Posts Tagged ‘Guggenheim Museum

21
Jun
14

Exhibition: ‘Hans Richter: Encounters – “From Dada till today”‘ at Martin-Gropius-Bau, Berlin

Exhibition dates: 27th March – 30th June 2014

 

Hans Richter. 'Blue Man' 1917

 

Hans Richter (German, 1888-1976)
Blue Man
1917
Oil on canvas
61 x 48.5cm
© Kunsthaus Zürich, Geschenk Frida Richter, 1977
© Estate Hans Richter

 

 

Many thankx to Martin-Gropius-Bau, Berlin for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

Marcus

 

The oeuvre of Hans Richter (1888-1976) spanned nearly seven decades. Born in Berlin, he was one of the most significant champions of modernism. Berlin, Paris, Munich, Zurich, Moscow and New York were the major stations of his life. He was a painter and draughtsman, a Dadaist and a Constructivist, a film maker and a theoretician, as well as a great teacher. His great scroll collages remain icons of art history to this day. His work is characterised by a virtually unparalleled interpenetration of different artistic disciplines. The link between film and art was his major theme. Many of the most famous artists of the first half of the twentieth century were among his friends.

 

 

“One can also pursue politics with art.
Everything that intervenes in the processes of life, and transforms them, is politics.”

.
Hans Richter

 

 

Hans Richter. 'Ghosts Before Breakfast' 1928

 

Hans Richter (German, 1888-1976)
Ghosts Before Breakfast (Vormittagsspuk)
1928
B/W, 35mm
Approx. 7 minutes
© Estate Hans Richter

 

 

 

Hans Richter created the film Ghosts Before Breakfast (Vormittagsspuk) in 1928. This was a silent experimental avant-garde film and it was the fifth film that he had made. The film is considered to be one of the first surrealist films ever made. Richter’s interest in Dadaism is shown directly in this work as he challenges the art standards of the time by presenting a theme of obscurity and fantasy. Clocks, legs, ladders, hats, and people undergo total irrational happenings in unusual settings. Men have beards magically appear and disappear before the viewer’s eyes. All strange manner of things are brought together by associative logic. The flying hats perform this function by continually reappearing in the sequence of shots to tie the film together. Richter tries to increase the viewer’s knowledge of reality of showing them surrealist fantasy. He accomplished this through his use of rhythm, and his use of the camera.

Rhythm is a very important element in all of Richter’s works. In this film rhythm is shown in the use of movement in the characters. All of the characters seem to move at the same space distance from one another and at the same speed. This clarifies a sense of rhythm and intensifies a sense of stability within the frame. The same number of characters or items also seems to preserve rhythm… if there are three hats then in the next shot there are three men. The numbers do fluctuate, but a number would remain constant throughout a couple of shots. Shapes in the film also preserve rhythm. This can be seen in Richter’s bulls-eye scene, where the circles of the bulls-eye fill the screen and are spaced equally apart from one another. The target then breaks up and the circles the spread out in the frame to relocate in different areas continuing the rhythm.

The original score, attributed to Paul Hindemith, was destroyed in the Nazi purge of ‘degenerate art’.

 

Unknown artist. 'Hans Richter, Sergei Eisenstein and Man Ray, Paris' 1929

 

Unknown artist
Hans Richter, Sergei Eisenstein and Man Ray, Paris
1929
© Estate Hans Richter
© 2013 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris

 

 

 

Joe/Narcissus (Jack Bittner) is an ordinary man who has recently signed a complicated lease on a room. As he wonders how to pay the rent, he discovers that he can see the contents of his mind unfolding whilst looking into his eyes in the mirror. He realises that he can apply his gift to others (“If you can look inside yourself, you can look inside anyone!”), and sets up a business in his room, selling tailor-made dreams to a variety of frustrated and neurotic clients. Each of the seven surreal dream sequences in the diegesis is in fact the creation of a contemporary avant-garde and/or surrealist artist (such as Marcel Duchamp, Alexander Calder, Max Ernst et al). Joe’s waiting room is full within minutes of his first day of operation, “the first instalment of the 2 billion clients” according to the male narrator in voiceover, whose voice is the only one we hear in the non-dream sequences.

 

Hans Richter. 'Dreams That Money Can Buy' 1944-47

 

Hans Richter (German, 1888-1976)
Dreams That Money Can Buy
1944-47
Color, 16mm
Approx. 83 minutes
© Estate Hans Richter

 

HR Productions. Production still of 'Dreams That Money Can Buy' 1944-1947

 

HR Productions
Production still of Dreams That Money Can Buy
1944-1947
Left: Jack Bittner, Middle: Hans Richter
© Estate Hans Richter
Foto: HR Productions

 

 

Hans Richter (1888-1976) life’s work spans nearly 70 years. Born in Berlin, he is one of the most important protagonists of modernity. Berlin, Paris, Munich, Zurich, Moscow and New York are stages of his life. He was a painter and draftsman, Dadaist and Constructivist, filmmakers and theorists, and also a great teacher. His great scroll collages remain icons of art history to this day. His work is characterised by a virtually unparalleled interpenetration of different artistic disciplines. The link between film and art was his major theme. Many of the most famous artists of the first half of the 20th Century were his friends.

