Posts Tagged ‘Ilse Bing

03
Apr
16

Exhibition: ‘The world is beautiful: photographs from the collection’ at the National Gallery of Australia, Canberra

Exhibition dates: 4th December 2015 – 10th April 2016

 

Despite a focus on the camera’s relationship to the beauty and pure form of the modern world – “the attraction and charm of the surface” – these photographs are more than just being skin deep. In their very straightforwardness the photographs propose a “rigorous sensitivity to form revealed patterns of beauty and order in the natural and man-made alike.” But more than the portrayal of something we would not see if it were not for the eye of the photographer, the lens of the camera, the speed of the film, the sensitivity of the paper, the design of the architect, the genetics of nature … is the mystery of life itself.

Modernist structures and mass-produced objects in plants and animals can never beat a good mystery. Just look at Man Ray’s Woman with closed eyes (c. 1928, below) or the look in the eyes of Robert Frank’s son, Pablo. You can never pin that down. While form may be beauty, mystery will always be beautiful.

Marcus

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Please click on the photographs to view a larger version of the image.

 

 

“German photographer Albert Renger-Patzsch was a pioneering figure in the New Objectivity movement, which sought to engage with the world as clearly and precisely as possible.

Rejecting the sentimentality and idealism of a previous generation, Neue Sachlichkeit (New Objectivity) emerged as a tendency in German art, architecture and literature in the 1920s. Applying this attitude to the field of photography, Renger-Patzsch espoused the camera’s ability to produce a faithful recording of the world. ‘There must be an increase in the joy one takes in an object, and the photographer should be fully conscious of the splendid fidelity of reproduction made possible by his technique’, he wrote.

This selection reflects the range of subjects that Renger-Patzsch returned to throughout his career. It includes his early wildlife and botanical studies, images of traditional craftsmen, formal studies of mechanical equipment, commercial still lifes, and landscape and architectural studies. His images of the Ruhr region, where he moved in 1928, document the industrialisation of the area in almost encyclopaedic detail. All of his work demonstrates his sustained interest in the camera’s relationship to the beauty and complexity of the modern world.

In 1928 Renger-Patzsch published The World is Beautiful, a collection of one hundred photographs whose rigorous sensitivity to form revealed patterns of beauty and order in the natural and man-made alike. Embodying a new, distinctly modern way of looking at the world, the book established Renger-Patzsch as one of the most influential photographers of the twentieth century.”

Text by Emma Lewis on the Tate website

 

The world is beautiful is an exhibition of photographs taken over the last 100 years from the National Gallery of Australia’s magnificent photography collection, including work by Diane Arbus, Henri Cartier-Bresson, Max Dupain, Bill Henson, Robert Mapplethorpe, Man Ray, Cindy Sherman and many more.

It draws its title from one of the twentieth-century’s great photographic moments, the publication of Albert Renger-Patzsch’s book The world is beautiful in 1928. Renger-Patzsch’s approach embodied his belief that ‘one should surely proceed from the essence of the object and attempt to represent it with photographic means alone’.

Inspired by this confidence in the medium, the exhibition looks at the way the camera interacts with things in the world. One of photography’s fundamental attributes is its capacity to adopt a range of relationships with its subject, based on the camera’s physical proximity to it. Indeed, one of the most basic decisions that a photographer makes is simply where he or she places the camera. The pictures in this exhibition literally take you on a photographic trip, from interior worlds and microscopic detail to the cosmic: from near to far away.

Together, these photographs capture some of the delight photographers take in turning their cameras on the world and re-imaging it, making it beautiful through the power of their vision and their capacity to help us see the world in new ways.”

Text from the National Gallery of Australia website

 

Near

Close up, the world can be surprising. There is an undeniable intensity and focus that comes with getting up close to people and objects. It is rude to stare, but photography has no such scruples.

Pioneers of the medium attempted to photograph organic forms through a microscope, making once-hidden worlds accessible. The pleasure photographers take in getting up close to their subject has followed the medium’s progress. This was especially the case during the twentieth century, when advances in photographic technology and profound shifts in our relationship to space brought about by events such as war often turned our attention away from the outside world.

