection and gave it its title. Cohen was struck by the frequency of images featuring female trios, and had the wit to identify in them a playful echo of the Greek muses Aglaia, Euphrosyne, and Thalia, who are said to personify beauty, charm, and grace in both nature and humanity. Cohen owns some 20,000 anonymous snapshots spanning from the late 19th century until the 1970s. He has organised his mountainous holdings according to many classifications, among them “Double Exposures,” “Up on The Roof,” and “Dangerous Women.”

For Art Institute exhibition coordinator Michal Raz-Russo, who also authored the accompanying book, the “three graces” theme serves as a frame through which to chart shifts and continuities in women’s self-understanding across nearly a century. The 1888 introduction of the Kodak #1 camera and the 1900 debut of the Kodak Brownie made photography immensely popular, with much of the marketing was directed at women. Modern life and leisure in the 1920s coincided with the arrival of smaller cameras, faster film speeds, and automatic exposures; women of the expanding middle class became practiced at self-portraiture while vacationing or camping on their own. Later, in the mid-20th century, a clear convergence can be seen between women’s self-portraits and ideals of womanhood promulgated in films and glossy magazines. Throughout this history, men are clearly at work too, convincing women to participate in erotic poses according to another set of visual models. While the varieties of picturing and self-picturing are complex, The Three Graces demonstrates that women worked to define themselves as social beings through photography.

Visitors to the exhibition can find information on individual snapshots – gleaned from inscriptions and the clues provided by clothing and setting – at a special computer kiosk located in the gallery.

Press release from The Art Institute of Chicago website

 

Artist unknown c. 1920s

 

Artist unknown
c. 1920s
Gelatin silver print
13.5 x 8.3 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

Artist unknown c. 1930s

 

Artist unknown
c. 1930s
Gelatin silver print
14.5 x 8.7 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

Artist unknown c. 1940s

 

Artist unknown
c. 1940s
Gelatin silver print
11.7 x 7 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

Artist unknown c. 1940s

 

Artist unknown
c. 1940s
Gelatin silver print
12.2 x 7.6 cm
The Art Institute of Chicago, Gift of Peter J. Cohen

 

 

The Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
Phone: (312) 443-3600

Opening hours:
Monday – Wednesday 10.30am – 5.00pm
Thursday 10.30am – 8.00pm (Free Admission 5.00 – 8.00, member-only access to Matisse)
Friday 10.30am – 8.00pm
Saturday – Sunday 10.00am – 5.00pm
The museum is closed Thanksgiving, Christmas, and New Year’s days.

The Art Institute of Chicago website

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03
May
10

Review: ‘To hold and be held’ by Kiko Gianocca at Gallery Funaki, Melbourne

Exhibition dates: 20th April – 15th May 2010

 

Kiko Gianocca. 'Untitled (touch wood)' multiples 2009

 

Kiko Gianocca (Swiss, b. 1974)
Untitled (touch wood) multiples
2009
Burnt wood, resin

 

 

A beautiful exhibition of objects by Swiss/Italian artist Kiko Gianocca at Gallery Funaki, Melbourne, one full of delicate resonances and remembrances.

Obelisk pendants in blackened and silvered wood, Neolithic standing stones, totemic, silent;
The hole through the object akin to ‘seeing’ through time.
Exposed wood on base (touch wood) as grounding.

The standing stone installation an altar piece, a dark reliquary (see image above)

 

Glass vessels with internal funnels filled with the gold detritus of disassembled objects, found pendants:
Horse, Anchor, Four leaf clover, Swan, Hammer & sickle (see images below)

The distance between the bail – the finding that attaches the pendant to the necklace – and the remainder/reminder of the vessel itself. What a distance!

As Sally Mann would articulate, ‘What remains’1 …

Lives previous to this incarnation; jewels embedded in dust.
The captured potency of displaced objects.
Personal and yet anonymous at one and the same time.

 

Brooches of gloss and matt black resin plates. A plastic black, almost Rembrandt-esque.

On the reverse images exposed like a photographic plate, found images solidified in resin.

The front: the depths of the universe, navigating the dazzling darkness
The back: memories, forgotten, then remade, worn like a secret against the beating chest. Only the wearer knows!

Here is a territorialization, “a double movement, where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings.”2

As Kiki Gianocca asks, “I am not sure if I grasp the memories that sometimes come to mind.
I start to think they hold me instead of me holding them.”

 

Time is the distance between objects. No objects.
Space is the distance between events. No events.

