Posts Tagged ‘gum bichromate

22
Jun
17

Exhibition: ‘Acting for the Camera’ at the Albertina, Vienna

Exhibition dates: 10th March – 5th June 2017

Featured artists (selection):
Ottomar Anschütz | Bill Brandt | Brassaï | Günter Brus | John Coplans | Hugo Erfurth | Trude Fleischmann | Seiichi Furuya | Eikoh Hosoe | Martin Imboden | Dora Kallmus | Rudolf Koppitz | Johann Victor Krämer | Heinrich Kühn | Helmar Lerski | O. Winston Link | Will McBride | Arnulf Rainer | Henry Peach Robinson | Otto Schmidt | Rudolf Schwarzkogler | Franz Xaver Setzer | Anton Josef Trčka | Erwin Wurm

 

 

I made this posting way before my operation, but have been unable to post until now because of my ongoing recuperation.

While the exhibition may have finished, I am so enamoured of the theme of the exhibition, the people and artists, that I think it’s valuable to have the posting, images and the additional research I did online. I especially like the striking work of Helmar Lerski and the “Aktionen” of Rudolf Schwarzkogler which reflect on the hurtfulness of the world, but remind me of the yet to come political art of the first wave of HIV/AIDS. What a beautiful installation as well…

Marcus

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

 

 

Anonymous. 'The Sculptor Hans Gasser and Workshop Assistants at Work' 1855-1857

 

Anonymous
The Sculptor Hans Gasser and Workshop Assistants at Work
1855-1857
Daguerreotype
Albertina, permanent loan of the Höhere Graphische Bundes-Lehr-und Versuchsanstalt, Vienna

 

 

Ottomar Anschütz
Elektrischer Schnellseher
1886

 

Anton Josef Trčka. 'Egon Schiele' 1914

 

Anton Josef Trčka
Egon Schiele
1914
Gelatin silver print
Albertina, Vienna

 

 

Josef Anton Trčka, Antios (7. September 1893 Vienna – 16. March 1940), was a Czech photographer , painter, sculptor, draftsman, designer of tapestries and silver jewellery, collector of folk art Moravian, occasional antiquarian, poet and philosopher . He was a representative of Viennese Modernism, Art Movement, which influenced European culture of the 20th century…

Around 1910 the Trčka decided to study at the professional school of photography Lehr- Graphische und Versuchsanstalt in Vienna, one of the best in Europe. Coincidentally, at the school was Professor Karel Novák, in his time one of the most important personalities of the beginnings of art photography. In 1914 he got the opportunity to portray several leading personalities of Viennese Modernism. Among them was Gustav Klimt, Peter Alternberg and the 50 year old Josef Svatopluk Machar. However, the highlight for Trčka prewar contracts were the photographic series of portraits of Egon Schiele, which focused on facial expressions and hand gestures.

 

Franz Xaver Setzer. 'Conrad Veidt' 1919

 

Franz Xaver Setzer
Conrad Veidt
1919
Gelatin Silver Print
Albertina, Vienna

 

 

Hans Walter Conrad Veidt (22 January 1893 – 3 April 1943) was a German actor best remembered for his roles in films such as The Cabinet of Dr. Caligari (1920), The Man Who Laughs (1928), and, after being forced to migrate to Britain by the rise of Nazism in Germany, his English-speaking roles in The Thief of Bagdad (1940), and, in Hollywood, Casablanca (1942). After a successful career in German silent film, where he was one of the best-paid stars of Ufa, he left Germany in 1933 with his new Jewish wife after the Nazis came to power. They settled in Britain, where he participated in a number of films before emigrating to the United States around 1941…

He starred in a few films, such as George Cukor’s A Woman’s Face (1941) where he received billing just under Joan Crawford’s and Nazi Agent (1942), in which he had a dual role as both an aristocratic German Nazi spy and as the man’s twin brother, an anti-Nazi American. His best-known Hollywood role was as the sinister Major Heinrich Strasser in Casablanca (1942), a film which was written and began pre-production before the United States entered the war.

In 1943, at the age of fifty, he died of a massive heart attack while playing golf at the Riviera Country Club in Los Angeles. In 1998, his ashes were placed in a niche of the columbarium at the Golders Green Crematorium in north London.

Text from the Wikipedia website

 

Dora Kallmus, Arthur Benda. 'Anita Berber and Sebastian Droste in their dance Märtyrer [Martyrs]' 1922

 

Dora Kallmus, Arthur Benda
Anita Berber and Sebastian Droste in their dance Märtyrer [Martyrs]
1922
Gelatin silver print
Albertina, Vienna

 

 

Her hair was cut fashionably into a short bob and was frequently bright red, as in 1925 when the German painter Otto Dix painted a portrait of her, titled “The Dancer Anita Berber”. Her dancer friend and sometime lover Sebastian Droste, who performed in the film Algol (1920), was skinny and had black hair with gelled up curls much like sideburns. Neither of them wore much more than low slung loincloths and Anita occasionally a corsage worn well below her small breasts.

Her performances broke boundaries with their androgyny and total nudity, but it was her public appearances that really challenged taboos. Berber’s overt drug addiction and bisexuality were matters of public chatter. In addition to her addiction to cocaine, opium and morphine, one of Berber’s favourites was chloroform and ether mixed in a bowl. This would be stirred with a white rose, the petals of which she would then eat.

Aside from her addiction to narcotic drugs, she was also a heavy alcoholic. In 1928, at the age of 29, she suddenly gave up alcohol completely, but died later the same year. She was said to be surrounded by empty morphine syringes.

Text from the Wikipedia website

 

Rudolf Koppitz. 'In the Arms of Nature' 1923

 

Rudolf Koppitz
In the Arms of Nature
1923
Multicolor gum bichromate print
Albertina, permanent loan of the Höhere Graphische Bundes-Lehr-und Versuchsanstalt, Vienna

 

Rudolph Koppitz. 'Movement Study' 1925

 

Rudolf Koppitz
Bewegungsstudie (Motion Study)
1926
Multicolor gum bichromate print
Albertina, permanent loan of the Höhere Graphische Bundes-Lehr-und Versuchsanstalt, Vienna

 

 

Rudolf Koppitz (4 January 1884 – 8 July 1936), often credited as Viennese or Austrian, was a Photo-Secessionist whose work includes straight photography and modernist images. He was one of the leading representatives of art photography in Vienna between the world wars. Koppitz is best known for his works of the human figure including his iconic Bewegungsstudie, “Motion Study” and his use of the nude in natural settings….

Koppitz’s work is marked by a pronounced awareness of form, line, and the surface play of light and shadow. Early in his career, Koppitz was known for staging groups of subjects in the style of the Vienna Secession, the most well known example of this being his Bewegungsstudie, “Motion Study”.