Hans Richter: Encounters from Dada to the Present is the title of one of his books, published in the 1970s. By that time in the West in postwar Germany there had been a rediscovery of this important artist, outlawed by the Nazis, whose work was shown in 1937 in the infamous exhibition “Degenerate Art”. For the first time since the 1980s, this big Berlin artist has a dedicated exhibition in his home town, with over 140 works, including his important films and about 50 works of those artists who were influenced by Hans Richter. Hans Richter worked with multimedia in an era when this term hadn’t even been invented. The movie he saw as part of Modern Art: “Film absolutely opens your eyes to what the camera is and what it can and wants to do.”

The Los Angeles County Museum of Art has developed the exhibition with the Martin-Gropius-Bau and the Centre Pompidou Metz. Timothy Benson has curated it. The program explains how Richter understood his cross-disciplinary work and what effect his work had on the art of the 20th century. In ten chapters, the exhibition describes the extensive work of the artist: Early Portraits / War and Revolution / Dada / Richter and Eggeling / Magazine “G” / Malevich and Richter / Film and Photo (FIFO) / Painting / Series / Confronting the Object. Important works of the avant-garde as well as films, photographs, and extensive documentary material make this exhibition an important artistic event.

Hans Richter was active in the broad field of the European avant-garde beginning in the 1910s. Not only art, but also the new medium of film interested him from the very start of his artistic career. In 1908 Hans Richter began his studies at the School of Fine Arts in Berlin. He switched to Weimar the following year. In 1910 he studied at the Académie Julian in Paris. Starting in 1913 he was associated with Herwarth Walden’s gallery Der Sturm and became acquainted with the artists of the “Brücke” and the “Blauer Reiter”. He distributed Marinetti’s “Futurist Manifesto” to hackney drivers in Berlin. In 1914 he also drew for Franz Pfemfert’s magazine Die Aktion and was called up to military service in the summer of that year. In 1916, having suffered severe wounds, he travelled to Zurich (“an island in a sea of fire, steel and blood”) where, together with Tristan Tzara, Hugo Ball and others, he founded the Dada movement, about which he would one day write: ” … it was a storm that broke over the art of that time just as the war broke over the peoples.”

In 1918 he met Viking Eggeling, with whom he conducted his first film experiments as precursors of “abstract film”. Both dreamt of discovering a universal language within film which could promote peace among human beings. In 1919 Richter served as chairman of the “Action Committee for Revolutionary Artists” in the Munich Soviet Republic. He was arrested shortly after the entry of Reichswehr troops. His mother Ida secured his release.

Richter’s first film, Rythmus 21 in 1921 [see below], was a scandal – the audience attempted to beat up the pianist. Moholy-Nagy regarded it as “an approach to the visual realisation of a light-space-continuum in the movement thesis”. The film, which is now recognised as a classic, also attracted the attention of Theo van Doesburg, who invited Richter to work on his magazine De Stijl. In 1922 Richter attended two famous congresses where many of the most significant avant-gardists of the era assembled: The Congress of International Progressive Artists in Düsseldorf and the International Congress of Constructivists and Dadaists – the Dada movement was dismissed on this occasion. In 1923 Richter and other artists founded the short-lived but celebrated Magazine G: Material zur Elementaren Gestaltung (G: Materials for Elemental Form-Creation) (G for “Gestaltung”, i.e. design), which sought to build a bridge between Dadaism and Constructivism. Prominent contributors included Arp, Malevich, El Lissitzky, Mies van der Rohe, Schwitters and van Doesburg.

In 1927 Richter worked with Malevich, who was then visiting Berlin for his first large exhibition, on a – naturally, “suprematist” – film, which, however, was never completed due to the political situation.

 

 

 

Hans Richter’s first truly surrealist film was Rhythmus 21. Richter broke from conventions of the time when rather than attempting to visually orchestrate formal patterns, he focused instead on the temporality of the cinematic viewing experience. He emphasised movement and the shifting relationship of form elements in time. His major creative breakthrough, in other words, was the discovery of cinematic rhythm…

For Richter, rhythm, “as the essence of emotional expression”, was connected to a Bergsonian life force:

Rhythm expresses something different from thought. The meaning of both is incommensurable. Rhythm cannot be explained completely by thought nor can thought be put in terms of rhythm, or converted or reproduced. They both find their connection and identity in common and universal human life, the life principle, from which they spring and upon which they can build further. (Richter, Hans. “Rhythm,” in Little Review, Winter 1926, p. 21)

.
Completed by using stop motion and forward and backward printing in addition to an animation table, the film consists of a continuous flow of rectangular and square shapes that “move” forward, backward, vertically, and horizontally across the screen (Gideon Bachmann and Jonas Mekas. “From Interviews With Hans Richter during the Last Ten Years,” in Film Culture, No. 31, Winter 1963-4, p. 29). Syncopated by an uneven rhythm, forms grow, break apart and are fused together in a variety of configurations for just over three minutes (at silent speed). The constantly shifting forms render the spatial situation of the film ambivalent, an idea that is reinforced when Richter reverses the figure-background relationship by switching, on two occasions, from positive to negative film. In so doing, Richter draws attention to the flat rectangular surface of the screen, destroying the perspectival spatial illusion assumed to be integral to film’s photographic base, and emphasising instead the kinetic play of contrasts of position, proportion and light distribution. By restricting himself to the use of square shapes and thus simplifying his compositions, Richter was able to concentrate on the arrangement of the essential elements of cinema: movement, time and light. Disavowing the beauty of “form” for its own sake, Rhythmus ’21 instead expresses emotional content through the mutual interaction of forms moving in contrast and relation to one another. Nowhere is this more evident than in the final “crescendo” of the film, in which all of the disparate shapes of the film briefly coalesce into a Mondrian-like spatial grid before decomposing into a field of pure light.

