Posts Tagged ‘Hong Hao

23
Feb
20

Exhibition: ‘Unseen: 35 Years of Collecting Photographs’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 17th December 2019 – 8th March 2020

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968) '[Calypso]' about 1944; before 1946

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968)
[Calypso]
about 1944; before 1946
Gelatin silver print
26.2 x 33.3 cm (10 5/16 x 13 1/8 in.)
The J. Paul Getty Museum, Los Angeles
© International Center of Photography

 

 

Imagine having these photographs in your collection!

My particular favourite is Hiromu Kira’s The Thinker (about 1930). For me it sums up our singular 1 thoughtful 2 imaginative 3 ephemeral 4 ether/real 5 existence.

“Aether is the fifth element in the series of classical elements thought to make up our experience of the universe… Although the Aether goes by as many names as there are cultures that have referenced it, the general meaning always transcends and includes the same four “material” elements [earth, air, water, fire]. It is sometimes more generally translated simply as “Spirit” when referring to an incorporeal living force behind all things. In Japanese, it is considered to be the void through which all other elements come into existence.” (Adam Amorastreya. “The End of the Aether,” on the Resonance website Feb 16, 2015 [Online] Cited 23/02/2020)

Dr Marcus Bunyan

.
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.

 

 

Carleton Watkins (American, 1829-1916) '[Guadalupe Mill]' 1860

 

Carleton Watkins (American, 1829-1916)
[Guadalupe Mill]
1860
Salted paper print
Image (dome-topped): 33.8 × 41.6 cm (13 5/16 × 16 3/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Martin Munkácsi (American, born Hungary, 1896-1963) 'The Goalie Gets There a Split Second Too Late' about 1923

 

Martin Munkácsi (American, born Hungary, 1896-1963)
The Goalie Gets There a Split Second Too Late
about 1923
Gelatin silver print
29.8 × 36.7 cm (11 3/4 × 14 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Martin Munkácsi, Courtesy Howard Greenberg Gallery, New York

 

Hiromu Kira (American, 1898-1991) 'The Thinker' about 1930

 

Hiromu Kira (American, 1898-1991)
The Thinker
about 1930
Gelatin silver print
27.9 × 35.1 cm (11 × 13 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Sadamura Family Trust

 

 

Hiromu Kira (1898-1991) was one of the most successful and well-known Japanese American photographers in prewar Los Angeles. He was born in Waipahu, O’ahu, Hawai’i on April 5, 1898, but was sent to Kumamoto, Japan, for his early education. When he was eighteen years old, he returned to the United States and settled in Seattle, Washington, where he first became interested in photography. In 1923, he submitted prints to the Seattle Photography Salon which accepted two of the photographs. In 1923, his work was accepted in the Pittsburg Salon and the Annual Competition of American Photography. He found work at the camera department of a local Seattle pharmacy and began meeting other Issei, Nisei and Kibei photographers such as Kyo Koike and joined the Seattle Camera Club.

In 1926, Kira moved to Los Angeles with his wife and two young children. Although he was never a member of the Japanese Camera Pictorialists of California, a group that was active in Los Angeles at that time, he developed strong friendships with club members associated with the pictorialist movement of the 1920s and ’30s such as K. Asaishi and T. K. Shindo. In 1928, Kira was named an associate of the Royal Photography Society, and the following year he was made a full fellow and began exhibiting both nationally and internationally. In 1929 alone, Kira exhibited ninety-six works in twenty-five different shows. In the late twenties, he worked at T. Iwata’s art store. In 1931, his photograph The Thinker, made while showing a customer how to use his newly purchased camera properly, appeared on the March 1931 issue of Vanity Fair magazine.

On December 5, two days before the attack on Pearl Harbor, Kira was selected to be included in the 25th Annual International Salon of the Camera Pictorialists of Los Angeles. Within a few months, he was forced to store his camera, photography books and prints in the basement of the Nishi Hongwanji Buddhist Temple in Little Tokyo, Los Angeles for the duration of World War II. He and his family were incarcerated at Santa Anita Assembly Center and the Gila River, Arizona concentration camp from 1942-44, leaving the latter in April 1944.

Following his release, he lived briefly in Chicago before returning to Los Angeles in 1946, where he remained for the rest of his life. In Los Angeles, he worked as a photo retoucher and printer for the Disney, RKO and Columbia Picture studios but never exhibited again as he had before the war.

Text from the Hiromu Kira page on the Densho Encyclopedia website [Online] Cited 23/02/2020

 

 

Marinus Jacob Kjeldgaard (Danish, 1884-1964, active Paris, France late 1930s - late 1940s) '[Collage: Balance of Powers]' about 1939

 

Marinus Jacob Kjeldgaard (Danish, 1884-1964, active Paris, France late 1930s – late 1940s)
[Collage: Balance of Powers]
about 1939
Gelatin silver print
28.5 × 32 cm (11 1/4 × 12 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Marinus Jacob Kjeldgaard

 

Paul Outerbridge (American, 1896-1958) '[Egg in Spotlight]' 1943

 

Paul Outerbridge (American, 1896-1958)
[Egg in Spotlight]
1943
Gelatin silver print
26.4x 34.4 cm (10 3/8 x 13 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2019 G. Ray Hawkins Gallery, Beverly Hills, CA

 

Emil Cadoo (American, 1926-2002) 'Children of Harlem' 1965

 

Emil Cadoo (American, 1926-2002)
Children of Harlem
1965
Gelatin silver print
20.3 × 25.2 cm (8 × 9 15/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Joyce Cadoo / Janos Gat Gallery
© Estate of Emil Cadoo, courtesy of Janos Gat Gallery

 

Anthony Hernandez (American, b. 1947) 'Los Angeles #1' 1969

 

Anthony Hernandez (American, b. 1947)
Los Angeles #1
1969
Gelatin silver print
18.9 × 28.4 cm (7 7/16 × 11 3/16 in.)
The J. Paul Getty Museum, Los Angeles, Purchased in part with funds provided by the Photographs Council
© Anthony Hernandez

 

William Eggleston (American, b. 1939) 'Dolls on Cadillac, Memphis' 1972

 

William Eggleston (American, b. 1939)
Dolls on Cadillac, Memphis
1972
Chromogenic print
25.4 × 38.1 cm (10 × 15 in.)
The J. Paul Getty Museum, Los Angeles
© Eggleston Artistic Trust

 

William Wegman (American, b, 1943) 'Dog and Ball' 1973

 

William Wegman (American, b, 1943)
Dog and Ball
1973
Gelatin silver print
The J. Paul Getty Museum, Los Angeles
© William Wegman

 

Marketa Luskacova (Czech, born 1944) 'Sclater St, Woman with Baby and Girl' 1975

 

Markéta Luskačová (Czech, b. 1944)
Sclater St, Woman with Baby and Girl
1975
Gelatin silver print
21 x 31.8 cm (8 1/4 x 12 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© Markéta Luskačová

 

 

Markéta Luskačová (born 1944) is a Czech photographer known for her series of photographs taken in Slovakia, Britain and elsewhere. Considered one of the best Czech social photographers to date, since the 1990s she has photographed children in the Czech Republic, Slovakia, and also Poland…

In the 1970s and 1980s, the communist censorship attempted to conceal her international reputation. Her works were banned in Czechoslovakia, and the catalogues for the exhibition Pilgrims in the Victoria and Albert Museum were lost on their way to Czechoslovakia.