Bewegungsstudie (Motion Study) is surely the most widely published and best known image in Austrian photography from the early decades of the last century. This is for good reason, as no photograph better captures the cultural strands that characterized the Austrian avant-garde at that time. Here one can see a graphic strength and compositional clarity that reflects the modernist ambitions initiated in the fine as in the applied arts by the Secession and by the Wiener Werkstätte. But what gives the image its power is the aura of mystery, of symbolist sensuality that resonates through this enigmatic grouping of the three uniformly coiffed and draped figures and the one single naked figure.” ~ Christies

Bewegungsstudie’s languid nude, elaborately robed women and undeniable sensuality, in the context of its rigorous and artistic composition, bring to mind the sexual morbidity of Viennese artists like Gustav Klimt and Alphonse Mucha, as well as the Swiss symbolist painter Ferdinand Hodler and has made it as unforgettable then as it is today. It has become the Koppitz’s signature image, and was also his best-seller. Prints of the image were purchased by, among others, the Toledo Museum of Art; the New York Camera Club notable Joseph Bing, head of that club’s print committee; and the Englishman Stephen Tyng, who published it in a small portfolio of works from his collection.

His earliest works show evidence of influence by Gustav Klimt, Japanese art, Art Nouveau and Constructivism. During the First World War, Koppitz’s photographs took on a documentary quality when his photographs became more simple and direct in their subject matter and composition. Koppitz’s work came of age during the inter-war period when most of Austria’s photographers were supporters of art photography. Photographs from that time are full of symbolic meanings often capturing nude and clothed dancers as well as liberal use of both male and female, many of which were of Koppitz himself and female nudes placed in elements of nature and posed to give the impression of a Greek or Roman statue…

Although he did not possess a consistent style, Koppitz was a virtuoso of the dark room, seemingly determined to make the photograph as much of an art object as possible. His beautifully grainy, subtly tinted images align him with American Pictorialists like Edward Steichen and Clarence Smith. Koppitz’s work, much of it using the gum bichromate process, reflected his links with modern artists such as Gustav Klimt and Egon Schiele, and their involvement with the ‘life reform’ movement including; nudism, sun culture, and expressive dance popular in Central Europe from the early 1900s as well as agrarian romanticism. Koppitz’s extraordinary mastery of pictorial processes – pigment, carbon, gum, and bromoil process of transfer printing – gained the respect of his colleagues throughout the world and garnered mention in the Encyclopædia Britannica of 1929.

Text from the Wikipedia website

 

Trude Fleischmann. 'Actress and Dancer Lucy Kieselhausen' c. 1925

 

Trude Fleischmann
Actress and Dancer Lucy Kieselhausen
c. 1925
Gelatin silver print
Albertina, Vienna

 

 

Lucy Kieselhausen was born in 1897 in Vienna, Austria. She was an actress, known for Tausend und eine Frau. Aus dem Tagebuch eines Junggesellen (1918), Erdgeist (1923) and Die siebente Großmacht (1919). She was a student of Grete Wiesenthal and was celebrated as a successful dancer at the beginning of the 20th century who had great successes on German stages. Besides her dancing activity she also wrote the dance drama “Salambo”, which was set to music by Heinz Tiessen. She died in December 1926 in Berlin, Germany.

“Around 1915 another Viennese, Lucy Kieselhausen (1897-1927), began specializing in performing waltzes. She, too, had evolved out of ballet culture, but her embodiment of the waltz was virtually opposite that of Wiesenthal. She favoured luxuriously decorative hothouse costumes and the utmost refinement of movement. For her the waltz was not a lyrical expansion of space into the freedom of nature but an almost perfumed distillation of the stirrings within an opulent boudoir, with its scenography of exquisite privileges and voluptuous secrets. An adroit sense of irony shaded her movements with a abruptly “bizarre and jerky” rhythms; “her joyfully flashing temperament did not hover on a smooth surface but over a shadowy abyss from which issued her fool’s dance with its slumbering, half-animal rapture.” Her curious appropriation of the waltz ended suddenly when she died in a benzine explosion.”

Karl Eric Toepfer. Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910-1935. University of California Press, 1997, pp. 161-162.

 

Hugo Erfurth. 'Clotilde von Derp-Sacharoff' c. 1928

 

Hugo Erfurth
Clotilde von Derp-Sacharoff
c. 1928
Gelatin silver print
Albertina, Vienna – permanent loan of the Austrian Ludwig Foundation for Art and Science

 

 

Clotilde von Derp, stage name of Clotilde Margarete Anna Edle von der Planitz (5 November 1892 – 11 January 1974), was a German expressionist dancer, an early exponent of modern dance. Her career was spent essentially dancing together with her husband Alexander Sakharoff with whom she enjoyed a long-lasting relationship…

Among her admirers were artists such as Rainer Maria Rilke and Yvan Goll. For his Swiss dance presentations, Alexej von Jawlensky gave her make-up resembling his abstract portraits. From 1913, Clotilde appeared with the Russian dancer Alexander Sacharoff with whom she moved to Switzerland during the First World War. Both Sacharoff and Clotilde were known for their transvestite costumes. Clotilde’s femininity was said to be accentuated by the male attire. Her costumes took on an ancient Greek look which she used in Danseuse de Delphes in 1916. Her style was said to be elegant and more modern than that achieved by Isadora Duncan. Their outrageous costumes included wigs made from silver and gold coloured metal, with hats and outfits decorated with flowers and wax fruit.

They married in 1919 and. with the financial support of Edith Rockefeller, appeared at the Metropolitan Opera in New York but without any great success. They lived in Paris until the Second World War. Using the name “Les Sakharoff”. Their 1921 poster by George Barbier to advertise their work was seen as showing a “mutually complementary androgynous couple” “united in dance” joined together in an act of “artistic creation.”

They toured widely visiting China and Japan which was so successful that they returned again in 1934. They and their extravagant costumes visited both North and South America. They found themselves in Spain when France was invaded by Germany. They returned to South America making a new base in Buenos Aires until 1949. They toured Italy the following year and they took up an invitation to teach in Rome by Guido Chigi Saracini. They taught at the Accademia Musicale Chigiana in Siena for Saracini and they also opened their own dance school in Rome. She and Sakharoff stopped dancing together in 1956. They both continued to live in Rome until their deaths. Clotilde gave and sold many of their writings and costumes, that still remained, to museums and auctions. She eventually sold the iconic 1909 painting of her husband by Alexander Jawlensky. In 1997 the German Dance Archive Cologne purchased many remaining items and they have 65 costumes, hundreds of set and costume designs and 500 photographs.

Text from the Wikipedia website

 

Martin Imboden. 'The Dancer Gertrud Kraus' c. 1929

 

Martin Imboden
The Dancer Gertrud Kraus
c. 1929
Gelatin silver print
Albertina, Vienna

 

 

In the 1920s, Gertrud Kraus’s style was known as expressionistic dance, or German dance. In 1929 Gertrud Kraus, together with Gisa Geert, was chief assistant to Rudolf von Laban, director of a trade union parade during the “Vienna Festival” in Vienna.

In 1930, an impresario invited her to perform in Mandate Palestine. Her tour was a great success and she was invited back the following season. In 1933, her company performed her work Die Stadt wartet (“The City Waits”), presenting the modern metropolis as a fascinating but dangerous place. It was based on a short story by Maxim Gorki. On the night that Adolf Hitler was elected chancellor of Germany, Kraus’s company performed this piece on the open-air stage in the Burg-garden next to the Hofburg.