Suchenski, Richard. “Hans Richter” on the Senses of Cinema website [Online] Cited 19/06/2014.

 

Hans Richter. 'Neither Hand nor Foot' 1955/56

 

Hans Richter (German, 1888-1976)
Neither Hand nor Foot
1955-56
Paint and collages on board (with doorbell)
16 ½ x 18 ¼ in. (41.9 x 46.4cm)
Private collection
© Estate Hans Richter

 

Hans Richter. 'Justitia Minor' 1917/1960s

 

Hans Richter (German, 1888-1976)
Justitia Minor
1917/1960s
Assemblage (wood, copper, plastic, iron file and string, Christmas decoration)
24 x 18 x 10 in (61 x 45.7 x 25.4cm)
Private Collection
© Estate Hans Richter
Foto © 2013 Museum Associates/LACMA

 

Hans Richter. 'Houses' 1917

 

Hans Richter (German, 1888-1976)
Houses
1917
Ink wash on paper
8 ¼ x 6 ½ in. (20.9 x 16.5cm)
Private collection
© Estate Hans Richter Foto
Foto © 2013 Museum Associates/LACMA

 

 

“Influenced by cubism and its search for structure, but not satisfied with what it offered, I found myself between 1913-1918 increasingly faced with the conflict of suppressing spontaneous expression in order to gain an objective understanding of a fundamental principle with which I could control the ‘heap of fragments’ inherited from the cubists. Thus I gradually lost interest in the subject – in any subject – and focused instead on the positive-negative (white-black) opposition, which at least gave me a working hypothesis whereby I could organise the relationship of one part of a painting to the other.”

Richter, Hans. “Easel-Scroll-Film,” in Magazine of Art, No. 45 (February 1952), p. 82.

 

Unknown artist. 'Hans Arp, Tristan Tzara and Hans Richter, Zurich' 1918

 

Unknown artist
Hans Arp, Tristan Tzara and Hans Richter, Zurich
1918
© Estate Hans Richter

 

 

In 1929 Richter curated the film section of the famous FiFo exhibition (Film und Foto), a milestone in the history of the cinematic and photographic arts. More than 1,000 photos were presented – curated by, among others, Edward Weston and Edward Steichen for the USA and El Lissitzky for the USSR. More than sixty silent films were shown, including works by Duchamp, Egeling, Léger, Man Ray and Chaplin. This important exhibition, initiated by the German Werkbund (which was founded in 1907), was also shown in the Martin-Gropius-Bau, which in those days was called “the former Museum of Applied Arts” – a fact that is rarely mentioned in current photographic histories. On this occasion, Richter published his first film book: Film Enemies of Today, Film Friends of Tomorrow.

That same year, the first Congress of Independent Film was held in the remote Swiss castle of “La Sarraz”: Hans Richter was invited along with Sergei Eisenstein, Bela Balazs, Walter Ruttmann and others. He made a film with Eisenstein, which has since been lost. The Congress is still regarded as the first festival dedicated solely to film. Back then, the still young art of film-making had to struggle for recognition. Also in 1929 the SA (“Sturmabteilung” or Nazi “Brown Shirts”) declares him the first time a “Kulturbolschewisten” – a “cultural Bolshevik”.

In 1930 he travelled to Moscow to make the film Metal. But objections by the Soviet government prevented its completion. In 1933, when the Nazis seized power and Richter was living in Moscow, storm troopers sacked his Berlin flat and made off with his art collection. Fearing for his life, he was soon forced to flee Moscow without a penny to his name. In the Netherlands he made advertising films for Philips. He also worked for a number of chemical companies that were eager to invest in film as an advertising medium. He sought permanent residency in France and Switzerland. In Switzerland, he and Anna Seghers cooperated on a script, and in 1939 Jean Renoir arranged for him to create a major film project in Paris. But the outbreak of war prevented this film as well.

When the Swiss Foreign Police ask him to leave the country he succeeds in 1941, with emigration to the United States. Hilla Rebay, artist and once a member of Ricther’s famous Berlin “November Group” is at this time advisor to the New York art patron Solomon Guggenheim. With his help they can implement their idea of ​​a “Temple of Non-Objectivity” – the Museum of Non-Objective Painting (1939), later the Guggenheim. The museum provided Richter with the necessary invitation and a Jewish support fund for refugees sponsored his long journey. In 1942 Richter became a teacher for film – and later director – at the Institute of Film Techniques at the College of the City of New York. Until 1956 he trained students who were later counted among the great figures of American independent film, including Stan Brackhage, Shirley Clarke, Maya Deren and Jonas Mekas.

In 1940s America, after a fifteen-year pause, Richter began painting again. In 1943/44 he created his great scroll paintings and collages about the war: Stalingrad, Invasion and Liberation of Paris. After the war he made the episodic film Dreams That Money Can Buy, working alongside five of the most famous artists of the twentieth century: Léger, Ernst, Calder, Ray and Duchamp. In 1946 he presented his first great American art exhibition in Peggy Guggenheim’s Art of This Century gallery.