For many photographers, the camera’s capacity to subject people and objects to close scrutiny has provided a way of paring back vision to its essence, to view the world unencumbered by emotion and sentiment. For others, getting up close is not just about physical proximity; it is also about psychological and emotional states that are otherwise difficult to represent. Experiences such as intimacy, love and emotional connection, as well as disquiet, anxiety and hostility, can all be suggested through the use of the close-up. Photographers have also used it literally to turn inwards, escaping into the imagination to create dreamworlds. The camera-eye really can see what the human eye cannot. (Text from the National Gallery of Australia website)

 

Albert Renger-Patzsch. 'Mantelpavian [Hamadryas Baboon]' c. 1925

 

Albert Renger-Patzsch
Mantelpavian [Hamadryas Baboon]
c. 1925
Gelatin silver photograph
23.8 x 16.8 cm
National Gallery of Australia, Canberra

 

 

“In photography one should surely proceed from the essence of the object and attempt to represent it with photographic terms alone.” Albert Renger-Patzsch

Renger-Patzsch’s primary interest was in the object as a document, removed from its usual context and unencumbered with sentiment. Die Welt ist schön [The world is beautiful], published in Munich in 1928, is one of the great photographic books in the history of photography and its influence across the world was profound. It is an astounding study of the world, celebrating beauty wherever the photographer found it – in modernist structures and mass-produced objects or in plants and animals. The connection and continuity of industry to the natural world is conveyed by emphasising underlying structural and formal similarities. The Gallery has a major holding of works by Renger-Patzsch, including a copy of Die Welt ist schön and 121 vintage prints, most of which were reproduced in the book.

Renger-Patzsch was always firmly committed to the principle of the photograph as a document or record of an object. While the title for his most famous contribution to photography came from his publisher, he wanted his now-iconic 1928 book Die Welt ist schön (The world is beautiful) to be titled simply Die Dinge (Things). In 1937 he wrote that the images in his book, ‘consciously portray the attraction and charm of the surface’. Indeed, the power of these pictures resides in their straightforwardness. (Text © National Gallery of Australia, Canberra)

 

Edward Weston (USA 1886-1956) 'Guadalupe de Rivera, Mexico' 1924

 

Edward Weston (United States of America 1886 – 1958)
No title (Guadalupe, Mexico, 1924): from “Edward Weston fiftieth anniversary portfolio 1902-1952”.
1924
Gelatin silver photograph
20.7 h x 17.8 w cm
National Gallery of Australia, Canberra, purchased 1981

 

 

In 1923 Weston travelled from San Francisco to Mexico City with his son, Chandler and his model and lover, Tina Modotti. The photographs he made there represented a startling, revolutionary breakthrough. Everything got stripped down to its essence, with objects isolated against neutral backgrounds. For these heroic head shots, he moved out of the studio, photographing in direct sunlight, from below and with a hand-held camera. They are monumental but still full of life: Weston was excited by the idea of capturing momentary expressions, in people he found ‘intense and dramatic’. (Text © National Gallery of Australia, Canberra)

 

Man Ray (United States of America 1890 - France 1976) 'No title (Woman with closed eyes)' c. 1928

 

Man Ray (United States of America 1890 – France 1976)
No title (Woman with closed eyes)
c. 1928
Gelatin silver photograph
Not signed, not dated. Stamp, verso, l.r., “Man Ray / 81 bis. Rue / Campagne Premiere / Paris / XIV”.
Image 8.9 h x 12.8 w cm sheet 8.9 h x 12.8 w cm
National Gallery of Australia, Canberra, purchased 1984

 

Robert Frank. 'Pablo' 1959

 

Robert Frank (Switzerland born 1924 – emigrated to United States 1947)
Pablo
1959
Gelatin silver photograph
Image 20.8 h x 31.0 w cm sheet 27.0 h x 35.4 w cm
National Gallery of Australia, Canberra, purchased 1980

 

 