In 1933, while she was in Prague performing for the Zionist Congress, leaders of a Czech communist cell contacted her and tried to recruit her for their purposes. The next day, she went to the Palestine Office in Prague, and applied for immigration. Kraus moved to Tel Aviv in 1935, first living with friends and then renting a basement that became her studio. She formed a modern dance company affiliated with the Tel Aviv Folk Opera, which was probably the only one of its kind in the world. In 1949, she won a scholarship to travel to the United States to learn the newest trends in modern dance.

In 1950-1951, she founded the Israel Ballet Theatre, and became its artistic director. The company folded after a year due to financial difficulties. Until her death in 1977, Kraus devoted herself to teaching dance, as well as painting and sculpture.

Text from the Wikipedia website

 

Installation view of the exhibition 'Acting for the Camera' at the Albertina, Vienna, March - June 2017

Installation view of the exhibition 'Acting for the Camera' at the Albertina, Vienna, March - June 2017

Installation view of the exhibition 'Acting for the Camera' at the Albertina, Vienna, March - June 2017

Installation view of the exhibition 'Acting for the Camera' at the Albertina, Vienna, March - June 2017

The work of Jan Coplans left and centre

Installation view of the exhibition 'Acting for the Camera' at the Albertina, Vienna, March - June 2017

Erwin Wurm’s One Minute Sculptures at right

Installation view of the exhibition 'Acting for the Camera' at the Albertina, Vienna, March - June 2017

 

Installation views of the exhibition Acting for the Camera at the Albertina, Vienna, March – June 2017

 

 

With circa 120 works from the Albertina’s Photographic Collection, the exhibition Acting for the Camera examines the diverse ways in which models are staged or stage themselves before the camera. The featured photographic works, created between the 1850s and the present, represent a cross-section of photographic history as well as the diversity of the Albertina’s own holdings. The present selection is divided between six thematic emphases: motion studies, models for artists, dance, picture stories, portraits of actresses and actors, and Viennese Actionist stagings of the body.

All of these photographs arose from diverse and multi-layered forms of collaboration between the model before and the photographer behind the camera lens. Some of the models are staged according to their photographers’ instructions, while other shots originated via a creative process in which model and photographer collaborated on an equal footing. And in some cases, the pictures were even taken according to highly specific instructions given by the model.

 

Beginnings

It was photographic studies done in the interest of scientific research that made it possible for the first time to visually analyse the processes of human locomotion in high detail. Anonymous models, such as in the photographs taken by Ottomar Anschütz beginning around 1890, made themselves available in order to render understandable processes such as spear-throwing. The individuals seen in such works act according to the exact instructions of the photographer. Series of this type were used to compare the motion patterns of “healthy” and “unhealthy” bodies as well as undergird medical theories with visual evidence.

While such motion studies occasionally doubled as working studies for artworks by other artists, there was also a category of works created specifically for this purpose such as Johann Victor Krämer’s staged studio photographs as well as Otto Schmidt’s nudes, and some of these were also sold “under the table” as pornography.

 

Expressive Gestures

A strong and likewise mutually influential relationship arose between photography and dance. At the beginning of the 20th century, modern expressionist dance was an avant-garde art form, and dancers would work together closely with photographers in order to document and disseminate their performances. Such partnerships made possible expressive stagings that helped define the styles of that era. The expressive gestures often seen therein were also taken up by Anton Josef Trčka, who had Egon Schiele pose with a hand position reminiscent of something one might see in dance.

Portraits of well-known actors such as a laughing Romy Schneider, along with role-portraits for film productions, were created in Viennese studios by photographers such as Trude Fleischmann and Madame d’Ora, and these iconic pictures represent yet another emphasis in this presentation.

 

Bodies as Photographic Material

Much like the way in which classic portraits convey the personalities of those being portrayed, photography can also stage the body in the opposite way, as something purely material. Helmar Lerski, for example, treated the human face as a landscape that could be modelled by light and shadow. John Coplans, on the other hand, explored his own naked body centimetre by centimetre, portraying himself without his head and thus questioning stagings of masculinity and social norms.

In Viennese Actionism, the artists likewise placed themselves front and centre as pictorial subjects. Rudolf Schwarzkogler, who wrapped himself like a mummy in muslin bandages during the late 1960s, as well as his Actionist colleague Günter Brus, staged performances specifically for the photographic camera. And the newest works in Acting for the Camera are as recent as Erwin Wurm’s One Minute Sculptures, for which the artist had models assume ridiculous poses with everyday objects.

Following Black & White (2015) and Landscapes & People (2016), this is the third large-scale presentation of the Albertina’s Photographic Collection. The Albertina, as a treasure trove of visual knowledge, began collecting photographs all the way back in the mid-19th century – but it was only upon the establishment of the Photographic Collection in 1999 that these fascinating works were rediscovered.

Press release from the Albertina

 

Helmar Lerski. 'Metamorphosis 601' (Metamorphose 601) 1936

 

Helmar Lerski
Metamorphosis through Light #601 (Metamorphose 601)
1936
Gelatin silver print

 

Helmar Lerski. 'Metamorphosis through Light #587' 1935-36

 

Helmar Lerski
Metamorphosis through Light #587
1935-36
Gelatin silver print

 

 

Wall texts

Motion Studies

Photographs taken in the context of scientific experimental arrangements visualise the different phases of human and animal locomotion sequences. Several cameras are mounted one after another, their shutters release at short intervals while the model is moving. Shortly after Eadweard Muybridge, who makes a name for himself with motion studies of racehorses in 1877, achieves his first successes, the physician Étienne-Jules Marey and the photographers Ottomar Anschütz and Albert Londe also dedicate themselves to capturing movement sequences photographically. Londe works with Jean-Martin Charcot, a neurologist at the Pitié-Salpêtrière psychiatric hospital in Paris. Anonymous models have to perform certain movements defined by the scientists. The photographs are used to compare the movement patterns of “healthy” and”unhealthy” people and to provide visual evidence for medical theories. Artists interested in the anatomically correct representation of movements use the photographs as models.

 

Models for Artists

Photographs are used as a workaround in the fine arts quite early on; special collections are compiled. Photographs of models in motion, for example, come to replace preparatory drawings after nature. The expanding demand for photographic material creates a new market for professional studios. The Viennese photographer and publisher Otto Schmidt produces body and facial expression studies as well as nudes (so-called academies). Since these photographs, thanks to their erotic pictorial repertoire, enjoy great popularity not only with artists, Schmidt’s circle of customers keeps growing.

The reduction in price and the easier handling of the photographic material increases the number of artists that take up a camera themselves. The painter Johann Victor Krämer has his models pose in front of half-finished paintings to check or complete their posture and gestures. Grids drawn on the photographs sometimes help to transfer subjects to the canvas.

 

Dance

Germany’s and Austria’s cultural scenes of the early twentieth century see the triumphant progress of modern expressionist dance. Many dancers develop choreographies and movement vocabularies of their own. They visit photographic studios, commissioning presentation and promotion materials. The artists present themselves in the costumes of the performances they currently star in on the stage.