Dr Marcus Bunyan

 

  1. “Mann’s fifth book, What Remains, published in 2003, is based on the show of the same name at the Corcoran Museum in Washington, DC and is in five parts. The first section contains photographs of the remains of Eva, her greyhound, after decomposition. The second part has the photographs of dead and decomposing bodies at a federal Forensic Anthropology Facility (known as the ‘body farm’). The third part details the site on her property where an armed escaped convict was killed. The fourth part is a study of the grounds of Antietam (the site of the bloodiest single day battle in American history during the Civil War. The last part is a study of close-ups of the faces of her children. Thus, this study of mortality, decay and death ends with hope and love.”
    Sally Mann. Wikipedia [Online] Cited 02/05/2010
  2. “For them (Deleuze and Guattari), assemblages are the processes by which various configurations of linked components function in an intersection with each other, a process that can be both productive and disruptive. Any such process involves a territorialization; there is a double movement where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings. The organization of a territory is characterized by such a double movement … An assemblage is an extension of this process, and can be thought of as constituted by an intensification of these processes around a particular site through a multiplicity of intersections of such territorializations.”
    Wood, Aylish. “Fresh Kill: Information technologies as sites of resistance ” in Munt, Sally (ed.,). Technospaces: Inside the New Media. London: Continuum, 2001, p. 166.

.
Many thankx to Katie and Gallery Funaki for allowing me to take the photographs in the gallery and post them online. Please click on the photographs for a larger version of the image. All photographs © Marcus Bunyan except The waterfall.

 

 

I own a stone that a friend passed to me, and a shackle that Michael gave me.

I found a curious object in Lisbon at the fleamarket, I paid one euro for it and I still don’t know what it is.

Yesterday I had a look again at the picture you shot. I am not sure if I grasp the memories that sometimes come to mind.

I start to think they hold me instead of me holding them.

.
Kiko Gianocca, April 2010

 

 

Installation view of the exhibition 'To hold and be held' by Kiko Gianocca at Gallery Funaki, Melbourne

Installation view of the exhibition 'To hold and be held' by Kiko Gianocca at Gallery Funaki, Melbourne

 

Kiko Gianocca (Swiss, b. 1974)
Untitled (touch wood) multiples
2009
Wood, silver

 

Installation view of the exhibition 'To hold and be held' by Kiko Gianocca at Gallery Funaki, Melbourne

 

Kiko Gianocca (Swiss, b. 1974)
Horse, Anchor, Four leaf clover and Swan (left to right)
2009
18k gold, glass

 

Kiko Gianocca. 'Horse' 2009

 

Kiko Gianocca (Swiss, b. 1974)
Horse
2009
18k gold, glass

 

Kiko Gianocca. 'Anchor' 2009

 

Kiko Gianocca (Swiss, b. 1974)
Anchor
2009
18k gold, glass

 

Kiko Gianocca. 'Swan' 2009

 

Kiko Gianocca (Swiss, b. 1974)
Swan
2009
18k gold, glass

 

Installation view of the exhibition 'To hold and be held' by Kiko Gianocca at Gallery Funaki, Melbourne

 

Installation view of exhibition with Untitled (touch wood) burnt wood multiples in distance

 

Kiko Gianocca. 'Man & dog' 2009

 

Kiko Gianocca (Swiss, b. 1974)
Man & dog
2009
Found image, resin, silver

 

Kiko Gianocca. 'The waterfall' 2009

 

Kiko Gianocca (Swiss, b. 1974)
The waterfall
2009
Found image, resin, silver

 

Kiko Gianocca. 'The dog' 2009

 

Kiko Gianocca (Swiss, b. 1974)
The dog
2009
Found image, resin, silver

 

Kiko Gianocca. 'The kiss' (reverse) 2009

 

Kiko Gianocca (Swiss, b. 1974)
The kiss (reverse)
2009
Found image, resin, silver

 

Kiko Gianocca. 'The way up' (reverse) 2009

 

Kiko Gianocca (Swiss, b. 1974)
The way up (reverse)
2009
Found image, resin, silver

 

Kiko Gianocca. 'The beast' (reverse) 2009

 

Kiko Gianocca (Swiss, b. 1974)
The beast (reverse)
2009
Found image, resin, silver

 

 

Gallery Funaki
4 Crossley St.,
Melbourne 3000
Phone: 03 9662 9446

Opening hours:
Monday – Friday 10.30am – 5pm
Saturday 12 – 4pm

Gallery Funaki website

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18
Jan
10

Exhibition: ‘Paste Up’ by Barbara Kruger at Sprüth Magers London

Exhibition dates: 21st November 2009 – 23rd January 2010

 

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

 

 

Barbara Kruger. 'Untitled (Money can buy you love)' 1983

 

Barbara Kruger (American, b. 1945)
Untitled (Money can buy you love)
1983
Collage
19.5 x 17.5cm
Courtesy of the artist and Sprüth Magers London Berlin

 

Barbara Kruger (American, b. 1945) 'Untitled (Your misery loves company)' 1985

 