Frank set out on a two-year road trip across the States in 1955. The images he made of race and class divisions, poverty, alienated youth and loneliness expose America’s dark soul. Others, such as this haunting image of his son, Pablo, were more personal. A selection appeared in The Americans, published in Paris in 1958 and in the States the following year. Many saw it as a bitter indictment of the American Dream, others saw an evocative, melancholic vision of humanity that is deeply moving. As Jack Kerouac commented in his introduction to the American edition, Frank ‘sucked a sad, sweet, poem out of America’. (Text © National Gallery of Australia, Canberra)

 

Carol Jerrems. 'Vale Street' 1975

 

Carol Jerrems (Australia 1949 – 1980)
Vale Street
1975
St Kilda, Melbourne, Victoria, Australia
Gelatin silver photograph
Image 20.2 h x 30.3 w cm sheet 40.5 h x 50.4 w cm
Gift of the Philip Morris Arts Grant 1982
© Ken Jerrems and the Estate of Lance Jerrems
National Gallery of Australia, Canberra

 

 

“I try to reveal something about people, because they are so separate, so isolated, maybe it’s a way of bringing people together I don’t want to exploit people. I care about them.”

Carol Jerrems, 1977

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Carol Jerrems became prominent in the 1970s as part of a new wave of young photographers. Influenced by the counter-culture values of the 1960s, they used art to comment on social issues and engender social change. Jerrems photographed associates, actors and musicians, always collaborating with her subjects, thereby declaring her presence as the photographer. Vale Street raises interesting questions about what is artifice and what is real in photography. She deliberately set up this image, employing her aspiring actress friend and two young men from her art classes at Heidelberg Technical School. Vale Street has achieved an iconic status in Australian photography; the depiction of a confident young woman taking on the world is an unforgettable one. It is an intimate group portrait that is at once bold and vulnerable. In 1975 it was thought to be an affirmation of free love and sexual licence. The image also appears to be about liberation from society’s norms and taboos – ‘we are all three bare-chested, we have tattoos and so what?’

The implication that this scene is perfectly natural is reinforced by locating the figures in a landscape. The young woman is strong and unafraid of the judgement of the viewer. The necklace around her neck is an ankh – a symbol of the new spiritualty of the Age of Aquarius and a re-affirmation of the ancient powers of women.

Text © National Gallery of Australia, Canberra 2010
From: Anne Gray (ed), Australian art in the National Gallery of Australia, National Gallery of Australia, Canberra, 2002

 

Paul Outerbridge. 'Nude lying on a love seat' c. 1936

 

Paul Outerbridge (United States of America 1896 – 1958; Paris 1925-28, Berlin and London 1928)
Nude lying on a love seat
c. 1936
Carbro colour photograph
30.2 h x 41.0 w cm
National Gallery of Australia, Canberra, purchased 1980

 

 

Like the Australian-born Anton Bruehl, Paul Outerbridge studied at the Clarence White School of Photography in New York. White was keen to see photography establish itself as a practical art that could be used in the service of the rapidly expanding picture magazine industry. Within a year of enrolling in the school, Outerbridge’s work was appearing in Vogue and Vanity Fair. During his lifetime, Outerbridge was known for his commercial work, particularly his elegant, stylish still-life compositions which show the influence of earlier studies in painting. He was also admired for the excellence of his pioneering colour work, which was achieved by means of a complicated tri-colour carbro process.

Much of Outerbridge’s fame now rests on work that he made following more private obsessions. His fetishistic nude photographs of women are influenced primarily by eighteenth-century French painters such as Ingres. Although the depiction of nudes was a genre pursued from the inception of photography, Outerbridge’s interest in breaking down taboos resulted in this material, if known at all, being passed over or vilified in his lifetime. Outerbridge sought to express what he described as an ‘inner craving for perfection and beauty’ through these often mysterious, languid and richly toned images. (Text © National Gallery of Australia, Canberra 2014)

 

Cindy Sherman. 'Untitled #92' 1981

 

Cindy Sherman (United States of America born 1954)
Untitled #92
1981
Type C colour photograph
61.5 h x 123.4 w cm
National Gallery of Australia, Canberra, purchased 1983

 

 