Photographers resort to various possibilities for their dance studies. Hugo Erfurth relies on sequences to convey the flow of movements. The emphasis is on the dancer’s pose in these photographs from the early days of modern dance. Shadows are eliminated by massive retouches, since the pictures were to be reproduced in the book Der Künstlerische Tanz unserer Zeit (The Artistic Dance of Our Time, 1928), published by Langewiesche. Martin Imboden, on the other hand, focuses on the expression of the artistic performance in his static suggestive photographs.

 

Picture Stories

Restaging paintings and other works of art is a favourite pastime of the upper middle classes and the aristocracy in the nineteenth century. Costumed amateur actors adopting rigid poses for a few moments present the “living pictures” at certain events. The emergence of photography makes it possible to reenact these fleeting performances in the studio and to preserve them for the long term. The theatrical group photos are sold as editions on the art market or used as models to emulate.

Henry Peach Robinson is one of those who devote themselves to staging photographs in a way that lean on the tradition of tableaux vivants. Brassaï’s and Bill Brandt’s photo reportages, which seem to document nocturnal scenes the photographers chanced upon, are actually staged for the occasion. Brandt, for example, has members of his family embody precisely conceived parts in his mysteriously toned series A Night in London. The American O. Winston Link, who shows a penchant for steam engines, plans his pictures in every detail. Relying on an elaborate flash technique and the use of spotlights, his photographs, taken in the open and by night, exhibit a filmic aesthetic.

 

Portraits of Actresses and Actors

In Vienna, Madame d’Ora, Franz Xaver Setzer, and Trude Fleischmann specialise in portraits of performing artists from the 1910s to the 1930s. They not only catered to the public’s great demand; focusing on the cultural scene’s clientele also ties in with the personal interest of the studios’ owners. The models collaborate with the photographers to realise the desired notions regarding their appearance and the interpretation of their look. Stars from the theatre world choose the costume, make-up, and pose they prefer for their photographic portraits. Some of the character portraits and scenic representations show sweepingly theatrical gestures. Film actresses and actors are only rarely captured in traditional character portraits in the early days of the medium. Setzer’s portrait of Conrad Veidt, who stars in The Cabinet of Dr. Caligari in 1919, is an exception. The lighting and styling as well as his facial expression and the expressive gesture of his hand mirror the film’s Expressionism.

 

Actionist Stagings of the Body

The Actionist art gaining momentum from the 1960s on shows itself inseparably bound up with photography. Next to film, photography is the only way to provide live documentations of performances. Some actions are specifically staged for the photo camera. From about the mid-1960s on, the Viennese Actionist artists Günter Brus and Rudolf Schwarzkogler realise constellations of bodies and objects for photographs that are intended as visual works of art.

Arnulf Rainer, whose grimaces, like the Vienna Actionists’s works, are aimed at criticising the socially standardised body, also poses for a photographer. The photographer was not supposed to pursue an artistic approach of his own but to neutrally capture the given representations of the body. After the pictures were taken, Rainer defines the final image area and overpaints the photos by relying on gestural techniques that emphasise physical and emotional moments of expression.

John Coplans combines observations on the representation of the body with reflections on the nature of media. Using a straightforward and precise exposure technique and keen on obtaining sharp pictures, he confronts the viewer with defamiliarised views of his body transforming it into sculptural fragments. The humorous and absurd poses in which models present themselves for Erwin Wurm’s One Minute Sculptures with the help of everyday objects are often based on drawn studies and are captured in factual photographs lending the ephemeral performances durability.

 

Will McBride. 'Romy Schneider in Paris' 1964, printed 2001

 

Will McBride
Romy Schneider in Paris
1964, printed 2001
Gelatin Silver Print
Albertina, Vienna
© Will McBride Estate/Berlin

 

Rudolf Schwarzkogler. '2nd Action' 1965

 

Rudolf Schwarzkogler
2nd Action
1965
Gelatin Silver Print

 

Rudolf Schwarzkogler. '3rd Action' 1965

 

Rudolf Schwarzkogler
3rd Action
1965
Gelatin Silver Print

 

Rudolf Schwarzkogler. '4th Action' 1965

 

Rudolf Schwarzkogler
4th Action
1965
Gelatin Silver Print

 

 

Rudolf Schwarzkogler (13 November 1940, Vienna – 20 June 1969, Vienna) was an Austrian performance artist closely associated with the Viennese Actionism group that included artists Günter Brus, Otto Mühl, and Hermann Nitsch.

He is best known today for photographs depicting his series of closely controlled “Aktionen” featuring such iconography as a dead fish, a dead chicken, bare light bulbs, coloured liquids, bound objects, and a man wrapped in gauze. The enduring themes of Schwarzkogler’s works involved experience of pain and mutilation, often in an incongruous clinical context, such as 3rd Aktion (1965) in which a patient’s head swathed in bandages is being pierced by what appears to be a corkscrew, producing a bloodstain under the bandages. They reflect a message of despair at the disappointments and hurtfulness of the world.

Text from the Wikipedia website

 

Seiichi Furuya. 'Christine Furuya Gössler' 1983; printed 1988

 

Seiichi Furuya
Christine Furuya Gössler
1983; printed 1988
Gelatin silver print
Albertina, Vienna

 

 

“The other person is absent as a point of reference but present as an addressee. This strangely warped situation causes an unbearable presence: You are gone (which I lament); you are here (because I am turning to you).” ~ Roland Barthes, A Lover’s Discourse

“If you consider the taking of photographs to be in a sense a matter of fixing time and space, then this work – the documenting of the life of one human being – is exceptionally thrilling… in facing her, in photographing her, and looking at her in photographs, I also see and discover “myself.”” ~ Seiichi Furuya, 1979

.
Seiichi Furuya and Christine Gössler would soon marry, and they would later have a child, Komyo. Throughout their seven years together, Christine would plunge in and out of depressions and psychiatric institutions. And one Sunday in October of 1985, she would jump to her death from the 9th floor of their apartment building in East Berlin. Furuya photographed her throughout, to the very end. And this faithful and macabre portrait making would become his artistic and philosophical project.

Text by Stacey Platt on the space in between website

 

Erwin Wurm. 'One Minute Sculpture' 1997

 

Erwin Wurm
One Minute Sculpture
1997
Silver dye bleach print
Albertina, Vienna

 

 

Since the late 1980s, he has developed an ongoing series of One Minute Sculptures, in which he poses himself or his models in unexpected relationships with everyday objects close at hand, prompting the viewer to question the very definition of sculpture. He seeks to use the “shortest path” in creating a sculpture – a clear and fast, sometimes humorous, form of expression. As the sculptures are fleeting and meant to be spontaneous and temporary, the images are only captured in photos or on film.

To make a One Minute Sculpture, the viewer has to part with his habits. Wurm’s instructions for his audience are written by hand in a cartoon-like style. Either Wurm himself or a volunteer follow the instructions for the sculpture, which is meant to put the body in an absurd and ridiculous-looking relationship with everyday objects. Whoever chooses to do one of Wurm’s One Minute Sculptures holds the pose for a minute, or the time it takes to capture the scene photographically. These positions are often difficult to hold; although a minute is very short, a minute for a One Minute Sculpture can feel like an eternity.

