Posts Tagged ‘Huis Marseille

27
Aug
17

Exhibition: ‘Lionel Wendt: Ceylon’ at Huis Marseille, Amsterdam

Exhibition dates: 10th June 2017 – 3rd September 2017

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

 

Glorious modernist photographs with avant-garde and surrealist overtones: the use of photomontage, double printing and solarisation is particularly effective.

The sensitive figure studies of males in classical pose carry an over current of barely surpressed desire evidencing a sexualised (post-colonial?) gaze falling on the exotic Other – even as Wendt was part of an emerging generation of artists documenting Sri Lanka’s culture and history from the inside.

More interesting than desire hiding through artistic ethnographic study are the landscapes, abstracts of coils of rope and the voluptuous female nudes. Stunning.

The media images were in such poor condition when I received them that I have spent a long time digitally cleaning and balancing them for your pleasure.

Marcus

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

 

 

“Lionel Wendt was the central figure of a cultural life torn between the death rattles of the Empire and a human appraisal of the untapped values of Ceylon.”

.
Pablo Neruda, Memoirs

 

“The proposition that confronted Wendt was that Sri Lanka had a way of life that was very old but which remained, in spite of poverty, squalor and apathy, a vital sense of life. He recognised that here man, living in traditional ways, had not become alienated from his environment… Evidence of his deep regard for Sri Lanka and its traditions are illustrated in the images he chose to capture with his camera, each being a tiny microcosm of a vast and magnificent tapestry. It was recognised by all those who knew him that Wendt had an endless capacity for work. He focussed on the country and the people with unerring judgement and relentless dedication, and in doing this, he stimulated a new consciousness among them and (just as pertinent) in some high places.”

.
Neville Weeraratne

 

“He never spoke much about his photography. I expect he wanted his images to speak for themselves and he never spoke of them or about himself. I suppose he was so critical of everybody else that he did not want to expose himself to the same treatment. He did not reveal himself. He was a very interior person. He showed no emotion though he expressed a great passion for things. Perhaps he was hypocritical.”

.
Lester James Peiris

 

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title (Self-portrait)
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

 

There is something special going on with regard to the oeuvre of Ceylonese photographer Lionel Wendt (1900-1944). After a period of relative obscurity, Wendt was rediscovered – or discovered, in fact – worldwide as a unique, individualistic photographer who availed himself of experimental techniques and modern compositions. Wendt’s choice of subjects was eclectic: from sensual and homo-erotic portraits to tropical images of Ceylon (now Sri Lanka), and from picturesque scenes to compositions for which he used modernist stylistic devices and experimental techniques. After Wendt’s premature death in 1944 his negatives were destroyed, but the work he left behind lives on. This consists of a collection of beautiful experimental prints, of which several are included in the renowned collections of such museums as Tate Modern in London and Rijksmuseum in Amsterdam. This year, Wendt’s work is being exhibited at Documenta 14 in Athens and, from 10 June till 3 September 2017, in a large-scale retrospective exhibit at Huis Marseille, which shines a spotlight on the fascinating work of this photographer in all its facets.

 

Who was Lionel Wendt?

Lionel Wendt was a concert pianist, author, patron of the arts, teacher and, above all, a first-class photographer. After having studied law and musical training as a concert pianist in Great Britain, Wendt returned to the city of his birth, Colombo in Ceylon, at the age of 24. It did not take long for him to dedicate himself fully to the arts after his return: piano, literature and the visual arts. It was particularly in photography that he found an ideal vehicle for expression. In 1934, he established the Photographic Society of Ceylon jointly with Bernard G. Thornley and P.J.C. Durrant, and started running Chitrafoto, the photographic studio of the Associated Newspapers of Ceylon and in which he also published a photographic column, in 1938. Wendt developed into a prominent avant-gardist – the ‘Oscar Wilde’ of the Ceylonese arts scene. His first solo exhibition took place in 1938 at the Camera Club in London, at the invitation of Ernst Leitz, the inventor and manufacturer of the Leica. Two years later, a solo exhibition followed in Colombo entitled Camera Work, probably in reference to Alfred Stieglitz’s avantgardist photography magazine of the same name.