This is one of 12 Centerfolds made by Sherman in 1981. The Centerfolds present Sherman posing in a range of situations, each suggesting heightened emotional states and violent narratives; these associations are augmented by the uncomfortably tight framing and the panoramic format used by Sherman across the series. Initially commissioned for the art magazine Artforum, the Centerfolds were never published because they were deemed, with their apparently voyeuristic points of view, to reaffirm misogynist views of women. (Text © National Gallery of Australia, Canberra)

 

William Eggleston (American, born 1939) 'Untitled (Greenwood, Mississippi)' 1980

 

William Eggleston (United States of America born 1939)
Greenwood, Mississippi
(1973) prtd 1979
Dye transfer colour photograph
Image 29.5 h x 45.4 w cm sheet 40.2 h x 50.8 w cm
National Gallery of Australia, Canberra, purchased 1980

 

 

With its intense red, Eggleston’s picture of the spare room in a friend’s home is one of the most iconic of all colour photographs. Often called The red room, this photograph was intended to be shocking: Eggleston described the effect of the colour as like ‘red blood that is wet on the wall’. But the radicalness of the picture is not just in its juicy (and impossible to reproduce) redness; it is also found in the strange view it provides of a domestic interior, one that Eggleston has described as a ‘fly’s eye view’. (Text © National Gallery of Australia, Canberra)

 

Imogen Cunningham. 'Magnolia Blossom' 1925

 

Imogen Cunningham (United States of America 1883 – 1976)
Magnolia Blossom
1925
Gelatin silver photograph
Image 17.1 h x 34.6 w cm mount 38.2 h x 50.7 w cm
National Gallery of Australia, Canberra, purchased 1978

 

 

During the 1920s, raising three young sons, Cunningham began to focus on her immediate surroundings. This restricted environment encouraged Cunningham to develop a new way of working, as she began to place her camera closer to the subject: to zebras on a trip to the zoo, to snakes brought to her by her sons, and perhaps most famously to the magnolia blossoms and calla lilies she grew in her garden. Observing what she termed the ‘paradox of expansion via reduction’, the intensity and focus attendant to this way of seeing flooded her work with sensuality and reductive power. (Text © National Gallery of Australia, Canberra)

 

Olive Cotton. 'Skeleton Leaf' 1964

 

Olive Cotton (Australia 1911 – 2003)
Skeleton leaf
1964
Gelatin silver photograph
Image 50.4 h x 40.8 w cm sheet 57.8 h x 47.6 w cm
National Gallery of Australia, Canberra, purchased 1987

 

 

This leaf skeleton – a leaf that has had its pulp removed with heat and soda – was probably photographed in front of a window in Cotton’s home near Cowra, NSW. Since the 1930s Cotton had been drawn to the close study of nature, and many of her best photographs feature close-ups of flowers, tufts of grass and foliage. This photograph is notable because it was taken in the studio, and reflects the austerity and simplicity that pervaded Cotton’s work in the decades after the Second World War. (Text © National Gallery of Australia, Canberra)

 

Lee Friedlander (United States of America born 1934) 'Nashville, 1963' 1963

 

Lee Friedlander (United States of America born 1934)
Nashville, 1963
1963
Gelatin silver photograph
Image 28.2 h x 18.7 w cm sheet 35.3 h x 27.8 w cm
National Gallery of Australia, Canberra, purchased 1981

 

 

Middle distance

The further away we move from a subject, the more it and its story open up to us. While the close-up or compressed view tends to be very frontal (the camera presses up against the subject), the defining characteristic of much mid-century photography was its highly mobile relationship to space: its extraordinary capacity to survey and to organise the world.

The space between the camera and its subject can suggest impartiality and detachment. Documentary photographers and photojournalists, for example, open their cameras up to their subjects, as if to ‘let them speak’. But the depiction of the space between the camera and its subject, and the way that it is rendered through the camera’s depth of field, can also reflect decision making on the part of the photographer. By adjusting the camera’s settings, and thus choosing to render part of the subject in focus, the photographer can direct our focus and attention to certain parts of an image. In this way, photographers put forward an argument based on their world view. Photography can change the way we think about the world. (Text from the National Gallery of Australia website)

 

Ilse Bing. 'Eiffel Tower, Paris, 1931' 1931

 