In the 1950s, Richter returned to Europe for the first time following his emigration to deliver lectures. Portions of his art collection, which he had left behind in Germany following his move to Moscow, were returned to him. Numerous exhibitions led to the rediscovery of Hans Richter’s works in Western Europe as well. He worked in Connecticut during the summers and spent his winters in Ascona near his artist friends. Richter experienced an extraordinarily prolific creative phase during which – after he set aside his painting utensils in the late 1960s – many works appeared using special collage techniques. In 1971 he became a member of the Berlin Academy of the Arts. By the time of his death in Switzerland in 1976, his work was shown and appreciated in many exhibitions in Western Europe. Now, for the first time in over thirty years, Hans Richter can be rediscovered in an exhibition from Los Angeles.

Press release from the Martin-Gropius-Bau website

 

Hans Richter. 'Visionary Portrait' 1917

 

Hans Richter (German, 1888-1976)
Visionary Portrait
1917
Oil on canvas
53 x 38cm
© Estate Hans Richter
Foto: Galerie Berinson

 

Hans Richter. 'Triptych in Gray, Red, and Green' 1959 (detail)

 

Hans Richter (German, 1888-1976)
Triptych in Gray, Red, and Green (detail)
1959
Oil on canvas on boards
Three parts, each: 15 ½ x 19 ½ in. (39.4 x 49.5cm); all: 20 ½ x 49 ½ in. (52 x 125.7cm)
Private collection
© Estate Hans Richter
Foto © 2013 Museum Associates/LACMA

 

Hans Richter. 'Dragonfly (Counterpoint in Red, Black,Gray, and White)' 1943

 

Hans Richter (German, 1888-1976)
Dragonfly (Counterpoint in Red, Black,Gray, and White)
1943
Oil on canvas
29 ½ x 15 ½ in. (74.9 x 39.4cm)
Private collection
© Estate Hans Richter
Foto © 2013 Museum Associates/LACMA

 

Hans Richter. 'Orchestration of Colors' 1923/1970

 

Hans Richter (German, 1888-1976)
Orchestration of Colors
1923/1970
Serigraph on linen
54 x 16 in. (137.2 x 40.6cm)
Private collection
© Estate Hans Richter Foto
Foto © 2013 Museum Associates/LACMA

 

 

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10
Jun
14

Exhibition: ‘Bill Cunningham: Facades’ at the New York Historical Society, New York

Exhibition dates: 14th March – 15th June 2014

 

Unknown artist. 'Bill Cunningham Photographing Three Models at New York County Court House' c. 1968-76

 

Unknown artist
Bill Cunningham Photographing Three Models at New York County Court House
c. 1968-76
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

 

Now this is more like it!

If you want fabulousness with flair, and a dash of savoir-faire; if you want architecture with fashion, history with panache, you need look no further. Camp, kitsch, OTT but with poise, aplomb, grace and sophistication – here is the artist for the job. Oh, what fun he and his muse Editta Sherman must have had with this project.

But behind it all is a damn good photographer, with a great eye for composition. Look at the hat, the building and the “attitude” of the hands in Guggenheim Museum (c. 1968-1976, below). This is how you make people smile and think (about the city, conservation and creativity), not with some overblown frippery like the photographs of Lagerfeld in the last posting.

It’s a pity the press images were initially so poor. I had to spend hours cleaning up the images they were so badly scratched to present them to you in a viewable state. Be that as it may, these are a joy, I love them…

Marcus

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

 

 

Bill Cunningham. 'Gothic bridge in Central Park (designed 1860)' c. 1968-1976

 

Bill Cunningham (American, 1929-2016)
Gothic bridge in Central Park (designed 1860)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Editta Sherman on the Train to the Brooklyn Botanic Garden' c. 1972

 

Bill Cunningham (American, 1929-2016)
Editta Sherman on the Train to the Brooklyn Botanic Garden
c. 1972
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Guggenheim Museum (built 1959)' c. 1968-1976

 

Bill Cunningham (American, 1929-2016)
Guggenheim Museum (built 1959)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

 

This spring, the New-York Historical Society presents a special exhibition celebrating the creative intersection of fashion and architecture through the lens of a visionary photographer. Bill Cunningham: Facades, on view from March 14 through June 15, 2014, explores the legendary photographer’s project documenting the architectural riches and fashion history of New York City.

Beginning in 1968, Bill Cunningham scoured the city’s thrift stores, auctions and street fairs for vintage clothing and scouted architectural sites on his bicycle. The result was a photographic essay entitled Facades (completed in 1976), which paired models – most particularly his muse, fellow photographer Editta Sherman – posed in period costumes at historic New York settings.

Nearly four decades after Cunningham donated 88 gelatin silver prints from the series to the New-York Historical Society in 1976, approximately 80 original and enlarged images from this whimsical and bold work are being reconsidered in a special exhibition curated by Dr. Valerie Paley, New-York Historical Society Historian and Vice President for Scholarly Programs. The exhibition offers a unique perspective on both the city’s distant past and the particular time in which the images were created, examining Cunningham’s project as part of the larger cultural zeitgeist in late 1960s-70s New York City, an era when historic preservation and urban issues loomed large.