Text from the Wikipedia website

 

Erwin Wurm. 'One Minute Sculpture' 1997

 

Erwin Wurm
One Minute Sculpture
1997
Silver dye bleach print
Albertina, Vienna

 

 

Albertina
Albertinaplatz 1
1010 Vienna, Austria
T: +43 (0)1 534 83-0

Opening hours:
Daily 10 am – 6 pm
Wednesday 10 am – 9 pm

Albertina website

LIKE ART BLART ON FACEBOOK

Back to top

22
Mar
17

Exhibition: ‘Edward Steichen: Twentieth-Century Photographer’ at deCordova Sculpture Park and Museum, Lincoln, MA

Exhibition dates: 7th October 2016 – 26th March 2017

 

Just for enjoyment.

Marcus

.
Many thankx to the deCordova Sculpture Park and Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Edward Steichen (1879-1973) 'Self-Portrait with Studio Camera' 1917; printed 1982

 

Edward Steichen (1879-1973)
Self-Portrait with Studio Camera
1917; printed 1982
Silver gelatin print
13 1/8 x 10 5/8 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

Edward Steichen (1879-1973) 'Self-Portrait with Studio Camera' c. 1917

 

Edward Steichen (1879-1973)
Self-Portrait with Studio Camera
c. 1917
Gelatin silver print

 

Edward Steichen (1879-1973) 'Self-Portrait with photographers paraphenalia' 1929

 

Edward Steichen (1879-1973)
Self-Portrait with photographers paraphenalia
1929
Gelatin silver print

 

Installation view of 'Edward Steichen: Twentieth-Century Photographer' at the deCordova Sculpture Park and Museum

 

Installation view of Edward Steichen: Twentieth-Century Photographer at the deCordova Sculpture Park and Museum
Courtesy Photo/Clements Photography and Design, Boston
Creative Commons Wicked Local

 

 

DeCordova Sculpture Park and Museum is pleased to present the upcoming exhibition Edward Steichen: Twentieth-Century Photographer. Edward Steichen (1879-1973) is known for his role in expanding the breadth of twentieth-century photography through his memorable images and his work as a gallery director and museum curator. Steichen was a painter, horticulturalist, museum curator, graphic designer, publisher, and film director. He also served as a military photographer in both World Wars, and lived a life that embraced a century transformed by modernisation. On view in the James and Audrey Foster Galleries, the exhibition is drawn from deCordova’s permanent collection, and features important loans from private collectors and select institutions. The majority of photographs included in this show were made from Steichen’s original negatives and printed after his death in the 1980s by photographer George Tice. The exhibition also features a select number of vintage prints printed by Steichen in the 1910s and 1920s that reveal the lush interpretations he made with experimental printing techniques.

From his early Pictorialist images with their painterly quality, to his decades-long work as a commercial photographer for Condé Nast, Steichen explored the full range of the photographic medium. In his role as the Director of Photography at the Museum of Modern Art, New York, he often reproduced and integrated other photographers’ work into groundbreaking exhibitions that reflected his curatorial practice. The combined aspects of his career as a photographer and curator positioned Steichen to become a controversial yet prescient advocate for photography’s ability to record and amplify human observation, endeavour, and creativity.

The exhibition includes portraits of glamorous celebrities and socialites, still-life photographs of plants and flowers, dynamic cityscapes, and commercial advertisements. Also on view are Steichen’s portraits of fellow artists and writers that reveal his place among avant-garde cultural communities in New York and Europe. Edward Steichen also explores his work as the head of the Naval Aviation Photographic Unit in World War II, and traces his role at the Museum of Modern Art, NY where he curated over forty exhibitions. The aesthetic range of the images shows Steichen’s experimentation throughout his career with new techniques for lighting, composing, and printing photographs.

Edward Steichen continues deCordova’s longstanding commitment to the exhibition and collection of important photographic works. The exhibition opens to the public on October 7, 2016 and will be on view until March 26, 2017.

Press release from the deCordova Sculpture Park and Museum

 

Edward Steichen (1879-1973) 'Auguste Rodin and the Monument to Victor Hugo' 1902

 

Edward Steichen (1879-1973)
Auguste Rodin and the Monument to Victor Hugo
1902
Gum bichromate print

 

 

When Edward Steichen arrived in Paris in 1900, Auguste Rodin (1840-1917) was regarded not only as the finest living sculptor but also perhaps as the greatest artist of his time. Steichen visited him in his studio in Meudon in 1901 and Rodin, upon seeing the young photographer’s work, agreed to sit for his portrait. Steichen spent a year studying the sculptor among his works, finally choosing to show Rodin in front of the newly carved white marble of the “Monument to Victor Hugo,” facing the bronze of “The Thinker.” In his autobiography, Steichen describes the studio as being so crowded with marble blocks and works in clay, plaster, and bronze that he could not fit them together with the sculptor into a single negative. He therefore made two exposures, one of Rodin and the “Monument to Victor Hugo,” and another of “The Thinker.” Steichen first printed each image separately and, having mastered the difficulties of combining the two negatives, joined them later into a single picture, printing the negative showing Rodin in reverse.

Text from the Metropolitan Museum website

 

Edward Steichen (1879-1973) 'J. Pierpont Morgan, Esq.' 1903

 

Edward Steichen (1879-1973)
J. Pierpont Morgan, Esq.
1903
Gum bichromate over platinum print

 

Edward Steichen (1879-1973) 'The Flatiron' 1904

 

Edward Steichen (1879-1973)
The Flatiron
1904
Gum bichromate over platinum print

 

 

While Steichen’s palette recalls Whistler’s Nocturne paintings and the foreground branch echoes those often found in the Japanese prints that were much in vogue in turn-of-the-century Paris, his subject is distinctly modern and American. The newly completed, twenty-two-story skyscraper soars so high above Madison Square in New York that it could not be contained within the photographer’s frame… Steichen’s three variant printings of The Flatiron, each in a different tonality, evoke successive moments of twilight and forcefully assert that photography can rival painting in scale, colour, individuality, and expressiveness.

Text from the Metropolitan Museum website

 

Edward Steichen (1879-1973) 'Lotus, Mount Kisco, New York' 1915; printed 1982

 

Edward Steichen (1879-1973)
Lotus, Mount Kisco, New York
1915; printed 1982
Silver gelatin print
13 1/4 x 10 1/2 inches (image and paper)
Gift of Diane Singer in honour of the marriage of Diane Singer to Eric Pearlman

 

Edward Steichen (1879-1973) Alfred 'Stieglitz' 1915; printed 1982

 

Edward Steichen (1879-1973)
Alfred Stieglitz
1915; printed 1982
Silver gelatin print
9 5/8 x 7 3/4 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

 

The most recognisable of these images involve celebrity. Artists – Constantin Brancusi, Eugene O’Neill – and actors Charlie Chaplin, Lillian Gish, Marlene Dietrich, the unforgettable Greta Garbo – all sat for Steichen, who strove for a discovery of the individual.

In black-and-white photography, composition, cast and shadow take prominence. Looming stage equipment behind a smiling Chaplin quietly recalls his movie roles. Garbo, clutching her “terrible hair,” wordlessly speaks volumes about her self- and public images. Carl Sandburg (Steichen’s brother-in-law) gazes poetically away from the camera. German author Gerhart Hauptmann stares directly into the camera under the starry firmament. The British dramaturge E. Gordon Craig poses foppishly in front of Notre-Dame cathedral in Paris.