Ilse Bing (Germany 1899 – United States of America 1998; France 1930-1941 United States from 1941)
Eiffel Tower, Paris
1931
Gelatin silver photograph
Signed and dated recto, l.r., pen and ink “Ilse Bing/ 1931”
Image 22.3 h x 28.2 w cm sheet 22.3 h x 28.2 w cm mount 35.0 h x 41.8 w cm
National Gallery of Australia, Canberra, purchased 1989

 

 

Bing took up photography in 1928 and quickly developed a reputation as a photojournalist and photographer of modernist architecture. Inspired by an exhibition of modern photography and the work of Paris-based photographer Florence Henri, Bing moved to Paris 1930 and quickly became associated with the city’s photographic avant-garde. Bing worked exclusively with the fledgling Leica 35mm-format camera; her interest in the pictorial possibilities of the hand-held Leica can clearly be seen in this striking view of the Eiffel Tower. (Text © National Gallery of Australia, Canberra)

 

Walker Evans (United States of America 1903 - 1975) 'Graveyard and steel mill, Bethlehem, Pennsylvania' 1935

 

Walker Evans (United States of America 1903 – 1975)
Graveyard and steel mill, Bethlehem, Pennsylvania
1935
Gelatin silver photograph
19.1 h x 24.0 w cm sheet 20.2 h x 25.2 w cm
National Gallery of Australia, Canberra, purchased 1980

 

Gary Winogrand. 'World´s Fair', New York, 1964

 

Garry Winogrand (United States of America 1928 – Mexico 1984)
World’s Fair, New York
1964
Gelatin silver photograph
Image 21.8 h x 32.7 w cm mount 37.4 h x 50.1 w cm
Image rights: © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco
National Gallery of Australia, Canberra, purchased 1978

 

 

Winogrand had a tremendous capacity to photograph people in public spaces completely unawares. This image records a group of visitors to the 1964 World’s Fair; it focuses on three young women – Ann Amy Shea, whispering into the ear of Janet Stanley, while their friend Karen Marcato Kiaer naps on Stanley’s bosom. The figures fill the space between the picture’s fore- and middle-grounds, to the extent of allowing the viewer to examine people’s expressions and interactions in close detail. This in turn allows us to encroach on the personal space of people we don’t know. (Text © National Gallery of Australia, Canberra)

 

Diane Arbus, 'Child with a toy hand grenade in Central Park, N.Y.C. 1962'

 

Diane Arbus (New York, United States of America 1923 – 1971)
Child with toy hand grenade, in Central Park, New York City
1962
Gelatin silver photograph
Image 20.0 h x 17.2 w cm sheet 32.8 h x 27.6 w cm
National Gallery of Australia, Canberra, purchased 1980

 

 

During workshops with Lisette Model, Arbus was encouraged to develop a direct, uncompromising approach to her subjects. She did this using the square configuration of a medium-format camera which Arbus most usually printed full frame with no cropping. Model also convinced Arbus, who had been interested in myth and ritual, that the more specific her approach to her subjects, the more universal the message. In many ways this image of a boy caught hamming it up in Central Park, with his contorted body and grimacing face, captures and prefigures many of the anxieties of America during the sixties, a country caught in an unwinnable war in Vietnam and undergoing seismic social change. (Text © National Gallery of Australia, Canberra)

 

Henri Cartier-Bresson (France 1908 - 2004) 'Rue Mouffetard, Paris' 1954 prtd c. 1980

 

Henri Cartier-Bresson (France 1908 – 2004)
Rue Mouffetard, Paris
1954 prtd c. 1980
Gelatin silver photograph
Image 35.9 h x 24.2 w cm sheet 39.4 h x 29.6 w cm
National Gallery of Australia, Canberra, purchased 1982

 

Helen Levitt. 'New York' 1972

 

Helen Levitt (United States of America 1913 – 2009)
New York
1972
Dye transfer colour photograph
Image 23.9 h x 36.2 w cm sheet 35.6 h x 42.9 w cm
National Gallery of Australia, Canberra, purchased 1984

 

 