“We are thrilled to feature these important photographs by New York Times photographer Bill Cunningham, who captured an uncertain moment in our city’s history, when New York seemed on the brink of losing its place of privilege as a capital of the world. Cunningham’s vivid sense of New York’s illustrious past and his unfettered optimism about its future make the photographs among the most dramatic and important documentation of the city’s social history,” said Louise Mirrer, President and CEO of the New-York Historical Society. “The exhibition is especially timely, as Mrs. Editta Sherman, Bill Cunningham’s muse for his project and the famed ‘duchess of Carnegie Hall,’ passed away last November 2013 at the age of 101. Mrs. Sherman’s indomitable spirit, humour and creativity are powerfully felt through the photographic images. We are gratified that many of her family members will be with us for our opening exhibition event.”

Over eight years, Bill Cunningham collected more than 500 outfits and photographed more than 1,800 locations for the Facades project, jotting down historical commentary on the versos of each print. The selection of 80 images on view evoke the exuberance of Cunningham and Sherman’s treasure hunt and their pride for the city they called home. Cunningham’s images are contextualised with reproductions of original architectural drawings from New-York Historical’s collection.

During the years that Cunningham worked on Facades, New York City was in a municipal financial crisis that wreaked havoc on daily existence, with crime, drugs, and garbage seemingly taking over the city. However, the 1970s also was an era of immense creativity, when artists and musicians experimented with new forms of expression. While Cunningham’s photographs offer an unsullied version of the tough cityscape during this chaotic time, his vision was part of a larger movement towards preserving the historic heritage of the built environment to improve the quality of urban life.

Most images in Facades feel timeless, such as Gothic Bridge (designed 1860), featuring Editta Sherman strolling through a windswept Central Park, framed by the wrought-iron curves of a classic bridge. However, at least one will offer a peek behind the scenes of the project. Cunningham and Sherman often traveled to locations by public transportation to avoid wrinkling the costumes, and Editta Sherman on the Train to the Brooklyn Botanical Garden (ca. 1972) captures the jarring juxtaposition of Sherman sitting primly in a graffiti-covered subway car.

Other exhibition highlights include Sherman dressed in a man’s Revolutionary War-era hat, powdered wig, overcoat and breeches at St. Paul’s Chapel and Churchyard (built ca. 1766-1796), the oldest surviving church in Manhattan, where George Washington worshipped. In Federal Hall (built ca. 1842), Cunningham paired the Parthenon-like architectural details of the building with a Grecian-style, 1910s pleated Fortuny gown. For Grand Central Terminal (built ca. 1903-1913), Cunningham drew on his millinery background to create a voluminous feathered hat that echoes the spirit of the “crown of the Terminal,” the ornate rooftop sculpture with monumental figures of Mercury, Minerva, and Hercules.

Bill Cunningham (born 1929) is a fashion photographer for the New York Times, known for his candid street photography. Cunningham moved to New York in 1948, initially working in advertising and soon striking out on his own to make hats under the name “William J.” After serving a tour in the U.S. Army, he returned to New York and began writing for the Chicago Tribune. While working at the Tribune and Women’s Wear Daily, he began taking photographs of fashion on the streets of New York. The Times first published a group of his impromptu pictures in December 1978, which soon became a regular series. In 2008 Cunningham was awarded the title chevalier dans l’ordre des Arts et des Lettres by the French Ministry of Culture. He is the subject of the award-winning documentary film Bill Cunningham New York (2010). Bill Cunningham and Editta Sherman were neighbors in the Carnegie Hall Studios, a legendary artists’ residence atop the concert hall, for 60 years.

Press release from the New York Historical Society website

 

Bill Cunningham. 'St. Paul’s Chapel and Churchyard (built c. 1766-96)' c. 1968-76

 

Bill Cunningham (American, 1929-2016)
St. Paul’s Chapel and Churchyard (built c. 1766-96)
c. 1968-76
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Grand Central Terminal (built c. 1903-1913)' c. 1968-1976

 

Bill Cunningham (American, 1929-2016)
Grand Central Terminal (built c. 1903-1913)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Federal Hall (built c. 1842, costume c. 1910)' c. 1968-1976

 

Bill Cunningham (American, 1929-2016)
Federal Hall (built c. 1842, costume c. 1910)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Bowery Savings Bank (built c. 1920)' c. 1968-1976

 

Bill Cunningham (American, 1929-2016)
Bowery Savings Bank (built c. 1920)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Club 21' (founded c. 1920s; costume c. 1940) c. 1968-1976

 

Bill Cunningham (American, 1929-2016)
Club 21 (founded c. 1920s; costume c. 1940)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Associated Press Building at Rockefeller Center (built c. 1939)' c. 1968-1976

 

Bill Cunningham (American, 1929-2016)
Associated Press Building at Rockefeller Center (built c. 1939)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'Paris Theater (built 1947)' c. 1968-1976

 

Bill Cunningham (American, 1929-2016)
Paris Theater (built 1947)
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

Bill Cunningham. 'General Motors Building' c. 1968-1976

 

Bill Cunningham (American, 1929-2016)
General Motors Building
c. 1968-1976
Gelatin silver photograph
New-York Historical Society, Gift of Bill Cunningham

 

 

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09
May
14

Exhibition: ‘Carrie Mae Weems: Three Decades of Photography and Video’ at The Solomon R. Guggenheim Museum, New York

Exhibition dates: 24th January – 14th May 2014

 

Installation view: 'Carrie Mae Weems: Three Decades of Photography and Video', Solomon R. Guggenheim Museum, New York, January 24-May 14, 2014

 

Installation view: Carrie Mae Weems: Three Decades of Photography and Video, Solomon R. Guggenheim Museum, New York, January 24-May 14, 2014
Photo: David Heald © Solomon R. Guggenheim Foundation.