Keith Powers. “DeCordova focuses on the varied career photographer Edward Steichen,” on The Metro West Daily News website

 

Edward Steichen (1879-1973) 'Brancusi, Voulangis, France' c. 1922; printed 1987

 

Edward Steichen (1879-1973)
Brancusi, Voulangis, France
c. 1922; printed 1987
Silver gelatin print
13 x 10 1/2 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

Edward Steichen (1879-1973) 'Carl Sandburg, Umpawaug, Connecticut' 1930

 

Edward Steichen (1879-1973)
Carl Sandburg, Umpawaug, Connecticut
1930
Gelatin silver print

 

 

Carl Sandburg (January 6, 1878 – July 22, 1967) was an American poet, writer, and editor who won three Pulitzer Prizes: two for his poetry and one for his biography of Abraham Lincoln. During his lifetime, Sandburg was widely regarded as “a major figure in contemporary literature”, especially for volumes of his collected verse, including Chicago Poems (1916), Cornhuskers (1918), and Smoke and Steel (1920). He enjoyed “unrivalled appeal as a poet in his day, perhaps because the breadth of his experiences connected him with so many strands of American life”, and at his death in 1967, President Lyndon B. Johnson observed that “Carl Sandburg was more than the voice of America, more than the poet of its strength and genius. He was America.”

Text from the Wikipedia website

 

Edward Steichen (1879-1973) 'Greta Garbo' 1929

 

Edward Steichen (1879-1973)
Greta Garbo
1929
Silver gelatin print

 

Edward Steichen (1879-1973) 'E. Gordon Craig, Paris' 1920, printed in 1987

 

Edward Steichen (1879-1973)
E. Gordon Craig, Paris
1920, printed in 1987
Gelatin silver print

 

 

Edward Henry Gordon Craig CH OBE (16 January 1872 – 29 July 1966), sometimes known as Gordon Craig, was an English modernist theatre practitioner; he worked as an actor, director and scenic designer, as well as developing an influential body of theoretical writings…

Craig’s idea of using neutral, mobile, non-representational screens as a staging device is probably his most famous scenographic concept. In 1910 Craig filed a patent which described in considerable technical detail a system of hinged and fixed flats that could be quickly arranged to cater for both internal and external scenes. He presented a set to William Butler Yeats for use at the Abbey Theatre in Ireland, who shared his symbolist aesthetic.

Craig’s second innovation was in stage lighting. Doing away with traditional footlights, Craig lit the stage from above, placing lights in the ceiling of the theatre. Colour and light also became central to Craig’s stage conceptualisations…

The third remarkable aspect of Craig’s experiments in theatrical form were his attempts to integrate design elements with his work with actors. His mise en scène sought to articulate the relationships in space between movement, sound, line, and colour. Craig promoted a theatre focused on the craft of the director – a theatre where action, words, colour and rhythm combine in dynamic dramatic form.

All of his life, Craig sought to capture “pure emotion” or “arrested development” in the plays on which he worked. Even during the years when he was not producing plays, Craig continued to make models, to conceive stage designs and to work on directorial plans that were never to reach performance. He believed that a director should approach a play with no preconceptions and he embraced this in his fading up from the minimum or blank canvas approach.

Text from the Wikipedia website

 

Edward Steichen (1879-1973) 'The Blue Sky, Long Island, New York' 1923; printed 1987

 

Edward Steichen (1879-1973)
The Blue Sky, Long Island, New York
1923; printed 1987
Silver gelatin print
9 1/2 x 7 1/4 inches (image and paper)
Gift of Stephen L. Singer and Linda G. Singer

 

 

DeCordova Sculpture Park and Museum
51 Sandy Pond Road in Lincoln, Massachusetts

Opening hours (Winter hours):
Wednesday – Friday, 10 am – 4 pm
Saturday – Sunday, 10 am – 5 pm

deCordova Sculpture Park and Museum website

LIKE ART BLART ON FACEBOOK

Back to top

27
Aug
15

Exhibition: ‘Light, Paper, Process: Revolutionizing Photography’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 14th April – 6th September 2015

 

These days, photography can be anything your imagination, concept and process desires…

Whether that makes for interesting / lasting (ie. memorable) / good, (post)photographic outcomes is up to you to decide.

Marcus

.
Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Man Ray (Emmanuel Radnitsky) (American, 1890-1976) 'Untitled (Smoke)' 1928

 

Man Ray (Emmanuel Radnitsky) (American, 1890-1976)
Untitled (Smoke)
1928
Gelatin silver print
Image: 24.6 x 19.8 cm (9 11/16 x 7 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Man Ray Trust ARS-ADAG

 

Chargesheimer (Karl Heinz Hargesheimer) (German, 1924-1971) 'Picturesque' 1949

 

Chargesheimer (Karl Heinz Hargesheimer) (German, 1924-1971)
Picturesque
1949
Gelatin silver print
Image: 49.5 x 39.6 cm (19 1/2 x 15 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© Museum Ludwig, Cologne

 

Henry Holmes Smith (American, 1909-1986) 'Man and Woman' 1976

 

Henry Holmes Smith (American, 1909-1986)
Man and Woman
1976
Dye imbibition print
Image: 33.2 x 26.2 cm (13 1/16 x 10 5/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Smith Family Trust
© J. Paul Getty Trust

 

Edmund Teske (American, 1911-1996) 'Leaves on Glass, Topanga Canyon, California' 1952; print 1960s

 

Edmund Teske (American, 1911-1996)
Leaves on Glass, Topanga Canyon, California
1952; print 1960s
Gelatin silver duotone solarized print
Image: 35.4 x 27.9 cm (13 15/16 x 11 in.)
The J. Paul Getty Museum, Los Angeles
© Edmund Teske Archives/Laurence Bump and Nils Vidstrand, 2001

 

Alison Rossiter (American, born 1953) 'Gevaert Gevarto 47, exact expiration date unknown, about 1960s, processed 2013 (#37)' 2013

 

Alison Rossiter (American, born 1953)
Gevaert Gevarto 47, exact expiration date unknown, about 1960s, processed 2013 (#37)
2013
Four gelatin silver print
Each image: 10.8 x 8.3 cm (4 1/4 x 3 1/4 in.)
Courtesy of the artist and Yossi Milo Gallery, New York
© Alison Rossiter

 

Chris McCaw (American, born 1971) 'Sunburned GSP #202 (San Francisco Bay)' 2008

 

Chris McCaw (American, born 1971)
Sunburned GSP #202 (San Francisco Bay)
2008
Gelatin silver print
Image: 37.5 x 47.6 cm (14 3/4 x 18 3/4 in.)
Santa Barbara Museum of Art, Museum Purchase
© Chris McCaw

 

Pierre Cordier (Belgian, born 1933) 'Chemigram II' 1976

 

Pierre Cordier (Belgian, born 1933)
Chemigram II
1976
Gelatin silver print
Image: 23.8 x 17.9 cm (9 3/8 x 7 1/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2015 Artists Rights Society (ARS), New York / SABAM, Brussels

 

 

“From its very beginnings in the 19th century, photography has been shaped by the desire of the artist to continually explore and expand its possibilities through experimentation. Taking that spirit of invention and discovery as a point of departure, some artists today have chosen to distill photography to its most essential components of light-sensitivity and the chemical processing of photographic papers, challenging viewers to see the medium anew. Light, Paper, Process: Reinventing Photography, on view at the Getty Center April 14-September 6, 2015, features the work of seven contemporary artists – Alison Rossiter, Marco Breuer, James Welling, Lisa Oppenheim, Chris McCaw, John Chiara, and Matthew Brandt – all of whom have created inventive photographs that reveal aspects of their making (or unmaking).