 

Tropical modernism, masterful prints

Initially, Wendt used a Rolleiflex for his photography, which he quickly replaced by a Leica. From approximately 1933 onwards, he started to print his film in his own darkroom, where he soon showed himself to be a master. He made refined bromide and gelatine silver prints with subtle shades of grey and gradations of black, which gave his nudes and landscapes a velvet-like quality. Wendt allowed himself to be inspired by the ‘straight photography’ of Paul Strand and Edward Weston and the surrealistic experiments of Man Ray, and experimented with techniques such as photogram, photomontage, double printing and solarisation.

 

Homosexuality, hiding in plain sight

Wendt’s work includes spectacular images of Ceylon: its landscapes, cultural heritage and local population, photographed during everyday activities or traditional rituals. However, his sensual homoerotic nudes are particularly astounding. In a time and at a place where homosexuality was not accepted, Wendt had his male subjects (men and boys) pose in the landscape or in his studio. Through the traditional Ceylonese loincloths worn by his subjects, which leave little to the imagination, and the academic poses he asked them to take, he was able to express his homosexuality under the guise of art and ethnography. He also created portraits of the members of the island’s avant-garde movement. Wendt played a significant role in the development of modernist painting on Ceylon; he acted as a patron of the arts and his house was a meeting place for the ’43 Group, the artistic movement that was a predecessor of Ceylonese modernism.

 

A dormant legacy reawakens

Following Wendt’s early death in 1944 his work sank into oblivion. In the course of time the hundreds of prints that comprise his legacy came into the possession of several collectors, galleries and museums. After having led a dormant existence for several decades, Wendt’s work was once again brought to the attention of the public in 1994.

 

Large-scale museum retrospective in the Netherlands

From 10 June through 3 September 2017, Huis Marseille is presenting the first museum solo exhibition of Lionel Wendt in the Netherlands, in collaboration with the Ton Peek Gallery (Utrecht) and Jhaveri Contemporary Gallery (London/Mumbai). Over 140 prints from various international private and museum collections have been brought together. Concurrent to the exhibition, the publishing house Fw:Books will be presenting the book Lionel Wendt. Ceylon featuring an overview of Wendt’s work (hardcover, 200 pages, design by Hans Gremmen). This is the first monograph since Lionel Wendt. A Centennial Tribute (2000), an extensive and revised version of the very first catalogue of Wendt’s oeuvre: Lionel Wendt’s Ceylon (1950).

Text from Huis Marseille

 

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

 

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam,

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

 

Installation views of the exhibition Lionel Wendt: Ceylon at Huis Marseille, Amsterdam

 

Installation of photographs for the exhibition

Installation of photographs for the exhibition

Installation of photographs for the exhibition

Installation of photographs for the exhibition

 

Installation of photographs for the exhibition

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

'Lionel Wendt: Ceylon' book cover

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

 

Lionel Wendt: Ceylon book

 

 

Huis Marseille
Keizersgracht 401
1016 EK Amsterdam
T +31 20 531 89 89

Opening hours
Tue – Sun, 11 – 18 h

Huis Marseille website

LIKE ART BLART ON FACEBOOK

Back to top

01
Jun
14

Exhibition: ‘Apartheid and After’ at Huis Marseille – Museum for Photography, Amsterdam

Exhibition dates: 15th March – 8th June 2014

Artists: David Goldblatt met Paul Alberts, Pieter Hugo, Santu Mofokeng, Sabelo Mlangeni, Zanele Muholi, Jo Ractliffe, Michael Subotzky, Guy Tillim, Graeme Williams and others, and the Market Photo Workshop in Johannesburg

Curators: Els Barents, David Goldblatt

 

A raft of exhibitions finishing on the 8th June 2014 means a lot of postings over the next few days. This posting continues my fascination with African photography. The two excellent photographs by David Goldblatt are the stand out here, along with the portrait by Mikhael Subotzky.