 

 

A busy time with postings on the archive over the next week with a lot of exhibitions finishing on the 18th May 2014. The posting about this artist is one of the best of them. I have been wanting to show this artist on this site since it started, nearly 6 years ago. Finally, I get my chance!

 

I ask the question:

Who are the interesting photographers anywhere who are alive now?

That is – by looking at the ideas that are present in poetry, music, philosophy or even politics – who is there that is truly taking these ideas forward (or ideas that are as interesting). Or, who is arranging images with the elegance of a Sommer or an Atget or the dynamics of Arbus.

In other words whose acts am I hanging upon, so that I am waiting with great anticipation to see what they are going to do next?

Which living photographers would I walk over broken glass to see their work? = some

If I was being essential (and if you were walking over glass you would be), the list would be very short:

Carrie Mae Weems and Wolfgang Tillmans.

 

What both these image makers – for they are not photographers in the traditional sense – do, is problematise and reconfigure narration and visualisation in the conceptualisation of subject. Tillmans experiments with a sensory experiential backdrop against and within which the photographs are produced. Modes of perception and the regimes of emotion are inducted into the aesthetics of production and meaning so that, “the pictures communicate with each other in a way that is not bound to the pattern of a closed narrative or any particular line of argument.” The mobilisation and reversal of value and meaning are central strategies in Tillmans’ praxis, where realistic and abstract elements are never intentionally separated from each other, and where the physicality and space of the photographs is also acknowledged in the installation of the work.

A similar sensory experience can be observed in the work of Carrie Mae Weems, only this artist invites contemplation of issues surrounding race, gender, and class inequality – bringing to light the voices of marginalised and oppressed people and histories – through a multidimensional picture of history and humanity, intended to spur greater cultural awareness and compassion. As the press release observes, “Although her subjects are often African American, Weems wants “people of color to stand for the human multitudes” and for her art to resonate with audiences of all backgrounds… Weems often appropriates words and images, re-presenting them to viewers as biting reminders of the persistence of bigoted attitudes in the United States.”

This is the power of both artists work, the creation of open ended narratives, multidimensional pictures of history and humanity which allows the viewer to create a space beyond the art works.

Using ekphrasis – the structuring patterns of language, in Weems’ case emphasising the role of both spoken and written narrative – to vividly represent a wide range of perceptual experiences, she creates a complementary space outside of the art work in the reader’s mind. The author creates links, “designating the paths along which the reader may travel, and thus, in a much freer manner than modernist authors, structures the network of allusions, parallelisms, and juxtapositions that contribute to the sense of textual space.”1 This allows the viewer to create a language of personal associations and engages in them an autonomy of experience, one encouraged by the products, the texts and images that these authors create.

These thoughts come to mind. Some things we interpret and then remember that interpretation, but we are no longer involved in the actual act of interpretation — and there are other, probably fewer things that continue to involve us — where we never finish the first way of looking at them, we are always coming to them and not arriving. Unfortunately, I find a lot of things in the first group, and as much as theoreticians try to inspire me to re-interpret, the work they have done often only works as an adjunct to something that has settled.

The art of Weems and Tillmans resides, lives and breathes of the second category, for we can never be sure of the pattern of narrative, the form of aesthetic and thematic interaction and the specificity of the marginalised histories they examine. These histories apply to all of us.

Dr Marcus Bunyan

 

  1. Tolva, John. Ut Pictura Hyperpoesis: Spatial Form, Visuality, and the Digital World,” in HYPERTEXT ’96 Proceedings of the the seventh ACM conference on Hypertext, 1996, p. 71.

.
Many thankx to The Solomon R. Guggenheim Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“Over the past thirty years, Carrie Mae Weems has yearned to insert marginalized peoples into the historical record. She does this not only to bring ignored or erased experiences to light but to provide a more multidimensional picture of humanity as a whole, a picture that ultimately will spur greater awareness and compassion. Weems believes deeply that “my responsibility as an artist is to … make art. beautiful and powerful, that adds and reveals; to beautify the mess of a messy world, to heal the sick and feed the helpless; to shout bravely from the roof-tops and storm barricaded doors and voice the specifics of our historic moment.””

.
Carrie Mae Weems quoted in Kathryn E. Delmez. “Introduction,” from Kathryn E. Delmez (ed.,). Carrie Mae Weems: Three Decades of Photography and Video. Yale University Press 2012, p. 1.

 

“Weems [work] exist at the intersection of photography and race, image and text.”

.
John Pultz

 

“Belying the myth that conceptual artists disdain the old-fashioned notion of aesthetics, Weems has long been consumed and galvanized by the idea of beauty. The notion of beauty encompasses and reaches beyond aesthetics. It is not a simple concept, as often there are unspoken political implications in her use. Beauty is a powerful adjective in her hands and an important tool in her work. Her work is always about beauty and purposely so. She seduces the viewer through the very process of creating luscious prints, or beautiful images, without ever using beauty purely to seduce. But no matter what one encounters within the text or within one’s own revelations about what the texts ultimately say, the religion of beauty always undergirds Weem’s vision and informs her work.”