Luskačová started photographing London’s markets in 1974. In the markets of Portobello Road, Brixton and Spitalfields, she “[found] a vivid Dickensian staging”.

In 2016 she self-published a collection of photographs of street musicians, mostly taken in the markets of east London, under the title To Remember – London Street Musicians 1975-1990, and with an introduction by John Berger.

Text from the Wikipedia website [Online] Cited 23/02/2020

 

Marketa Luskacova (Czech, b. 1944) 'Men around Fire, Spitalfields Market' Negative 1976, print 1991

 

Markéta Luskačová (Czech, b. 1944)
Men around Fire, Spitalfields Market
Negative 1976, print 1991
Gelatin silver print
22.8 x 32.9 cm (9 x 12 15/16 in.)
The J. Paul Getty Museum, Los Angeles
© Markéta Luskačová

 

Shigeichi Nagano (Japanese, born 1925, active Tokyo, Japan) '[Tokyo, Aobadai (Nishi Saigoyama Park), Meguro Ward]' 1988

 

Shigeichi Nagano (Japanese, 1925-2019, active Tokyo, Japan)
[Tokyo, Aobadai (Nishi Saigoyama Park), Meguro Ward]
1988
Gelatin silver print
26 × 39.4 cm (10 1/4 × 15 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Shigeichi Nagano

 

 

During the 1960s Nagano observed the period of intense economic growth in Japan, depicting the lives of Tokyo’s sarariman with some humour. The photographs of this period were only published in book form much later, as Dorīmu eiji and 1960 (1978 and 1990 respectively).

Nagano exhibited recent examples of his street photography in 1986, winning the Ina Nobuo Award. He published several books of his works since then, and won a number of awards. Nagano had a major retrospective at the Tokyo Metropolitan Museum of Photography in 2000.

Nagano died two months short of his 94th birthday, on January 30, 2019.

Text from the Wikipedia website

 

Catherine Opie (American, b. 1961) 'Untitled #15' 1997

 

Catherine Opie (American, b. 1961)
Untitled #15
1997
Inkjet print
40.6 × 104.1 cm (16 × 41 in.)
The J. Paul Getty Museum, Los Angeles
© Catherine Opie

 

Nan Goldin (American, b. 1953) 'Self Portrait, Red, Zurich' 2002

 

Nan Goldin (American, b. 1953)
Self Portrait, Red, Zurich
2002
Silver-dye bleach print
Framed [outer dim]: 72.4 x 104.1 cm (28 1/2 x 41 in.)
The J. Paul Getty Museum, Los Angeles
© Nan Goldin, courtesy of Matthew Marks Gallery and the artist

 

Hong Hao (Chinese, b. 1965) 'My Things No. 5 - 5,000 Pieces of Rubbish' 2002

 

Hong Hao (Chinese, b. 1965)
My Things No. 5 – 5,000 Pieces of Rubbish
2002
Chromogenic print
120 × 210.8 cm (47 1/4 × 83 in.)
The J. Paul Getty Museum, Los Angeles, Anonymous Gift
© Hong Hao, Courtesy of Chambers Fine Art

 

Veronika Kellndorfer (German, b. 1962) 'Succulent Screen' 2007

 

Veronika Kellndorfer (German, b. 1962)
Succulent Screen
2007
Silkscreen print on glass
288 × 351.5 cm (113 3/8 × 138 3/8 in.)
Gift of Christopher Grimes in honour of Virginia Heckert
The J. Paul Getty Museum, Los Angeles
© Veronika Kellndorfer

 

 

A three-panel silkscreen print on glass, Succulent Screen depicts a detail view of one of the signature miter-cut windows of Frank Lloyd Wright’s Freeman House. The house was built in the Hollywood Hills in 1923, was listed on the National Register of Historic Places in 1971 as a California Historical Landmark and as Los Angeles Historic-Cultural Monument #247 in 1981; it was bequeathed to the USC School of Architecture in 1986. (Text from the Getty Museum website)

 

Sharon Core (American, b. 1965) 'Early American, Strawberries and Ostrich Egg' 2007

 

Sharon Core (American, b. 1965)
Early American, Strawberries and Ostrich Egg
2007
Chromogenic print
42.8 x 56.8 cm (16 7/8 x 22 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© Sharon Core

 

 

The Getty Museum holds one of the largest collections of photographs in the United States, with more than 148,000 prints. However, only a small percentage of these have ever been exhibited at the Museum. To celebrate the 35th anniversary of the founding of the Department of Photographs, the Getty Museum is exhibiting 200 of these never-before-seen photographs and pull back the curtain on the work of the many professionals who care for this important collection in Unseen: 35 Years of Collecting Photographs, on view December 17, 2019 – March 8, 2020.

“Rather than showcasing again the best-known highlights of the collection, the time is right to dig deeper into our extraordinary holdings and present a selection of never-before-seen treasures. I have no doubt that visitors will be intrigued and delighted by the diversity and quality of the collection, whose riches will support exhibition and research well into the decades ahead,” says Timothy Potts, director of the J. Paul Getty Museum.

The exhibition includes photographs by dozens of artists from the birth of the medium in the mid-19th century to the present day. The selection also encompasses a variety of photographic processes, including the delicate cyanotypes of Anna Atkins (British, 1799-1871), Polaroids by Carrie Mae Weems (American, born 1953) and Mary Ellen Mark (American, 1940-2015) and an architectural photographic silkscreen on glass by Veronika Kellndorfer (German, born 1962).

Visual associations among photographs from different places and times illuminate the breadth of the Getty’s holdings and underscore a sense of continuity and change within the history of the medium. The curators have also personalised some of the labels in the central galleries to give voice to their individual insights and perspectives.

 

Growth of the collection

In 1984, as the J. Paul Getty Trust was in the early stages of conceiving what would eventually become the Getty Center, the Getty Museum created its Department of Photographs. It did so with the acquisition of several world-famous private collections, including those of Sam Wagstaff, André Jammes, Arnold Crane, and Volker Kahmen and Georg Heusch. These dramatic acquisitions immediately established the Museum as a leading center for photography.

While the founding collections are particularly strong in 19th and early 20th century European and American work, the department now embraces contemporary photography and, increasingly, work produced around the world. The collection continues to evolve, has been shaped by several generations of curators and benefits from the generosity of patrons and collectors.

 

Behind the scenes

In addition to the photographs on view, the exhibition spotlights members of Getty staff who care for, handle, and monitor these works of art.

“What the general public may not realise is that before a single photograph is hung on a wall, the object and its related data is managed by teams of professional conservators, registrars, curators, mount-makers, and many others,” says Jim Ganz, senior curator of photographs at the Getty Museum. “In addition to exposing works of art in the collection that are not well known, we wanted to shed light on the largely hidden activity that goes into caring for such a collection.”