Marcus

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

 

 

Santu Mofokeng (1956 Soweto) 'Sunflowers harvest, Vaalrand farm, Bloemhof' 1988

 

Santu Mofokeng (1956 Soweto)
Sunflowers harvest, Vaalrand farm, Bloemhof
1988
From the Bloemhof Series, 1988/9, 1994

 

Santu Mofokeng (1956 Soweto) 'Windmill, Vaalrand' 1988

 

Santu Mofokeng (1956 Soweto)
Windmill, Vaalrand
1988
From the Bloemhof Series, 1988/9, 1994

 

Jo Ractliffe (1961 Cape Town) 'Military watchtower in a domestic garden, Riemvasmaak' 2013

 

Jo Ractliffe (1961 Cape Town)
Military watchtower in a domestic garden, Riemvasmaak
2013
From The Borderlands (2011-2013)

 

Jo Ractliffe (1961 Cape Town) 'Playing soccer with marbles, Platfontein' 2012

 

Jo Ractliffe (1961 Cape Town)
Playing soccer with marbles, Platfontein
2012
From The Borderlands (2011-2013)

 

Graeme Williams (1958 Johannesburg) 'Kempton Park' Nd

 

Graeme Williams (1958 Johannesburg)
Kempton Park
Nd
From Previously Important Places series 1990s -2013

The Emperors Palace Casino and Chariots Entertainment World was build on the site [ in… add please date and place… ]? were the negotiations leading up to the Convention for a Democratic South Africa (CODESA) took place. Now, at the very same place  a statue of the Roman Emperor Caesar Augustus greets visitors at the entrance of the afore mentioned  entertainement center.

 

Pieter Hugo (1976 Johannesburg) 'In Sipho Ntsibande's Home, Soweto' 2013

 

Pieter Hugo (1976 Johannesburg)
In Sipho Ntsibande’s Home, Soweto
2013
from the series Kin, 2013

 

Guy Tillim (1962 Johannesburg) 'Neri James, Petros Village, Malawi' 2006

 

Guy Tillim (1962 Johannesburg)
Neri James, Petros Village, Malawi
2006
from the series Petros Village, 2006

 

 

“The scars left in South Africa’s collective memory by its apartheid regime were also inscribed visually on its collective retina. There is less consensus, however, on the period of ‘truth and reconciliation’ after political apartheid came to an end in South Africa in 1990. The exhibition Apartheid and After addresses the question: where did photographers whose earlier work had opposed the apartheid regime point their cameras after 1980?

They include David Goldblatt, for instance, now an éminence grise of South African photography whose exhibition Cross Sections hung in Huis Marseille and others. Has South African democracy been given a face? Where is the real development happening? And where are the scars? Has South African national identity got stuck on a runaway merry-go-round, as the South African visual artist William Kentridge has suggested? One thing is clear: after apartheid, most South African photographers continued to make their own country their work domain, and in doing so they have gained a considerable international reputation.”

.
“It is astonishing to think that until the beginning of the 1990s, merely two decades ago, modern and contemporary African photography was largely in the shadows.”

Okwui Enwezor in Events of the Self: Portraiture and Social Identity: Contemporary African Photography from the Walther Collection, Steidl, 2013, p. 23.

 

David Goldblatt (1930 Randfontein) 'Child minder, Joubert Park, Johannesburg, 1975 (no.11)' 1975

 

David Goldblatt (1930 Randfontein)
Child minder, Joubert Park, Johannesburg, 1975 (no.11)
1975
From the series Particulars, 2003 (publishing date)

 

David Goldblatt (1930 Randfontein) 'Man on a beach, Joubert Park, Johannesburg, 1975 (no. 2)' 1975

 

David Goldblatt (1930 Randfontein)
Man on a beach, Joubert Park, Johannesburg, 1975 (no. 2)
1975
From the series Particulars, 2003 (publishing date)

 

Sabelo Mlangeni (1980 Driefontein) 'Coming to Johannesburg I, January, 2011' 2011

 

Sabelo Mlangeni (1980 Driefontein)
Coming to Johannesburg I, January, 2011
2011

 

Sabelo Mlangeni (1980 Driefontein) 'Coming to Johannesburg I, January, 2011' 2011

 

Sabelo Mlangeni (1980 Driefontein)
Coming to Johannesburg I, January, 2011
2011

 

Daniel Naudé (1984 Cape Town) 'Africanis 23. Richmond, Northern Cape, 298 January 2009' 2009

 

Daniel Naudé (1984 Cape Town)
Africanis 23. Richmond, Northern Cape, 298 January 2009
2009