Barbara Kruger (American, b. 1945)
Untitled (Your misery loves company)
1985
Collage
18 x 17.3cm
Courtesy of the artist and Sprüth Magers London Berlin

 

Barbara Kruger (American, b. 1945) 'Untitled (Our prices are insane!)' 1987

 

Barbara Kruger (American, b. 1945)
Untitled (Our prices are insane!)
1987
Collage
Courtesy of the artist and Sprüth Magers London Berlin

 

Barbara Kruger (American, b. 1945) 'Untitled (We will no longer be seen and not heard)' 1985

 

Barbara Kruger (American, b. 1945)
Untitled (We will no longer be seen and not heard)
1985
17.8 x 18.5cm
Courtesy of the artist and Sprüth Magers London Berlin

 

 

Sprüth Magers London is delighted to present a survey of early work by acclaimed American artist Barbara Kruger. Using contrasting layers of text and image, Kruger’s work has for almost three decades probed the nature of a media-saturated society in late capitalism, and the significance of highly evolved cultures of consumerism and mass politics to the experience and making of social identities. In addition to offering acute, indeed often piquant cultural insights, Kruger’s work also presents a serious conceptual exploration into the relationship between language and image, and their dynamics as collaborators and antagonists in the bearing of meaning. The artist’s unique blend of conceptual sophistication and wry social commentary has made Kruger one of the most respected and admired artists of her generation, and this timely reappraisal of her early practice reveals the ingenuity and precision of her craft.

The early monochrome pre-digital works assembled in the exhibition, known professionally as ‘paste ups’, reveal the influence of the artist’s experience as a magazine editorial designer during her early career. These small scale works, the largest of which is 11 x 13 inches, are composed of altered found images, and texts either culled from the media or invented by the artist. A negative of each work was then produced and used to make enlarged versions of these initial ‘paste ups’. The influence of Kruger’s magazine publishing training extends far beyond technique however. The linguistic and typographic conventions of consumer culture, and an understanding of the inherent potential of a single image, are appropriated and subverted by Kruger, as the artist explores the power of the soundbite and the slogan, and the method and impact of ‘direct address’ on the consumer/viewer.

Although Kruger’s practice is embedded in the visual and political culture of mass media and advertising, the work moves beyond simple appropriation and the ironic meditation on consumerism which animated earlier movements such as Pop art. The emblazoned slogans are often slightly yet meaningfully adjusted clichés of common parlance and the commercial world, and are overlaid on contrasting images which range from the grotesque to the banal. The juxtaposition of pictorial and linguistic modes of communication on the same plane thereby begs conceptual questions of human understanding, and the means by which messages are transmitted and distorted, recognised and received.

Barbara Kruger was born in Newark, New Jersey in 1945. She currently lives in both Los Angeles, California and New York and teaches at the University of California, Los Angeles. She has been the subject of many one-person exhibitions, including a comprehensive retrospective at the Museum of Contemporary Art in Los Angeles in 1999, which travelled to The Whitney Museum of American Art, New York in 2000. More recently, she has exhibited large-scale installations at the Moderna Museet in Stockholm, Tramway in Glasgow, Scotland, the Australian Centre for Contemporary Art in Melbourne, Australia, and at BCAM at the Los Angeles County Museum of Art, among others. She was honoured with the “Golden Lion” award for Lifetime Achievement at the Venice Biennale in 2005.

Press release from the Sprüth Magers London website [Online] Cited 25/05/2019

 

 

Barbara Kruger (American, b. 1945)
Untitled (We won’t be our own best enemy)
1986
Collage
18 x 22cm
Courtesy of the artist and Sprüth Magers London Berlin

 

Barbara Kruger (American, b. 1945) 'Untitled (Surveillance is their busywork)' 1988

 

Barbara Kruger (American, b. 1945)
Untitled (Surveillance is their busywork)
1988
Collage
11.1 x 22cm
Courtesy of the artist and Sprüth Magers London Berlin

 

Barbara Kruger (American, b. 1945) 'Untitled (You are a very special person)' 1995

 

Barbara Kruger (American, b. 1945)
Untitled (You are a very special person)
1995
Collage (colour)
13.6 x 19.1 cm
Courtesy of the artist and Sprüth Magers London Berlin

 

Barbara Kruger (American, b. 1945) 'Don't be a jerk' 1984

 

Barbara Kruger (American, b. 1945)
Don’t be a jerk
1984
Screenprint on vinyl
250 x 388.5cm
Courtesy of the artist and Sprüth Magers London Berlin

 

 

Sprüth Magers London
7A Grafton Street,
London, W1S 4EJ
Phone: +44 (0)20 7408 1613

Opening hours:
Tuesday – Saturday 10am – 6pm

Sprüth Magers London website

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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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