 

Collecting Contemporary Photography

The department’s collecting of contemporary photography has been given strong encouragement by the Getty Museum Photographs Council, and a section of the exhibition will be dedicated to objects purchased with the Council’s funding. Established in 2005, this group supports the department’s curatorial program, especially with the acquisition of works made after 1945 by artists not yet represented or underrepresented in the collection. Since its founding, the Council has contributed over $3 million toward the purchase of nearly five hundred photographs by artists from Argentina, Australia, Canada, Japan, Korea, Malaysia, South Africa, and Taiwan, as well as Europe and the United States.

 

Looking ahead

The exhibition also looks towards the future of the collection, and includes a gallery of very newly-acquired works by Laura Aguilar (American, 1959-2018), Osamu Shiihara (Japanese, 1905-1974), as well as highlights of the Dennis Reed collection of photographs by Japanese American photographers. The selection represents the department’s strengthening of diversity in front of and behind the camera, the collection of works relevant to Southern California communities, and the acquisition of photographs that expand the understanding of the history of the medium.

“With this exhibition we celebrate the past 35 years of collecting, and look forward to the collection’s continued expansion, encompassing important work by artists all over the world and across three centuries,” adds Potts.

Unseen: 35 Years of Collecting Photographs is on view December 17, 2019 – March 8, 2020 at the Getty Center. The exhibition is organised by Jim Ganz, senior curator of photographs at the Getty Museum in collaboration with Getty curators Mazie Harris, Virginia Heckert, Karen Hellman, Arpad Kovacs, Amanda Maddox, and Paul Martineau.

Press release from the J. Paul Getty Museum [Online] Cited 09/20/2020

 

Hiroshi Sugimoto (Japanese, born 1948) 'Botanical Specimen (Erica mutabolis), March 1839' 2009

 

Hiroshi Sugimoto (Japanese, born 1948)
Botanical Specimen (Erica mutabolis), March 1839
2009
Toned gelatin silver print
93.7 x 74.9 cm (36 7/8 x 29 1/2 in.)
© Hiroshi Sugimoto

 

Julia Margaret Cameron (British, born India, 1815-1879) '[Spring]' 1873

 

Julia Margaret Cameron (British, born India, 1815-1879)
[Spring]
1873
Albumen silver print
35.4 × 25.7 cm (13 15/16 × 10 1/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Reverend William Ellis (British, 1794-1872) and Samuel Smith. '[Portrait of a Black Couple]' about 1873

 

Reverend William Ellis (British, 1794-1872) and Samuel Smith
[Portrait of a Black Couple]
about 1873
Albumen silver print
24.1 × 18.6 cm (9 1/2 × 7 5/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Prince Roland Napoleon Bonaparte (French, 1858-1924) 'Jacobus Huch, 26 ans' about 1888

 

Prince Roland Napoleon Bonaparte (French, 1858-1924)
Jacobus Huch, 26 ans
about 1888
Albumen silver print
15.9 × 10.9 cm (6 1/4 × 4 5/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Underwood & Underwood (American, founded 1881, dissolved 1940s) 'Les Chiens du Front, eux-mems, portent des masques contre les gaz' May 27, 1917

 

Underwood & Underwood (American, founded 1881, dissolved 1940s)
Les Chiens du Front, eux-mems, portent des masques contre les gaz
May 27, 1917
Rotogravure
22 × 20.4 cm (8 11/16 × 8 1/16 in.)
The J. Paul Getty Museum, Los Angeles

 

László Moholy-Nagy (American, born Hungary, 1895-1946) '[The Law of the Series]' 1925

 

László Moholy-Nagy (American, born Hungary, 1895-1946)
[The Law of the Series]
1925
Gelatin silver print
21.6 × 16.2 cm (8 1/2 × 6 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© 2019 Estate of László Moholy-Nagy / Artists Rights Society (ARS), New York

 

Martin Munkácsi (American, born Hungary, 1896-1963) 'Big Dummies' 1927-1933

 

Martin Munkácsi (American, born Hungary, 1896-1963)
Big Dummies
1927-1933
Gelatin silver print
33.5 × 26.7 cm (13 3/16 × 10 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Martin Munkácsi, Courtesy Howard Greenberg Gallery, New York

 

 

Munkácsi was a newspaper writer and photographer in Hungary, specialising in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi’s innovation was to make sport photographs as meticulously composed action photographs, which required both artistic and technical skill.

Munkácsi’s break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety. That notoriety helped him get a job in Berlin in 1928, for Berliner Illustrirte Zeitung, where his first published photo was a motorcycle splashing its way through a puddle. He also worked for the fashion magazine Die Dame.

More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and Liberia, for photo spreads in Berliner Illustrirte Zeitung.

The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crossed over a boat whose passengers wave to the airship above.

On 21 March 1933, he photographed the fateful Day of Potsdam, when the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for Berliner Illustrirte Zeitung, he photographed Hitler’s inner circle, although he was a Jewish foreigner.

Munkácsi left for New York City… Munkácsi died in poverty and controversy. Several universities and museums declined to accept his archives, and they were scattered around the world.

Text from the Wikipedia website [Online] Cited 23/02/2020

 

Erwin Blumenfeld (American, born Germany, 1897-1969) 'Hitlerfresse (Hitler's Mug)' January 30, 1933

 

Erwin Blumenfeld (American, born Germany, 1897-1969)
Hitlerfresse (Hitler’s Mug)
January 30, 1933
Gelatin silver print collage with ink
29.2 × 21.3 cm (11 1/2 × 8 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© The Estate of Erwin Blumenfeld

 

 

Blumenfeld was born in Berlin on 26 January 1897. As a young man he worked in the clothes trade and wrote poetry. In 1918 he went to Amsterdam, where he came into contact with Paul Citroen and Georg Grosz. In 1933 he made a photomontage showing Hitler as a skull with a swastika on its forehead; this image was later used in Allied propaganda material in 1943.

He married Lena Citroen, with whom he had three children, in 1921. In 1922 he started a leather goods shop, which failed in 1935. He moved to Paris, where in 1936 he set up as a photographer and did free-lance work for French Vogue. After the outbreak of the Second World War he was placed in an internment camp; in 1941 he was able to emigrate to the United States. There he soon became a successful and well-paid fashion photographer, and worked as a free-lancer for Harper’s Bazaar, Life and American Vogue. Blumenfeld died in Rome on 4 July 1969.