The artists in the exhibition utilize an extensive array of practices – often achieved through trial and error, accident, or chance – that shift the understanding of photography from a medium that accurately records the world to one that revels in its materiality. Whether they use handmade cameras or none at all, work with expired papers or toxic chemicals, the images remain latent until processed, fixed, or otherwise coaxed from the paper.

“Each of the artists in this exhibition engages in some way with the process by which the photographic medium captures and transmutes light into a two-dimensional image on paper,” says Timothy Potts, director of the J. Paul Getty Museum. “But rather than seeing this process as something to be ‘perfected,’ or even neutralized, they exploit its ability to be manipulated and deconstructed, thus collapsing process and product into a single creative activity. I am particularly pleased that the Getty Museum Photographs Council has provided funds to acquire works by Matthew Brandt, Marco Breuer, John Chiara, and Allison Rossiter for our permanent collection that are included in the exhibition.”

The exhibition begins with an overview of 20th-century practices that were experimental in nature, featuring works by Man Ray, László Moholy-Nagy, Nathan Lerner, Edmund Teske, and others. The renewed interest of artists of this period in techniques such as camera-less photograms, chemigrams, and solarization serves as inspiration for today’s artists. Each of the subsequent galleries in the Getty Museum’s Center for Photographs will be dedicated to the work of one of the seven featured contemporary artists, and follows a progression from abstract, camera-less works to representative images made with custom-built cameras.

“This exhibition is an excellent opportunity to feature the work of living artists alongside earlier photographs from our permanent collection,” says Virginia Heckert, department head of the Getty Museum’s Department of Photographs and curator of the exhibition. “By focusing on work of a more experimental nature, visitors will be reminded that the exploration of materiality and process has been an important aspect of photography since its inception and continues to motivate and inspire artists working with the medium today.”

Alison Rossiter (American, born 1953) takes a minimalist approach to the materials she uses to create her photographic works. She does not use a camera, film, or light, but instead only uses unprocessed sheets of expired gelatin silver paper and photographic chemicals in the darkroom. Through the simple acts of immersing or dipping a sheet of paper in developer or pouring and pooling developer onto the paper’s surface, she achieves a rich array or results. Some suggest faint impressions of primitive mark-making, others resemble landscapes, and still others call to mind abstract painting of the mid-20th-century.

Working since the early 1990s without a camera or film, Marco Breuer (German, born 1966) subjects light-sensitive paper to various acts that abrade, burn, or scrape away the emulsion layer. Completely nonrepresentational, his “photographs” look like no others; they elicit the hues and textures of rare metals, mineral deposits, or oil spills, and display marks ranging from fine incisions and abrasions to scar-like burns and gashes. His deliberate misuse of black-and-white and photographic papers is the starting point for a negotiation between the paper as recording material, the hand, and the tools employed.

James Welling (American, born 1951) spent the first ten years of his career exploring painting, sculpture, performance art, video art, conceptual art, and installation before he committed to thinking of himself as a photographer. For the past four decades, he has explored photography, from documentary to experimental, with and without a camera, using black-and-white, color, and Polaroid films and papers, as well as digital files and printing. Since 1995 he has worked increasingly with color, filters, and camera-less photography. Three bodies of recent work presented in the exhibition include variations on the photogram, chemigram, and printing-out process.

Influenced by her background in structural/materialist filmmaking, Lisa Oppenheim (American, born 1975) is interested in exploring the ways in which a photograph can record both its subject and the process by which it was made. In three bodies of work dating from 2010 to present, she enlists the very entities depicted in the negatives – the sun, the moon, and smoke/fire – in the act of exposing them. Although they sound scientific, the titles of two of these bodies of work, Heliograms and Lunagrams, are made up, combining the name of the camera-less photogram technique and the source of light by which the enlarged negatives have been contact-printed.

Chris McCaw (American, born 1971) establishes an immediate, visceral relationship between his subject, the sun, and his process, which involves loading photographic paper directly into the camera. The photographs in his Sunburn series record the sun’s movement, which literally sears its path into the paper in the form of dots, lines, or arcs, depending on its position, the weather conditions, and the length of the exposure(s). McCaw uses customized cameras outfitted with vintage military lenses pointed directly at the sun to function like a magnifying glass that burns through the emulsion layer and paper base, leaving behind singe marks and solarized passages.

John Chiara’s (American, born 1971) large-scale color prints convey a hands-on – rather than pristine, mechanized – aesthetic. For the past decade his subjects have been both uninhabited landscapes and the built environment. He works with large custom-built cameras that he loads with color photographic paper that he then processes himself by pouring chemicals into a six-foot-long section of PVC sewer pipe, sealing the tube, and then rolling it back and forth on the floor. Irregular streaks and drips characterize his prints, as do areas of overexposure and underexposure, flare from light leaks, and unevenly saturated colors.

Matthew Brandt (American, born 1982) has created diverse bodies of work, some of which are realized with photographic means and others that are more tangentially related to photographic images, techniques, or ideas. He may begin with a photograph that he has made with a 4 x 5-inch view camera, a digital camera, or his iPhone, one that he has sourced from archives in public libraries, or one that he has clicked and dragged from Ebay. His fascination with early photographic processes has led him to experiment with salted paper prints, gum bichromate prints, and heliographs, examples of which will be on view. Brandt’s interest in both photographic/visual and the physical/material forms of representation has led him to bring the two together, incorporating physical elements from his subjects into his photographic representations of them.

Light, Paper, Process: Reinventing Photography, is on view April 14-September 6, 2015 at the J. Paul Getty Museum, Getty Center. The exhibition is curated by Virginia Heckert, department head of the Museum’s Department of Photographs. A related publication of the same title will be produced by Getty Publications.”