 

Mikhael Subotzky (1981 Cape Town) 'Joseph Dlamini (Eye test), Matsho Tsmombeni squatter camp' 2012

 

Mikhael Subotzky (1981 Cape Town)
Joseph Dlamini (Eye test), Matsho Tsmombeni squatter camp
2012
From the series Retinal Shift

 

Graeme Williams (1958 Johannesburg) 'Nelson Mandela speaks at CODESA, 199..?' Nd

 

Graeme Williams (1958 Johannesburg)
Nelson Mandela speaks at CODESA, 199..?
Nd
From Previously Important Places series 1990s -2013

 

Zanele Muholi (1972 Umlazi, Durban) 'Being (T)here (Amsterdam)' 2009

Zanele Muholi (1972 Umlazi, Durban) 'Being (T)here (Amsterdam)' 2009

Zanele Muholi (1972 Umlazi, Durban) 'Being (T)here (Amsterdam)' 2009

 

Zanele Muholi (1972 Umlazi, Durban)
Being (T)here (Amsterdam)
2009

 

This slideshow requires JavaScript.

 

Paul Alberts 'The portraits of the applicants' 1994

Paul Alberts 'The portraits of the applicants' 1994

Paul Alberts 'The portraits of the applicants' 1994

Paul Alberts 'The portraits of the applicants' 1994

 

Paul Alberts (1946 Pretoria – 2010 Brandfort)
The portraits of the applicants
1994

As the 1994 election approached in South-Africa many blacks living in small towns and rural areas had never been officially identified. In order to speed up these otherwise slow procedures, Charmaine and Paul Alberts set up an official, but temporary office and studio to process applications. The portraits of the applicants were taken before a paper back drop in the community hall of Majwemasweu. Each person held a slate with a number that corresponded to the number of the film and exposure, plus their name and place where they lived.

 

 

Huis Marseille – Museum for Photography
Keizersgracht 401
1016 EK Amsterdam

Opening hours:
Tuesday – Sunday
11 – 18 hr

Huis Marseille – Museum for Photography website

LIKE ART BLART ON FACEBOOK

Back to top

01
Aug
11

Exhibition: ‘Adam Fuss A Survey of his Work: 1986/2010’ at Huis Marseille Museum for Photography, Amsterdam

Exhibition dates: 11th June – 4th September 2011

.

Many thankx to the Huis Marseille Museum for allowing me to publish the text and photographs in the posting. Please click on the photographs for a larger version of the image.

.

.

.

Adam Fuss
From the series My Ghost
1999
Gelatine silver print photogram
195.3 x 141.3 cm
Unique piece
Courtesy Cheim & Read, New York
© Adam Fuss

.

.

Adam Fuss
From the series My Ghost
1999
Platinum print photogram
100.3  x 76.2 cm
Unique piece
Courtesy Cheim & Read, New York
© Adam Fuss

.

.

Adam Fuss
Untitled
2003
Digital pigment print
182.9 x 111.8 cm
Edition 6/7
Courtesy Cheim & Read, New York
© Adam Fuss

.

.

Adam Fuss
Untitled
1998
76.2 x 101.6 cm
Private Collection
© Adam Fuss

.

.

Adam Fuss
Invocation
1992
Cibachrome photogram
101.6 x 76.2 cm
Unique piece
Courtesy Cheim & Read, New York
© Adam Fuss

.

.

Distance

“What immediately stands out with the work of Adam Fuss is that, both in terms of the chosen subject matter and in his approach to the photographic technique, he has greatly dissociated himself from conventional photography. That which Fuss produces is, in fact, still a photograph; but in order to achieve that, he did rid himself of all the finer luxuries available to users of the medium nowadays. Like a present-day alchemist, Fuss has mastered the medium’s most elementary and primitive forms; he sees just as much potential for creativity in technical knowledge as in the imagination, or the visionary power of the photographer.

His subjects (silhouettes, gossamer christening gowns, rabbits, butterflies, snakes, lace, smoke, drops of water) have also been removed from their natural habitats. In the studio they become so epitomized that they assume the strength and quality of a symbol, or icon, fraught with emotion. Fuss seems, figuratively speaking, to have given wings to his images: they have a weightless and elusive appearance, as though being supernatural in origin and import.