Text from the Wikipedia website [Online] Cited 23/02/3030

 

Paul Wolff (German, 1887-1951) and Dr Wolff & Tritschler OHG (German, founded 1927, dissolved 1963) '[Dog at the beach]' 1936

 

Paul Wolff (German, 1887-1951) and Dr Wolff & Tritschler OHG (German, founded 1927, dissolved 1963)
[Dog at the beach]
1936
Gelatin silver print
23.4 x 17.8 cm (9 3/16 x 7 in.)
The J. Paul Getty Museum, Los Angeles
© Dr Paul Wolff & Tritschler, Historisches Bildarchiv, D-77654 Offenburg, Germany

 

Barbara Morgan (American, 1900 - 1992) 'City Shell' 1938

 

Barbara Morgan (American, 1900-1992)
City Shell
1938
Gelatin silver print
49.2 × 39.4 cm (19 3/8 × 15 1/2 in.)
Reproduced courtesy of the Barbara and Willard Morgan Photographs and Papers, Library Special Collections, Charles E. Young Research Library, UCLA
The J. Paul Getty Museum, Los Angeles

 

Walker Evans (American, 1903 - 1975) '[Two Giraffes, Circus Winter Quarters, Sarasota]' 1941

 

Walker Evans (American, 1903-1975)
[Two Giraffes, Circus Winter Quarters, Sarasota]
1941
Gelatin silver print
15.1 × 18.3 cm (5 15/16 × 7 3/16 in.)
The J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art

 

Horst P. Horst (American, born Germany, 1906-1999) 'Hands, Hands' 1941

 

Horst P. Horst (American, born Germany, 1906-1999)
Hands, Hands
1941
Platinum and palladium print
23.7 × 17 cm (9 5/16 × 6 11/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Manfred Heiting
© The Estate of Horst P. Horst and Condé Nast

 

Erwin Blumenfeld (American, born Germany, 1897-1969) 'Maroua Motherwell, New York' 1941-1943

 

Erwin Blumenfeld (American, born Germany, 1897-1969)
Maroua Motherwell, New York
1941-1943
Gelatin silver print
48.5 x 38.7 cm (19 1/8 x 15 1/4 in.)
The J. Paul Getty Museum, Los Angeles
© The Estate of Erwin Blumenfeld

 

Henry Holmes Smith (American, 1909-1986) 'Photography Student' 1947

 

Henry Holmes Smith (American, 1909-1986)
Photography Student
1947
Gelatin silver print
11.4 × 9.6 cm (4 1/2 × 3 3/4 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Smith Family Trust
© J. Paul Getty Trust

 

 

Henry Holmes Smith (1909-1986) was an American photographer and one of the most influential fine art photography teachers of the mid 20th century. He was inspired by the work that had been done at the German Bauhaus and in 1937 was invited to teach photography at the New Bauhaus being founded by Moholy-Nagy in Chicago. After World War II, he spent many years teaching at Indiana University. His students included Jerry Uelsmann, Jack Welpott, Robert W. Fichter, Betty Hahn and Jaromir Stephany.

Smith was often involved in the cutting edge of photographic techniques: in 1931 he started experimenting with high-speed flash photography of action subjects, and started doing colour work in 1936 when few people considered it a serious artistic medium. His later images were nearly all abstract, often made directly (without a camera, i.e. like photograms), for instance images created by refracting light through splashes of water and corn syrup on a glass plate. However, although acclaimed as a photographic teacher, Holmes’ own photographs and other images did not achieve any real recognition from his peers.

Text from the Wikipedia website [Online] Cited 23/02/2020

 

Andreas Feininger (American, born France, 1906-1999) 'Elegant Disk Clam, dosinia elegans, Conrad' 1948

 

Andreas Feininger (American, born France, 1906-1999)
Elegant Disk Clam, dosinia elegans, Conrad
1948
Gelatin silver print
30.4 x 23.8 cm (11 15/16 x 9 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Gertrud E. Feininger

 

Alexander Rodchenko (Russian, 1891 - 1956) 'Roll (of Film)' 1950

 

Alexander Rodchenko (Russian, 1891-1956)
Roll (of Film)
1950
Gelatin silver print
30.5 × 24 cm (12 × 9 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2019 Estate of Alexander Rodchenko / UPRAVIS, Moscow / Artists Rights Society, NY

 

Otto Steinert (German, 1915-1978) 'Schlammweiher 2' Negative 1953, print about 1960s

 

Otto Steinert (German, 1915-1978)
Schlammweiher 2
Negative 1953, print about 1960s
Gelatin silver print
39.6 x 29.1 cm (15 9/16 x 11 7/16 in.)
The J. Paul Getty Museum, Los Angeles
Courtesy Galerie Johannes Faber

 

André Kertész (American, born Hungary, 1894-1985) 'Still Life with Snake' Negative 1960; print later

 

André Kertész (American, born Hungary, 1894-1985)
Still Life with Snake
Negative 1960; print later
Gelatin silver print
Image: 24.8 × 19.7 cm (9 3/4 × 7 3/4 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of André Kertész

 

Malick Sidibé (Malian, 1936-2016) 'Vues de dos' Nd, print 2003

 

Malick Sidibé (Malian, 1936-2016)
Vues de dos
Nd, print 2003
Gelatin silver print, glass, paint, cardboard, tape, and string
36.5 x 27 cm (14 3/8 x 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Malick Sidibé

 

Irving Penn (American, 1917-2009) 'Red Apples' July 15, 1985

 

Irving Penn (American, 1917-2009)
Red Apples
July 15, 1985
Silver-dye bleach print
25.4 × 20.3 cm (10 × 8 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Nancy and Bruce Berman
© 1985 Irving Penn

 

Lyle Ashton Harris (American, b. 1965) 'Man and Woman #1' 1987-1988

 

Lyle Ashton Harris (American, b. 1965)
Man and Woman #1
1987-1988
Gelatin silver print
74.3 x 48.9 cm (29 1/4 x 19 1/4 in.)
The J. Paul Getty Museum, Los Angeles
© Lyle Ashton Harris

 

Jim Dow (American, b. 1942) 'Doll Repair Shop Window, Buenos Aires, Argentina' 1990

 

Jim Dow (American, b. 1942)
Doll Repair Shop Window, Buenos Aires, Argentina
1990
Chromogenic print
51.2 × 40.6 cm (20 3/16 × 16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Nancy and Bruce Berman
© Jim Dow

 

Carrie Mae Weems (American, b. 1953) 'See No Evil' 1991

 

Carrie Mae Weems (American, b. 1953)
See No Evil
1991
Dye diffusion print (Polaroid Polacolor)
61 × 50.5 cm (24 × 19 7/8 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Daniel Greenberg and Susan Steinhauser
© Carrie Mae Weems

 

Myoung Ho Lee (South Korean, b. 1975) '[Tree #2]' 2006

 

Myoung Ho Lee (South Korean, b. 1975)
[Tree #2]
2006
Inkjet print
39.8 × 32.1 cm (15 11/16 × 12 5/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Myoung Ho Lee, Courtesy Yossi Milo Gallery, New York

 

Daniel Naudé (South African, born 1984) 'Africanis 18. Murraysburg, Western Cape, 10 May 2010' 2010

 

Daniel Naudé (South African, born 1984)
Africanis 18. Murraysburg, Western Cape, 10 May 2010
2010
60 x 60 cm (23 5/8 x 23 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Daniel Naudé

 

Pieter Hugo (South African, born 1976) 'Aissah Salifu, Agbogbloshie Market, Accra, Ghana' 2010

 