.
Thelma Golden. “Some Thoughts on Carrie Mae Weems,” in Golden, T. and Piché Jr., T. Carrie Mae Weems: Recent Work, 1992-1998. New York: George Braziller, 1998, p. 32 quoted in Deborah Willis. “Photographing between the Lines: Beauty, Politics, and the Poetic Vision of Carrie Mae Weems,” in Kathryn E. Delmez (ed.,). Carrie Mae Weems: Three Decades of Photography and Video. Yale University Press 2012, p. 33.

 

 

Installation view: 'Carrie Mae Weems: Three Decades of Photography and Video', Solomon R. Guggenheim Museum, New York, January 24-May 14, 2014

Installation view: 'Carrie Mae Weems: Three Decades of Photography and Video', Solomon R. Guggenheim Museum, New York, January 24-May 14, 2014

Installation view: 'Carrie Mae Weems: Three Decades of Photography and Video', Solomon R. Guggenheim Museum, New York, January 24-May 14, 2014

Installation view: 'Carrie Mae Weems: Three Decades of Photography and Video', Solomon R. Guggenheim Museum, New York, January 24-May 14, 2014

Installation view: 'Carrie Mae Weems: Three Decades of Photography and Video', Solomon R. Guggenheim Museum, New York, January 24-May 14, 2014

 

Installation views: Carrie Mae Weems: Three Decades of Photography and Video, Solomon R. Guggenheim Museum, New York, January 24-May 14, 2014
Photos: David Heald © Solomon R. Guggenheim Foundation.

 

 

The Solomon R. Guggenheim Museum presents Carrie Mae Weems: Three Decades of Photography and Video, the first major New York museum retrospective devoted to this socially motivated artist. Weems has long been acclaimed as one of the most eloquent and respected interpreters of African American experiences, and she continues to be an important influence for many young artists today. Featuring more than 120 works – primarily photographs, but also texts, videos, and an audio recording – as well as a range of related educational programs, this comprehensive survey offers an opportunity to experience the full breadth of the artist’s oeuvre and gain new insight into her practice.

Carrie Mae Weems: Three Decades of Photography and Video is organised by the Frist Center for the Visual Arts, Nashville, Tennessee. The exhibition has been curated by Kathryn Delmez, the Frist Center, where it opened in September 2012. The Solomon R. Guggenheim Museum presentation is organised by Jennifer Blessing, Senior Curator, Photography, with Susan Thompson, Assistant Curator. This exhibition is supported in part by The Robert Mapplethorpe Foundation. The Leadership Committee for Carrie Mae Weems: Three Decades of Photography and Video is also gratefully acknowledged for its support, including Jo Carole and Ronald S. Lauder, Robert Menschel Vital Projects, and Jack Shainman Gallery, as well as Henry Buhl, Crystal R. McCrary and Raymond J. McGuire, Beth Rudin DeWoody, Rhona Hoffman Gallery, Toby Devan Lewis, Louise and Gerald W. Puschel, and Miyoung Lee and Neil Simpkins. Additional funding is provided by the William Talbott Hillman Foundation and the New York State Council on the Arts.

The work of Carrie Mae Weems (b. 1953, Portland, Oregon) invites contemplation of issues surrounding race, gender, and class inequality. Over the past thirty years, Weems has used her art to bring to light the ignored or erased experiences of marginalised people. Her work proposes a multidimensional picture of history and humanity, intended to spur greater cultural awareness and compassion. Although her subjects are often African American, Weems wants “people of colour to stand for the human multitudes” and for her art to resonate with audiences of all backgrounds.

Organised in a loosely chronological order throughout two of the museum’s Annex Levels, the exhibition begins on Level 2 with the series Family Pictures and Stories (1978-84). This series, like many of Weems’s early works, explores matters relating to contemporary black identity, highlighting individuals in social contexts – including in this case her own kin. Her landmark Kitchen Table Series (1990) employs text and photography to explore the range of women’s roles within a community, pointedly situating the photographs’ subject within a domestic setting. Selections from Weems’s Sea Islands Series (1991-92), Africa (1993), and Slave Coast (1993) demonstrate her ongoing interest in language and storytelling. These works, made during the artist’s travels to the titular locales, pair images with evocative vernacular texts or etymological investigations that trace English words to African roots. The artist’s practice emphasises the role of both spoken and written narrative, reflecting her graduate studies in folklore.

Weems often appropriates words and images, re-presenting them to viewers as biting reminders of the persistence of bigoted attitudes in the United States. Her renowned series From Here I Saw What Happened and I Cried (1995-96), presented on Annex Level 4, layers new text over found historical imagery to critique and lament prejudiced attitudes toward African Americans throughout the nineteenth and twentieth centuries. A yearning to investigate the underlying causes and effects of racism, slavery, and imperialism has spurred Weems to travel widely throughout the United States, Africa, Europe, and the Caribbean. During extended visits to these places, depicted in series such as Dreaming in Cuba (2002), The Louisiana Project (2003), and Roaming (2006), all represented in the exhibition, she looks to the surrounding land and architecture in order to foster communion with inhabitants past and present.