.

Bipolarity

Though ostensibly sublime, the work’s impact on the viewer is nevertheless one of predominantly earthly beauty. This may be a consequence of the bipolarity that lies at the heart of it. All of Fuss’s endeavors have a twofold focus: on matter and mind, on earth or water and the dynamics of fire or air – in short, on vital forces in relation to space and history. Sometimes, as a true photographic magician, he allows the vital fluids of animals (snakes, rabbits) literally to corrode the silver salts of the light-sensitive photographic emulsions. As though trying to allow the image and its model to share the same source of life.

In his technique as well, Fuss wants to reconcile, to connect, past and present. With this he goes back, through experimentation, to the source. Here and there his printing technique is reminiscent of the zeal and the limitations with which Daguerre and Fox Talbot, the disputed founders of photography, wanted to put their discoveries into practice. In the course of time, he came to master the various old and highly complex processes – that of the daguerreotype, the calotype, the photogram, the platinum print – to a degree that remains unsurpassed. Each of these works is unique, and their technical standard is unparalleled. Fuss’s accomplishments include the making of the world’s largest daguerreotypes. (Both daguerreotypes of the Taj Mahal on display here can be counted among these.)

.

‘Poetic Genius’

Throughout his work Adam Fuss seeks the very essence of the image; to him that lies particularly at the point where an observation of reality is so intensified that it takes on magical powers, so to speak. His outlook on this comes from the notion of ‘Poetic Genius’ expressed by the British poet, writer, engraver and painter William Blake (1757-1827). It seems that Fuss’s idea of producing daguerreotypes of poems and incorporating them into his work also began with Blake.

In Fuss’s extensive 1998 interview with Mark Haworth Booth (then Curator of Photography at the Victoria & Albert Museum in London) he explained this in relation to his photographs of babies in water, saying that the color photographs are actually not about an individual, a child. The titles Invocation, Journey, Wish have more to do with emotional, romantic ideas. What the image conveys is a feeling, a sensibility. This is no depiction of a baby in water, even though it may be that as well.

Fuss has an incomparable command of the photogram technique. Since 1988 he has been achieving astonishing results with this. The photogram is produced without a camera – and yields, by definition, a unique print. The physical and lifelike quality of these silhouettes is further heightened by the 1:1 scale on which this technique is based. The previously mentioned photographs of babies in water, from the series Invocation (a continuous series with silhouettes of children) are the earliest photograms shown here. Since 1999 Fuss has been making work which he titles My Ghost. Here the themes relate to memory, loss, but also images of remarkable beauty, such as those of peacock feathers. In this series his magnificent daguerreotypes play a leading role.”

Press release from the Huis Marseille Museum

.

.

Adam Fuss
For Allegra
from the series My Ghost
2009
Daguerreotype
70 x 105 cm
Collection Richard Edwards, Aspen, Colorado
© Adam Fuss

.

.

Adam Fuss
Untitled
1988
Gelatin silver print photogram
144.8 x 141 cm
Unique piece
Collection Robin Katz
© Adam Fuss

.

.

Adam Fuss
From the series My Ghost
1997
Gelatin silver print photogram
160 x 104.1 cm
Collection Jan Widlund
© Adam Fuss

.

.

Adam Fuss
Medusa
from the series Home and the World
2010
Gelatin silver print photogram
240 x 144,1 cm
Edition of 9
Unique print
Courtesy Timothy Taylor Gallery, London
© Adam Fuss

.

.

Adam Fuss
From the series My Ghost
1999
Gelatine silver print photogram
38 x 75 cm
Unique piece
Collection John Cheim
© Adam Fuss

.

.

Adam Fuss
Love
1993
Cibachrome photogram
124.5 x 98.4 cm
Unique piece
Courtesy Cheim & Read, New York
© Adam Fuss

.

.

Huis Marseille Museum for Photography
Keizersgracht 401
1016 EK Amsterdam

Opening hours:
tuesday – sunday
11 – 18 hr

Huis Marseille Museum for Photography website

Back to top




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,193 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

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.

October 2017
M T W T F S S
« Sep    
 1
2345678
9101112131415
16171819202122
23242526272829
3031  

Archives

Categories