Pieter Hugo (South African, born 1976)
Aissah Salifu, Agbogbloshie Market, Accra, Ghana
2010
From the Permanent Error series
Digital chromogenic print
81.3 x 81.3 cm. (32 x 32 in.)
The J. Paul Getty Museum, Los Angeles
© Pieter Hugo

 

Mona Kuhn (German, born Brazil, 1969) 'Portrait 37' 2011

 

Mona Kuhn (German, born Brazil, 1969)
Portrait 37
2011
Chromogenic print
38.3 x 38.1 cm (15 1/16 x 15 in.)
The J. Paul Getty Museum, Los Angeles
© Mona Kuhn

 

Alison Rossiter (American, b. 1953) 'Eastman Kodak Azo E, expired May 1927, processed 2014' 2014

 

Alison Rossiter (American, b. 1953)
Eastman Kodak Azo E, expired May 1927, processed 2014
2014
Gelatin silver print
25 x 20 cm (9 13/16 x 7 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Alison Rossiter

 

 

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 – 5.30 pm
Monday closed

The J. Paul Getty Museum website

LIKE ART BLACK ON FACEBOOK

Back to top

17
Jan
20

Review: ‘Turning Points: Contemporary Photography from China’ at the National Gallery of Victoria, Melbourne

Exhibition dates: 22nd June 2019 – 27th January 2020

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne

 

 

Writing the body politic / broken

Ho hum, ho hum.

The exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria is an extension of the 2008 exhibition Body Language: Contemporary Chinese Photography with many of the same photographs being shown again, with new additions to the collection.

Nothing much seems to have changed in the last 12 years. Contemporary Chinese photography still concentrates on limited narratives based around the performing body, the body positioned in time and space in relation to history, memory, tradition, culture and consumerism. What the “turning points” are in the title of this exhibition remains unclear. Turning points for who? The art, the artists, the stories they tell, or the restrictive nature of contemporary Chinese culture.

Certain things remain constant: an emphasis on the performing body, (its) theatrical style, (in) elaborate tableaux, contemporary consumer society, urban reconstruction, and tradition and change. The body is usually isolated against contextless backgrounds, free floating, paired with a rather stilted iconography derived from Chinese culture – coins, calligraphy, statues, spirits, tattoos as traditional historical painting, calligraphy, buildings, revolution – focusing on “the dismantling of tradition during a period of rampant consumerism and modernisation.”

Even while these artists apparently possess, “an urgent desire to explore individual and social identity in a time of unprecedented change … that reflect the tensions in Chinese society as the processes of social change meet traditional culture and expectations head-on”, no/body mentions the elephant in the room – the repressive and aggressive nature of the Chinese government, it’s suppression of dissent both internally and externally, its appalling human rights record and its expansionist policy in the South China Sea. The paradox is that while, “Hai Bo’s paired portraits illustrate the cultural shifts that have occurred over forty years as people in China have become increasingly able to show their individuality”, that individuality is closely controlled by the State. Step out of line, as many artists have found to their peril, and you are soon done for.

No mention here of the 1989 Tiananmen Square protests, the current democracy protests in Hong Kong, or the recently released report by Human Rights Watch (HRW) which contains a damning essay on China’s “global threat” to human rights. No other government “flexes its political muscles with such vigour and determination to undermine the international human rights standards and institutions that could hold it to account.” The HRW report cites a slew of violations ranging from the mass detention of Uyghur Muslims in the far-western autonomous region of Xinjiang, to increased censorship, to the use of technologies for mass surveillance and social control. Nothing to see here!

The work of most of the artists in this exhibition seems insular, inward looking – chained to the country’s past and present, memory and history, culture and its re/constitution. Addressing its constitution through supplication. Addressing the representation of institutional power in socialist regimes through images with heroic overtones. It’s almost as if these artists are painting symbols, painting a monosyllabic mythology of how their country was and is now with no turning point in sight. Parsing on ancient and modern to no great effect.

The only two artists who really lay it on the line, who confront the dragon, are Rong Rong’s photographs of a performance by artist Zhang Huan titled 12 square metres (1994, below) in which the artist sat naked, smeared in honey and fish oil in a local public toilet for an hour before cleansing himself in a polluted pond; and Sheng Qi’s Memories (Mother), Memories (Me) and Memories (Mao) (2000, below) in which the artist was deeply affected by the changed political climate following the Tiananmen Square protests of 1989 and uses his disfigurement “as the backdrop for a series of self-portraits that juxtapose his past and present.”

These are the photographs that I will remember. The others, stolid, prosaic, are lost.

Dr Marcus Bunyan

.
Many thankx to the National Gallery of Victoria for allowing me to publish the images in the posting. All installation images are by Dr Marcus Bunyan and proceed in a clockwise direction around the exhibition. Please click on the photographs for a larger version of the image.

 

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing Cang Xin (Chinese, b. 1967) Six photographs from the Communication series (1996-2006)

 

Cang Xin (Chinese, 1967) 'Communication' 1996-2006ommunication 1999-b

 

Cang Xin (Chinese, 1967)
Communication
1996-2006
Type C photograph ed. 10/10
Gift of Larry Warsh, 2016
National Gallery of Victoria, Melbourne
© Courtesy of the artist

 

Cang Xin (Chinese, 1967) 'Communication' 1996-2006ommunication 1999-b

 

Cang Xin (Chinese, 1967)
Communication
1996-2006
Type C photograph ed. 10/10
Gift of Larry Warsh, 2016
National Gallery of Victoria, Melbourne
© Courtesy of the artist

 

 

Cang Xin is a celebrated performance artist who uses photography as an adjunct to his practice. In these photographs he is documenting a ritualistic performance in which he licks various objects that have a symbolic resonance for him. Each object has a link to China and its history, although those meanings remain intentionally obscured and subjective. The artist literally experiences the objects through a sense of taste and a physical action; the intimate act of licking becomes a gesture of communication or communion with the past.

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing at left, Qiu Zhijie (Chinese, b. 1969) Tattoo no. 7 (1994); at second left, Rong Rong (Chinese, b. 1968) East Village Beijing no. 15 (1994); and at middle right, Zhang Huan (Chinese, b. 1965) Shanghai family tree (2001)

 

Qiu Zhijie (Chinese, b. 1969) 'Tattoo no. 7' 1994

 

Qiu Zhijie (Chinese, b. 1969)
Tattoo no. 7
1994
From the Tattoo series 1994
Type C photograph, ed. 8/10
101.6 x 76.2 cm
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016
© Courtesy of the artist

 

 

In his Tattoo series, Qui Zhijie overlays self-portraits with drawings, images and objects, such as the coins shown here. Discussing this series, he writes, ‘The Tattoo series focuses on the problematic relationship between an image and its background … In this series the two find common ground. The substance of the subject, the weight of the person, and the physicality of the figure all dissolve … This series is a response to the futility and drowning of the individual brought about by the onslaught of the Chinese media culture which began to develop during the 1990s’.