Press release from the J. Paul Getty Museum website

 

Alison Rossiter (American, born 1953) 'Haloid Platina, exact expiration date unknown, about 1915, processed 2010' 2010

 

Alison Rossiter (American, born 1953)
Haloid Platina, exact expiration date unknown, about 1915, processed 2010
2010
Gelatin silver print
Image (each): 21.6 x 16.5 cm (8 1/2 x 6 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Alison Rossiter (American, born 1953) 'Fuji gaslight, exact expiration date unknown, about 1920s, processed 2010' 2010

 

Alison Rossiter (American, born 1953)
Fuji gaslight, exact expiration date unknown, about 1920s, processed 2010
2010
Gelatin silver print
Image: 30.5 x 25.4 cm (12 x 10 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Alison Rossiter (American, born 1953) 'Kilbourn Acme Kruxo, exact expiration date unknown, about 1940s, processed 2013' 2013

 

Alison Rossiter (American, born 1953)
Kilbourn Acme Kruxo, exact expiration date unknown, about 1940s, processed 2013
2013
Gelatin silver print
Image: 12.7 x 17.8 cm (5 x 7 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Marco Breuer (German, born 1966) 'Untitled (Heat/Gun)' 2001

 

Marco Breuer (German, born 1966)
Untitled (Heat/Gun)
2001
Gelatin silver paper, burned
Image: 27.9 x 21.6 cm (11 x 8 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Marco Breuer

 

Marco Breuer (German, born 1966) 'Untitled (C-62)' 2002

 

Marco Breuer (German, born 1966)
Untitled (C-62)
2002
Chromogenic paper, exposed and abraded
Image: 35.6 x 27.9 cm (14 x 11 in.)
Courtesy of the artist and Yossi Milo Gallery, New York
© Marco Breuer

 

Marco Breuer (German, born 1966) 'Spin (C-824)' 2008

 

Marco Breuer (German, born 1966)
Spin (C-824)
2008
Chromogenic paper, embossed and scratched
Image: 34.6 x 27 cm (13 5/8 x 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Marco Breuer

 

James Welling (American, born 1951) 'Water' 2009

 

James Welling (American, born 1951)
Water
2009
Chromogenic print
Image: 60.3 x 50.2 cm (23 3/4 x 19 3/4 in.)
Courtesy of the artist and Regen Projects, Los Angeles
© James Welling

 

James Welling (American, born 1951) 'Water' 2009

 

James Welling (American, born 1951)
Water
2009
Chromogenic print
Image: 58.7 x 49.5 cm (23 1/8 x 19 1/2 in.)
Courtesy of the artist and Regen Projects, Los Angeles
© James Welling

 

James Welling (American, born 1951) 'Chemical' 2013

 

James Welling (American, born 1951)
Chemical
2013
Chemigram on chromogenic paper
Image: 35.6 x 27.9 cm (14 x 11 in.)
Courtesy of the artist and David Zwirner, New York/London
© James Welling

 

Lisa Oppenheim (American, born 1975) 'Heliograms July 8, 1876 / October 16, 2011' 2011

 

Lisa Oppenheim (American, born 1975)
Heliograms July 8, 1876 / October 16, 2011
2011
Gelatin silver print exposed with sunlight, toned
Image: 30 x 27.9 cm (11 13/16 x 11 in.)
The J. Paul Getty Museum, Los Angeles
© Lisa Oppenheim

 

Lisa Oppenheim (American, born 1975) 'A Handley Page Halifax of No. 4 Group flies over the suburbs of Caen, France, during a major daylight raid to assist the Normandy land battle. 467 aircraft took part in the attack, which was originally intended to have bombed German strongpoints north of' 2012

 

Lisa Oppenheim (American, born 1975)
A Handley Page Halifax of No. 4 Group flies over the suburbs of Caen, France, during a major daylight raid to assist the Normandy land battle. 467 aircraft took part in the attack, which was originally intended to have bombed German strongpoints north of
2012
Gelatin silver print
Framed (approx.): 71.1 x 86.4 cm (28 x 34 in.)
The Museum of Modern Art, New York. Fund for the Twenty-First Century
Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY
© Lisa Oppenheim

 

Chris McCaw (American, born 1971) 'Sunburned GSP #609 (San Francisco Bay)' 2012

 

Chris McCaw (American, born 1971)
Sunburned GSP #609 (San Francisco Bay)
2012
Gelatin silver paper negatives
Each image: 76.1 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles

 

Chris McCaw (American, born 1971) 'Sunburned GSP #555 (San Francisco Bay)' 2012

 

Chris McCaw (American, born 1971)
Sunburned GSP #555 (San Francisco Bay)
2012
Gelatin silver paper negative
Image: 20.3 x 25.4 cm (8 x 10 in.)
Courtesy of Stephen Wirtz Gallery San Francisco
© Chris McCaw

 

Chris McCaw (American, born 1971) 'Poly-optic #10' 2012

 

Chris McCaw (American, born 1971)
Poly-optic #10
2012
Gelatin silver paper negative
Image: 20.3 x 25.4 cm (8 x 10 in.)
Collection of Leslie, Judith and Gabrielle Schreyer, Courtesy of Stephen Wirtz Gallery
© Chris McCaw

 

John Chiara (American, born 1971) 'Longview at Panorama' 2007

 

John Chiara (American, born 1971)
Longview at Panorama
2007
Dye destruction photograph on Ilfochrome paper
Image: 50.8 x 40.6 cm (20 x 16 in.)
Rose Gallery and Von Lintel Gallery
© John Chiara

 

John Chiara (American, born 1971) 'Grandview at Elysian' 2012

 

John Chiara (American, born 1971)
Grandview at Elysian
2012
Dye destruction photographs on Ilfochrome paper
Each image: 85.1 x 71.1 cm (33 1/2 x 28 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Trish and Jan de Bont
© John Chiara

 

John Chiara (American, born 1971) 'Starr King: 30th: Coral' 2013

 

John Chiara (American, born 1971)
Starr King: 30th: Coral
2013
Dye destruction photograph on Ilfochrome paper
Image: 83.8 x 71.1 cm (33 x 28 in.)
Kerstin Morehead
© John Chiara

 

John Chiara (American, born 1971) 'Sierra at Edison' 2012

 

John Chiara (American, born 1971)
Sierra at Edison
2012
Chromogenic photograph on Kodak Professional Endura Metallic paper
Image: 127 x 182.9 cm (50 x 72 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© John Chiara

 

Matthew Brandt (American, born 1982) '00036082-3 "Mathers Department Store, Pasadena, 1971"' 2013

 

Matthew Brandt (American, born 1982)
00036082-3 “Mathers Department Store, Pasadena, 1971”
2013
Gum bichromate print with dust from AT&T parking structure level 2
Image: 110.5 x 143.5 cm (43 1/2 x 56 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the artist and M+B
© Matthew Brandt, Source image courtesy of the Los Angeles Public Library Photo Collection

 

Matthew Brandt (American, born 1982) 'Rainbow Lake, WY A4' Negative 2012; print 2013

 

Matthew Brandt (American, born 1982)
Rainbow Lake, WY A4
Negative 2012; print 2013
Chromogenic print, soaked in Rainbow Lake water
Image: 76.2 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Matthew Brandt

 

Matthew Brandt (American, born 1982) 'Rainbow Lake, WY A20' Negative 2012; print 2013

 

Matthew Brandt (American, born 1982)
Rainbow Lake, WY A20
Negative 2012; print 2013
Chromogenic print, soaked in Rainbow Lake water
Image: 76.2 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Matthew Brandt

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 am – 5.30 pm
Saturday 10 am – 9 pm
Sunday 10 am – 9 pm
Monday closed

The J. Paul Getty Museum website

LIKE ART BLART ON FACEBOOK

Back to top




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,160 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

Error: Twitter did not respond. Please wait a few minutes and refresh this page.

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.

August 2017
M T W T F S S
« Jul    
 123456
78910111213
14151617181920
21222324252627
28293031  

Archives

Categories