“The streets of the poor quarters of the great cities are, above all, a theatre and a battleground.” Helen Levitt

Inspired by seeing work by Walker Evans and Henri Cartier-Bresson in 1935, Levitt took to the streets. Children became her most enduring subject. Like Evans, Levitt was famously shy and self-effacing, seeking to shoot unobserved by fitting a prism finder on her Leica. Her approach eschews the sensational; instead she is interested in capturing small, idiosyncratic actions in the everyday. Her images were often shot through with a gentle, lyrical humour though a dark strangeness also surfaces at times. (Text © National Gallery of Australia, Canberra)

 

Helen Levitt. 'New York' c.1972

 

Helen Levitt (United States of America 1913 – 2009)
New York
1972
Dye transfer colour photograph
Image 23.4 h x 35.6 w cm sheet 35.4 h x 42.9 w cm
National Gallery of Australia, Canberra, purchased 1984

 

Ernst Haas (1921-1986). 'Route 66, Albuquerque, New Mexico, USA' 1969

 

Ernst Haas (Austria 1921 – United States of America 1986; United States from 1951)
Albuquerque, New Mexico
1969
Dye transfer colour photograph
Image 44.9 h x 67.8 w cm sheet 52.3 h x 75.7 w cm
National Gallery of Australia, Canberra, purchased 2000

 

 

For Haas, colour photography represented the end of the grey and bitter war years and he started seriously working in the medium after moving to America in 1951. Work on his photoessay, Land of Enchantment and film stills assignments for The Misfits, The Bible and Little Big Man took Haas to the Southwest. The desert landscape of Albuquerque, located on Route 66, had been totally transformed by progress since the 1920s. Photographing the street after rain, Haas has signified that evolution by way of his distinctive ability to translate the world into shimmering energy. (Text © National Gallery of Australia, Canberra)

 

Faraway

Photography has a long-standing interest in faraway places. In 1840, right in photography’s infancy, astronomical photography was launched when the first photograph of the moon was made. As photographic imaging technology has improved, so has the medium’s capacity to make faraway places accessible to us.

Photography can bring foreign places and people closer to home, or collect together images of places and structures that are located in different places. It can also attempt to give a picture to experiences that are otherwise difficult to grasp or represent, such as complex weather events or transcendental phenomena.

Against the odds, there are photographers who make images that are about what cannot be seen. Faraway is often used as a metaphor for thinking about the ineffable and the inexplicable. Science and spirit go hand-in-hand. ‘The most beautiful thing we can experience is the mysterious’, Albert Einstein believed. Photographers can take us to new worlds. (Text from the National Gallery of Australia website)

 

Ansel Adams. 'Moonrise, Hernandez, New Mexico' 1941

 

Ansel Adams (San Francisco, California, United States of America 1902 – Carmel, California, United States of America 1984)
Moonrise, Hernandez, New Mexico
1941
Ansel Adams Museum Set
Gelatin silver photograph
Image 38.6 h x 49.0 w cm mount 55.6 h x 71.0 w cm
National Gallery of Australia, Canberra, purchased 1980

 

 

Adams became the most famous landscape photographer in the world on the back of his images of America’s West. While mass tourism was invading these wilderness areas, Adams’s photographs show only untouched natural splendour. His landscapes are remarkable for their deep, clear space, distinguishable by an uncanny stillness and clarity. The story of Moonrise is legendary: driving through the Chama River Valley toward Española, Adams just managed by a few seconds to catch this fleeting moment before the dying sunlight stopped illuminating the crosses in the graveyard. Through hours of darkroom manipulation and wizardry, Adams created an image of almost mystical unworldliness. (Text © National Gallery of Australia, Canberra)

 

Tracey Moffatt (Brisbane, Queensland, Australia born 1960) 'Up in the sky' 1997

 

Tracey Moffatt (Brisbane, Queensland, Australia born 1960)
Up in the sky [Up in the sky – a set of 25 photolithographs]
1997
No. 8 in a series of 25
Photolithograph
Image 61.0 h x 76.0 w cm sheet 72.0 h x 102.0 w cm
KODAK (Australasia) PTY LTD Fund 1997
National Gallery of Australia, Canberra