 

Rong Rong (Chinese, b. 1968) 'East Village Beijing no. 15' 1994

 

Rong Rong (Chinese, b. 1968)
East Village Beijing no. 15
1994
Gelatin silver photograph, coloured dyes
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016

 

 

Rong Rong is well known for his images that show the lives and activities of the avant-garde Beijing East Village artistic community during the 1990s. This photograph is one of a series created to document a famous performance by fellow artist Zhang Huan, during which Zhang covered his naked body with honey and fish oil and sat on a stool in a public toilet, allowing flies to swarm over his body. Rong Rong’s photographs, made throughout the performance, form a crucial record of this performative action that was intended to comment on the squalid conditions in which the artists were living.

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation views of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing Zhang Huan (Chinese, b. 1965) Shanghai family tree (2001)

 

Zhang Huan (Chinese, b. 1965) 'Shanghai family tree' 2001

 

Zhang Huan (Chinese, b. 1965)
Shanghai family tree
2001
Type C photographs ed. 25/25
National Gallery of Victoria, Melbourne
Purchased with funds donated by Jason Yeap and Min Lee Wong, 2008
© Zhang Huan Studio

 

 

The faces of the two young men and the young woman in Zhang Huan’s suite of nine photographs are used like the blank pages in a book carrying an increasingly oppressive weight of words. The Chinese characters inscribed on their faces gradually obliterate their features and identities. In the final photograph, the trio are shown in front of a new housing development in Shanghai. Their features are totally obscured, suggesting a parallel between the loss of personal identity and the rapid pace of development that is rendering the city unrecognisable.

In 1999 the internationally renowned Chinese performance and video artist, sculptor and photographer Zhang Huan wrote of his distinctive approach to his practice: ‘The body is the only direct way through which I come to know society and society comes to know me. The body is proof of identity. The body is language’. The complex tangle of history and tradition that can override the individual appears as a theme in much of Zhang Huan’s avant-garde performances and photographs and, as seen in this work, is frequently expressed through the use of language. In Shanghai family tree Zhang Huan (to the left) poses with a man and woman, their faces becoming increasingly obscured by Chinese characters. This work seems to suggest the importance of language which, while it can overwhelm the individual, undoubtedly also helps define a person’s relationship to society.

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation views of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing two photographs from Zhuang Hui’s One and Thirty series (1996)

 

Zhuang Hui (Chinese, b. 1963) 'Untitled' 1996

 

Zhuang Hui (Chinese, b. 1963)
Untitled
1996
From the One and Thirty
Type C photograph, ed. 3/3
61.0 x 51.0 cm
National Gallery of Victoria, Melbourne
Gift of Larry Warsh in honour of Tony Ellwood, Director NGV, 2018
© Courtesy of the artist

 

 

The series title of these photographs, One and Thirty, is didactic. There are ‘thirty’ portraits in the sequence and ‘one’ figure who appears in each image, the ever-smiling figure of the artist. Each photograph shows Zhuang Hui posed with an individual he has selected as the representative of a particular vocational or social group. In one of the works shown here Zhuang is photographed seated beside an older man holding a baby on his knee, a classic doting grandfather; in the other image he is photographed with a smartly dressed, young professional woman.

 

Wang Qingsong (Chinese, b. 1966) 'Standard family' 1996

 

Wang Qingsong (Chinese, b. 1966)
Standard family
1996
Type C photograph, ed. 8/30
48.2 x 124.4 cm
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2017
© Courtesy of the artist

 

 

Wang Jinsong’s Standard family project investigates contemporary Chinese culture and the effects of the one-child policy, which was introduced in China in the 1970s as a means of curbing population growth. Without any clear agenda or critical stance, Wang invited families to participate in photo shoots where the parents invariably elected to pose flanking their lone child. When the images are repeated and presented in a grid, the ‘standard’ nature of the family unit becomes evident, allowing for a reading of generic poses and expressions across the various families, and inviting speculation and commentary on the effects of collectivism when imposed on social structures.

 

Wang Qingsong (Chinese, b. 1966) 'Standard family' 1996 (detail)

 

Wang Qingsong (Chinese, b. 1966)
Standard family (detail)
1996
Type C photograph, ed. 8/30
48.2 x 124.4 cm
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2017
© Courtesy of the artist

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation views of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing Qiu Zhijie’s Standard Pose series (1996-98)

 

Qiu Zhijie (Chinese b. 1969) 'Fine series A' 1996-98

 

Qiu Zhijie (Chinese b. 1969)
Fine series A
1996-98
From the Standard Pose series 1996-98
Type C photograph, ed. 9/10
58.0 x 61.0 cm
National Gallery of Victoria, Melbourne Gift of Larry Warsh, 2016
© Courtesy of the artist

 

 

In common with many photographers working in China in the 1990s, Qiu Zhijie uses the performing body in his images. Throughout his career he has combined performance, video and photography to create works that explore ideas of history, individuality and identity in contemporary China. The four photographs from the Standard Pose series reference propaganda images produced during the Cultural Revolution and consider the failure of the future that they promised. Photographed in a simple studio setting and wearing contemporary clothes, the models, with their overly dramatic poses and facial expressions, appear comical rather than heroic.

 

Qiu Zhijie (Chinese b. 1969) 'Fine series C' 1996-98

 

Qiu Zhijie (Chinese b. 1969)
Fine series C
1996-98
From the Standard Pose series 1996-98
Type C photograph, ed. 9/10
58.0 x 61.0 cm
National Gallery of Victoria, Melbourne Gift of Larry Warsh, 2016
© Courtesy of the artist

 

Qiu Zhijie (Chinese b. 1969) 'Fine series D' 1996-98

 

Qiu Zhijie (Chinese b. 1969)
Fine series D
1996-98
From the Standard Pose series 1996-98
Type C photograph, ed. 9/10
58.0 x 61.0 cm
National Gallery of Victoria, Melbourne Gift of Larry Warsh, 2016
© Courtesy of the artist

 

 

Turning Points: Contemporary Photography from China explores the work of established and emerging photo-artists working in a time of rapid social and economic change.

In the 1990s, Chinese photography became one of the most dynamic and exciting areas in contemporary international art. Artists in China increasingly began to use photography to not only to document their lives but to question and challenge the status quo. The ‘first generation’ of contemporary Chinese artists included here – those born in the 1960s – examined the societal impact of the Cultural Revolution, and reflected on their own and their families’ personal experiences. The next generation of photographers, born in the 1980s and later, bring not only different life experience, having come of age in the twenty-first century, but are actively engaged with the global community in ways that were not possible in previous decades.

The works included in this exhibition offer commentaries on individuality and identity, cultural change, the transformation of Chinese cities, and the impact of consumerism and globalisation on contemporary society.

The National Gallery of Victoria began to collect contemporary Chinese photography in 2004, and in 2008 presented the exhibition Body Language: Contemporary Chinese Photography. Since that time the Gallery has continued to build this aspect of the collection.

More recently, in 2016 and 2017, the NGV photography collection was transformed through the generosity of Larry Warsh. An American collector, publisher and founder of AW Asia, a private organisation and exhibition space in New York, Warsh presented a suite of twenty-nine contemporary Chinese photographs as a gift to the Gallery. His donation comprises works by some of the most important Chinese photographic artists working in the 1990s and early 2000s, including Hong Lei, Rong Rong and Wang Qingsong. Warsh’s presentation effectively doubled the NGV’s holdings of contemporary Chinese photography, and this exhibition, which includes a number of works from this important gift, was made possible because of his generosity.