Video is a natural extension of Weems’s narrative photographic practice, also providing an opportunity for the artist to include music in her work. Although she worked in film during her undergraduate years at the California Institute of the Arts, Weems’s first major endeavour in the medium came in 2003-04 with Coming Up for Air, a work comprised of series of poetic vignettes that will be screened in the New Media Theater in the Guggenheim’s Sackler Center for Arts Education. Other video works, including Italian Dreams (2006), Afro Chic (2009), and Constructing History: A Requiem to Mark the Moment (2008) will be integrated into the exhibition near related photographs.

Press release from The Solomon R. Guggenheim Museum website

 

Carrie Mae Weems. 'Blue Black Boy (from 'Colored People')' 1989-90

 

Carrie Mae Weems (American, b. 1953)
Blue Black Boy (from Colored People)
1989-90
Triptych, three toned gelatin silver prints with Prestype and frame
16 x 48 inches (40.6 x 121.9cm) overall
Whitney Museum of American Art, New York, Purchase, with funds from the Photography Committee
© Carrie Mae Weems

 

Carrie Mae Weems. 'An Anthropological Debate' (from 'From Here I Saw What Happened and I Cried') 1995-96

 

Carrie Mae Weems (American, b. 1953)
An Anthropological Debate (from From Here I Saw What Happened and I Cried)
1995-96
Chromogenic print with etched text on glass
26 1/2 x 22 3/4 inches (67.3 x 57.8cm)
The Museum of Modern Art, New York, Gift on behalf of The Friends of Education of the Museum of Modern Art
From an original daguerreotype taken by J.T. Zealy, 1850. Peabody Museum, Harvard University.Copyright President & Fellows of Harvard College, 1977. All rights reserved.
Photo: © 2012, MoMA, NY

 

Carrie Mae Weems. 'Afro-Chic' 2010

 

Carrie Mae Weems (American, b. 1953)
Afro-Chic
2010
Digital colour video, with sound, 5 min., 30 sec.
Collection of the artist, courtesy Courtesy the artist and Jack Shainman Gallery, New York
© Carrie Mae Weems

 

Carrie Mae Weems. 'Family Reunion' (from 'Family Pictures and Stories') 1978-84

 

Carrie Mae Weems (American, b. 1953)
Family Reunion (from Family Pictures and Stories)
1978-84
Gelatin silver print
30 x 40 inches (76.2 x 101.6cm)
Collection of the artist, courtesy Jack Shainman Gallery, New York
© Carrie Mae Weems

 

Carrie Mae Weems. 'Untitled (Man and mirror)' (from 'Kitchen Table Series') 1990

 

Carrie Mae Weems
Untitled (Man and mirror) (from Kitchen Table Series)
1990
Gelatin silver print
27 1/4 x 27 1/4 inches (69.2 x 69.2 cm)
Collection of Eric and Liz Lefkofsky, Promised gift to The Art Institute of Chicago
© Carrie Mae Weems
Photo: © The Art Institute of Chicago

 

Carrie Mae Weems. 'Untitled (Woman and daughter with makeup)' (from 'Kitchen Table Series') 1990

 

Carrie Mae Weems (American, b. 1953)
Untitled (Woman and daughter with makeup) (from Kitchen Table Series)
1990
Gelatin silver print
27 1/4 x 27 1/4 inches (69.2 x 69.2cm)
Collection of Eric and Liz Lefkofsky, Promised gift to The Art Institute of Chicago
© Carrie Mae Weems
Photo: © The Art Institute of Chicago

 

Carrie Mae Weems. 'A Broad and Expansive Sky - Ancient Rome' (from 'Roaming') 2006

 

Carrie Mae Weems (American, b. 1953)
A Broad and Expansive Sky – Ancient Rome (from Roaming)
2006
Chromogenic print
73 x 61 inches (185.4 x 154.9cm)
Private collection, Portland, Oregon
© Carrie Mae Weems

 

Carrie Mae Weems. 'Listening for the Sounds of Revolution' (from 'Dreaming in Cuba') 2002

 

Carrie Mae Weems (American, b. 1953)
Listening for the Sounds of Revolution (from Dreaming in Cuba)
2002
Gelatin silver print
28 1/2 x 28 1/2 inches (72.4 x 72.4cm)
Collection of the artist, courtesy Courtesy the artist and Jack Shainman Gallery, New York
© Carrie Mae Weems

Carrie Mae Weems. 'Untitled (Box Spring in Tree)' (from 'Sea Islands Series') 1991-92

Carrie Mae Weems (American, b. 1953)
Untitled (Box Spring in Tree) (from Sea Islands Series)
1991-92
Gelatin silver print
20 x 20 inches (50.8 x 50.8cm)
Whitney Museum of American Art, New York, Gift of Carrie Mae Weems and P•P•O•W, 97.97.1
© Carrie Mae Weems
Photo: Robert Gerhardt

 

Carrie Mae Weems. 'Untitled (Colored People Grid)' 2009-10

 

Carrie Mae Weems (American, b. 1953)
Untitled (Colored People Grid)
2009-10
11 inkjet prints and 31 coloured clay papers
Dimensions variable overall; individual components: 10 x 10 inches (25.4 x 25.4cm) each
Collection of Rodney M. Miller
© Carrie Mae Weems

 

 

Solomon R. Guggenheim Museum
1071 5th Avenue (at 89th Street)
New York

Opening hours:
Monday – Wednesday, Friday 10am – 5.45pm
Saturday 10am – 7.45pm
Thursday closed

Solomon R. Guggenheim Museum website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor 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.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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