 

 

Up in the sky is unusual in Moffatt’s oeuvre for being shot out of doors on location. Her photomedia practice is informed by an upbringing watching television, fascinated by film and pop culture. This series takes many of its visual cues from Pier Paolo Pasolini’s Accattone of 1961 as well as the Mad Max series – the references, twisted and re-imagined, are like half-forgotten memories. She addresses race and violence, presenting a loose narrative set against the backdrop of an outback town. The sense of unease is palpable: Moffatt here is a masterful manipulator of mood. (Text © National Gallery of Australia, Canberra)

 

Laurence Aberhart (Aotearoa New Zealand born 1949) 'Taranaki, from Oeo Road, under moonlight, 27-28 September 1999' 1999

 

Laurence Aberhart (Aotearoa New Zealand born 1949)
Taranaki, from Oeo Road, under moonlight, 27-28 September 1999
1999
Gelatin silver photograph
19.4 h x 24.3 w cm
Gift of Peter Fay 2005
National Gallery of Australia, Canberra

 

 

For four decades, Aberhart has photographed the Taranaki region of New Zealand’s North Island, including its settled landscape and its most distinctive feature, the sacred TeMounga (Mount) Taranaki. Using an 8 x 10-inch view camera, Aberhart has over time built up an important archive documenting the social geography and landscape of the Taranaki. Aberhart describes the conical mountain as a ‘great physical and spiritual entity’ and sees his photographs of it as a counterbalance to the countless images of the mountain that circulate on tea towels and postcards. (Text © National Gallery of Australia, Canberra)

 

 

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Parkes Place, Canberra
Australian Capital Territory 2600
Tel: (02) 6240 6411

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19
Mar
15

Exhibition: ‘Shatter Rupture Break’ at the Art Institute of Chicago

Exhibition dates: 15th February – 3rd May 2015

 

Again, I am drawn to these impressive avant-garde works of art. I’d have any of them residing in my flat, thank you very much. The Dalí, Delaunay and Léger in painting and drawing for me, and in photography, the muscular Ilse Bing, the divine Umbo and the mesmeric, disturbing can’t take your eyes off it, Witkiewicz self-portrait.

Marcus

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

 

 

“Everything had broken down in any case, and new things had to be made out of the fragments.”

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Kurt Schwitters, 1930

 

 

“A century ago, society and life were changing as rapidly and radically as they are in today’s digital age. Quicker communication, faster production, and wider circulation of people, goods, and ideas – in addition to the outbreak of World War I – produced a profoundly new understanding of the world, and artists in the early years of the 20th century responded to these issues with both exhilaration and anxiety. Freeing themselves from the restraints of tradition, modern artists developed groundbreaking pictorial strategies that reflect this new shift in perception.

Shatter Rupture Break, the first exhibition in The Modern Series, explores the manifold ways that ideas of fragmentation and rupture, which permeated both the United States and Europe, became central conceptual and visual themes in art of the modern age. Responding to the new forms and pace of the metropolis, artists such as Robert Delaunay and Gino Severini disrupted traditional conventions of depth and illusionism, presenting vision as something fractured. Kurt Schwitters and George Grosz explored collage, using trash and bits and pieces of printed material in compositions to reflect social and political upheaval and produce something whole out of fragments. In the wake of new theories of the mind as well as the literal tearing apart of bodies in war, artists such as Hans Bellmer, Salvador Dalí, and Stanisław Witkiewicz produced photographs and objects revealing the fractured self or erotic dismemberment. The theme of fragmentation was ubiquitous as inspiration for both the formal and conceptual revolutions in art making in the modern age.

Shatter Rupture Break unites diverse objects from across the entire holdings of the Art Institute – paintings, sculpture, works on paper, photographs, decorative arts and designed objects, textiles, books, and films – to present a rich cacophony that exemplifies the radical and generative ruptures of modern art.

The Modern Series

A quintessentially modern city, Chicago has been known as a place for modern art for over a century, and the Art Institute of Chicago has been central to this history. The Modern Series exhibitions are designed to bring together the museum’s acclaimed holdings of modern art across all media, display them in fresh and innovative ways within new intellectual contexts, and demonstrate the continued vitality and relevance of modern art for today.