Text from the National Gallery of Victoria website [Online] Cited 23/12/2019

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing at left, Wang Qingsong’s City walls (2002); at second left bottom Zhang Dali 2001 42A (2001) from the Demolition and Dialogue series; at centre, Chi Peng’s Apollo in transit (2005); at centre right, Yang Yongliang’s Eclipse (2008); and at right Huang Yan’s Chinese landscape – Tattoo (1999)

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation views of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing Wang Qingsong’s City walls (2002)

 

 

Wang Jinsong’s photograph shows aspects of the architecture and history of Beijing, drawing attention to the abandonment of time-honoured buildings, homes and ways of living. City walls comprises a grid of 360 images of buildings in Beijing. The great majority of the photographs are of generic concrete constructions, printed in a grey monotone. Interspersed among these are richly coloured images showing traditional architecture. The placement of the photographs in a grid creates an immediate visual link to the idiosyncratic brick construction of the older buildings, which are rapidly being replaced by new, uniform reinforced concrete structures.

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation views of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing at top, Weng Fen’s On the wall: Guangzhou (4) (2002) and at bottom, Zhang Dali’s 2001 42A (2001)

 

Zhang Dali (Chinese, b. 1963) '2001 42A' 2001

 

Zhang Dali (Chinese, b. 1963)
2001 42A
2001
from the Demolition and dialogue series
type C photograph
63.5 × 114.0 cm
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016
© Courtesy of the artist

 

 

This photograph, showing a partially demolished wall emblazoned with a large-scale painted outline of the artist’s head and his pseudonym, AK-47, brings together several aspects of the practice of multidisciplinary artist Zhang Dali. Zhang went into self-imposed exile from China in 1989 and when he returned to Beijing six years later, he found his home was in the midst of rapid change. Zhang wanted to protest the loss of traditional buildings, document the ruined remnants before they were swept away, and convey his sense of the loss of history and identity that was a consequence of those changes.

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation views of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing Chi Peng’s Apollo in transit (2005)

 

 

Chi Peng’s works often contain naked figures spiriting or running through ‘history’, while refusing any start or ending of their visual narrative. Unravelling like a traditional Chinese scroll, the red brick wall surrounding the Forbidden City extends the length of this digitally altered panoramic image. The artist has inserted repeat images of himself running left to right alongside the wall, in front of a variety of onlookers. A metaphor for East / West relations, this theatrical image brings together potent symbols of traditional and contemporary life in China.

 

Yongliang Yang (Chinese, b. 1980) 'Eclipse' 2008

 

Yongliang Yang (Chinese, b. 1980)
Eclipse
2008
From the On the quiet water, heavenly city series 2008
Inkjet print 73.0 x 200.0 cm (image) 81.6 x 208.2 cm (sheet)
National Gallery of Victoria, Melbourne
Presented by the Mering Corporation Pty Ltd through the Australian Government’s Cultural Gifts Program, 2012
© Yang Yongliang

 

Yongliang Yang (Chinese, b. 1980) 'Eclipse' 2008 (detail)

 

Yongliang Yang (Chinese, b. 1980)
Eclipse (detail)
2008
From the On the quiet water, heavenly city series 2008
Inkjet print 73.0 x 200.0 cm (image) 81.6 x 208.2 cm (sheet)
National Gallery of Victoria, Melbourne
Presented by the Mering Corporation Pty Ltd through the Australian Government’s Cultural Gifts Program, 2012
© Yang Yongliang

 

 

Yang Yongliang creates an optical illusion by combining elements of a traditional Chinese shānshuǐ (mountain-water) landscape painting with imagery from modern Shanghai life. From afar, the work appears to be a watercolour on paper, representing misty mountains and an ethereal sea stretching to the horizon. Upon closer inspection, the ghostly formations are revealed as digitally constructed collages of apartment blocks, buildings, construction sites and giant cranes. The built metropolis becomes indistinguishable from the natural landscape, highlighting the insidious modernisation, construction and environmental degradation characteristic of contemporary existence.

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation views of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing Huang Yan’s Chinese landscape – Tattoo No. 4 and Chinese landscape – Tattoo No. 1 (1999)

 

Huang Yan (Chinese, b. 1966) 'Chinese landscape - Tattoo (Number 1)' 1999, printed 2004

 

Huang Yan (Chinese, b. 1966)
Chinese landscape – Tattoo (Number 1)
1999, printed 2004
Type C photograph, ed. 2/12
80.1 x 108.0 cm irreg. (image and sheet)
National Gallery of Victoria, Melbourne
Purchased, 2004
© Huang Yan, courtesy of Red Gate Gallery, Beijing

 

 

Prior to commencing his photography practice in the 1990s, Huang Yan trained as a painter. His recent work combines the centuries-old, traditional style of landscape painting with new technology; the images are contemporary while also affirming traditional Chinese culture and values. The artist alludes to complex traditions in this ‘self-portrait’ in which his bare chest is painted with a traditional shānshuǐ (mountain-water) landscape painting. The title of the work implies permanence, yet the scenes painted on the body are ephemeral, suggesting the fragility of the natural environment and the transience of the body.

 

Hong Lei (Chinese, b. 1960) 'After Zhao Ji's loquat and birds (Song dynasty)' 1999

 

Hong Lei (Chinese, b. 1960)
After Zhao Ji’s loquat and birds (Song dynasty)
1999
Type C photograph, ed. 9/10
60.9 x 76.2 cm
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016
© Courtesy of the artist

 

Hong Lei (Chinese, b. 1960) 'Autumn in the Forbidden City' 1998

 

Hong Lei (Chinese, b. 1960)
Autumn in the Forbidden City
1998
Type C photograph, ed. 7/10
60.9 x 76.2 cm
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016
© Courtesy of the artist

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing at centre, Wang Qingsong’s Preincarnation (2002) and at right, Shi Guowei’s Cactus garden (2016)

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing one image from Wang Qingsong’s Preincarnation (2002)

 

 

Wang Qingsong works in a theatrical style, constructing and photographing elaborate tableaux in which his models play the roles of characters from traditional Chinese stories and paintings, popular culture and Western historical painting. In the foreground of this work, men carry tools to vandalise or disassemble giant sacred ‘sculptures’ standing atop lotus thrones. The title suggests that the man has been reborn into the past, and upon arriving in Chinese pre-history, is set to destroy it in his relentless pursuit of materialism. This work alludes to China’s relationship with its early history, and the dismantling of tradition during a period of rampant consumerism and modernisation.

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing Shi Guowei’s Cactus garden (2016)

 

Shi Guowei (Chinese, b. 1977) 'Cactus garden' 2016

 

Shi Guowei (Chinese, b. 1977)
Cactus garden
2016
Gelatin silver photograph, colour dyes
Purchased NGV Foundation, 2017

 

 

Shi Guowei’s subtly coloured image is created through the application of layered pigment to the surface of the photograph. In some areas of the work, the colour is applied with lifelike precision, in others it registers as being ‘not quite right’. His palette recalls that of early colour photographs in which the colour fades or shifts over time, creating a nostalgic quality; however, it also creates an awareness of the artificiality inherent in the scene. Although the planting in this cactus garden is ‘naturalistic’, it is clearly a constructed landscape, and not the wild arid landscape it would seem at first glance.

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing at top, Sheng Qi’s Memories (Mother), Memories (Me) and Memories (Mao) (2000)

 

 

Sheng Qi was a key member of the ’85 New Wave art movement in China that championed freedom of expression in the arts over state-approved Social Realism. He was deeply affected by the changed political climate following the Tiananmen Square protests of 1989, and responded in a physically direct and shocking way. He cut off the little finger of his left hand, buried it in a flowerpot, and went into self-imposed exile in Rome. When he returned to Beijing a decade later, he used his disfigured hand as the backdrop for a series of self-portraits that juxtapose his past and present.

 

Sheng Qi (Chinese, b. 1965) 'Memories (Me)' 2000, printed 2004

 

Sheng Qi (Chinese, b. 1965)
Memories (Me)
2000, printed 2004
Type C photograph, ed. 2/5
119.1 x 80.5 cm irreg. (image) 126.9 x 86.9 cm irreg. (sheet)
National Gallery of Victoria, Melbourne
Purchased, 2004
© Sheng Qi, courtesy of Red Gate Gallery, Beijing

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing at left, Wang Qingsong’s Another battle no. 3 (2001) and at right, Hong Hao’s My things no. 2 (2001-02)

 

Zhuang Hui (Chinese, b. 1963) 'Untitled' 1996

 

Wang Qingsong (Chinese, b. 1966)
Another battle no. 3
2001
Type C photograph, ed. 1/20
100.0 x 66.0 cm
National Gallery of Victoria, Melbourne Gift of Larry Warsh, 2016
© Wang Qingsong

 

 

Wang Qingsong works in a theatrical style, constructing and photographing elaborate tableaux in which his models play the roles of characters from traditional Chinese stories and paintings, contemporary life, popular culture, and Western historical painting. In this work he shows a wounded soldier, trapped behind the battlelines, caught between gunfire and razor wire that is littered with soft-drink cans, one of the most common forms of litter found globally. In this highly theatrical image Wang has taken imagery from popular cinema and used it to highlight the challenges presented by Western-style consumerism.

 

Hong Hao (Chinese, b. 1965) 'My things no. 2' 2001-02

 

Hong Hao (Chinese, b. 1965)
My things no. 2
2001-02
Type C photograph, ed. 6/15
59.6 x 101.6 cm
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016
© Courtesy of the artist

 

Completely filled from edge to edge with ordinary, domestic objects, this image is a visual archive of things used by the artist in everyday life. Describing his creative process, Hong Hao writes, ‘Day by day, I put my daily consumed objects into a scanner piece by piece, like keeping a visual diary. After scanning the original objects, I’ll save them in digital forms and categorise these digital files into different folders [on] my PC, in order to make a collage of them later on. This task, like a yogi’s daily practice, has become a habit in my day-to-day life as well as a tool to observe the human condition in contemporary consumer society’.

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing Wang Jinsong’s One hundred signs of demolition #1980 (1998)

 

Wang Jinsong (Chinese, 1963) 'One hundred signs of demolition #1980' 1998

 

Wang Jinsong (Chinese, 1963)
One hundred signs of demolition #1980
1998
Type C photograph ed. 22/30
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016
© Courtesy of the artist

 

Wang Jinsong (Chinese, 1963) 'One hundred signs of demolition #1995' 1998

 

Wang Jinsong (Chinese, 1963)
One hundred signs of demolition #1995
1998
Type C photograph ed. 22/30
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016
© Courtesy of the artist

 

 

The two photographs from the series One Hundred Signs of Demolition show the Chinese character ‘chai’, meaning ‘demolition’, that is commonly painted on the walls of buildings earmarked for destruction. For Wang Jinsong it has become a symbol of the inexorable push for urban reconstruction. In his photographs ‘chai’ came to stand for the loss of the ancient city, where buildings were once on a domestic scale and constructed to facilitate interaction in communal space, and their replacement with more socially isolating multistorey tower blocks.

 

Wang Qingsong (Chinese, b. 1966) 'Last supper' 1997

 

Wang Qingsong (Chinese, b. 1966)
Last supper
1997
Type C photograph, ed. 3/20
30.5 x 100.0 cm
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016
© Courtesy of the artist

 

 

Last supper was one of a number of photographs commissioned for the exhibition Christian Dior and Chinese Artists that opened at the Ullens Center for Contemporary Art (UCCA), Beijing, in 2008. The work references the iconography of Western paintings of Christian subjects, in particular depictions of the Last Supper; however, in place of the twelve disciples Wang presents fashion models, and the simple meal traditionally depicted in Western art has been replaced with a feast of digitally enhanced, oversized, unnaturally perfect fruit and vegetables. The result is an image of affluence and excess.

 

Hai Bo (Chinese, b. 1962) 'I am Chairman Mao's Red Guard' 2000

 

Hai Bo (Chinese, b. 1962)
I am Chairman Mao’s Red Guard
2000
Type C photograph, ed. 9/18
40.6 x 60.9 cm
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016
© Courtesy of the artist

 

 

Hai Bo’s paired portraits illustrate the cultural shifts that have occurred over forty years as people in China have become increasingly able to show their individuality. In this image, a photograph of a young woman proudly wearing the uniform of the student paramilitary movement, known as the Red Guard, and holding Mao’s Quotations from Chairman Mao Zedong (commonly known as the Little Red Book) is shown counterpointed by a contemporary picture of the same person, now a smiling middle-aged woman wearing a floral dress. Such a garment would have been unthinkable – and unattainable – forty years earlier.

 

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

Installation view of the exhibition 'Turning Points: Contemporary Photography from China' at the National Gallery of Victoria, Melbourne

 

Installation view of the exhibition Turning Points: Contemporary Photography from China at the National Gallery of Victoria, Melbourne showing Hai Bo’s Wood horse (1999)

 

Hai Bo (Chinese, 1962) 'Wood horse' 1999

 

Hai Bo (Chinese, 1962)
Wood horse
1999
Gelatin silver photograph ed. 16/20
National Gallery of Victoria, Melbourne
Gift of Larry Warsh, 2016
© Courtesy of the artist

 

 

NGV International
180 St Kilda Road

Opening hours:
Daily 10am – 5pm

National Gallery of Victoria website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Sleep/Wound’ 1995-96


Marcus Bunyan black and white archive: 'Sleep/Wound' 1995-96 *PLEASE NOTE THIS POSTING CONTAINS PHOTOGRAPHS OF MALE NUDITY - IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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

Join 2,660 other followers

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

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

July 2020
M T W T F S S
 12345
6789101112
13141516171819
20212223242526
2728293031  

Archives

Categories