Text from the Art Institute of Chicago website

 

 

Ivan Albright. 'Medical Sketchbook' 1918

 

Ivan Albright (American, 1897-1983)
Medical Sketchbook
1918
The Art Institute of Chicago
Gift of Philip V. Festoso
© The Art Institute of Chicago

 

Salvador Dalí. 'City of Drawers' 1936

 

Salvador Dalí (Spanish, 1904-1989)
City of Drawers
1936
The Art Institute of Chicago
Gift of Frank B. Hubachek
© Salvador Dalí, Fundació Gala-Salvador Dalí / Artists Rights Society (ARS), New York, 2014

 

Ilse Bing. 'Eiffel Tower, Paris, 1931' 1931

 

Ilse Bing (German, 1899-1998)
Eiffel Tower, Paris, 1931
1931
Julien Levy Collection, Gift of Jean and Julien Levy
© Estate of Ilse Bing

 

 

Luis Buñuel (Spanish, 1900-1983)
Un Chien Andalou
1929

 

 

Fernand Léger
Ballet Mécanique
1924

 

Ballet Mécanique (1923-4) is a Dadaist post-Cubist art film conceived, written, and co-directed by the artist Fernand Léger in collaboration with the filmmaker Dudley Murphy (with cinematographic input from Man Ray). It has a musical score by the American composer George Antheil. However, the film premiered in silent version on 24 September 1924 at the Internationale Ausstellung neuer Theatertechnik (International Exposition for New Theater Technique) in Vienna presented by Frederick Kiesler. It is considered one of the masterpieces of early experimental filmmaking

 

Claude Cahun. 'Object' 1936

 

Claude Cahun (French, 1894-1954)
Object
1936
The Art Institute of Chciago
Through prior gift of Mrs. Gilbert W. Chapman

 

 

“The Art Institute of Chicago is introducing an innovative new series of exhibitions that presents works from the museum’s acclaimed collection of modern art in reimagined ways that demonstrate the continued vitality and significance these works have today.

The Modern Series debuts with Shatter Rupture Break, opening Sunday, February 15, in Galleries 182 and 184 of the museum’s Modern Wing. The exhibition unites such diverse objects as paintings, sculpture, works on paper, photographs, decorative arts and designed objects, textiles, books, and films.

“We wanted to explore how the idea of rupture permeated modern life in Europe and the Americas,” said Elizabeth Siegel, Associate Curator of Photography, who, with Sarah Kelly Oehler, the Gilda and Henry Buchbinder Associate Curator of American Art, took the lead in organizing the first exhibition. “It served as an inspiration for revolutionary formal and conceptual developments in art making that remain relevant today.”

A century ago, society was changing as rapidly and radically as it is in today’s digital age. Quicker communication, faster production, and wider circulation of people, goods, and ideas – in addition to the outbreak of World War I – produced a profoundly new understanding of the world, and artists responded with both anxiety and exhilaration. Freeing themselves from the restraints of tradition, modern artists developed groundbreaking pictorial strategies that reflected this new shift in perception.

Responding to the new forms and pace of cities, artists such as Robert Delaunay (French, 1885-1941) and Gino Severini (Italian, 1883-1966) disrupted traditional conventions of depth and illusionism, presenting vision as something fractured. Delaunay’s Champs de Mars: The Red Tower fragments the iconic form of the Eiffel Tower, exemplifying how modern life – particularly in an accelerated urban environment – encouraged new and often fractured ways of seeing. Picturesque vistas no longer adequately conveyed the fast pace of the modern metropolis.

The human body as well could no longer be seen as intact and whole. A devastating and mechanized world war had returned men from the front with unimaginable wounds, and the fragmented body became emblematic of a new way of understanding a fractured world. Surrealists such as Hans Bellmer (German, 1902-1975), Claude Cahun (French, 1894-1954) and Salvador Dalí (Spanish, 1904-1989) fetishized body parts in images, separating out eyes, hands, and legs in suggestive renderings. A more literal representation of the shattered body comes from Chicago’s own Ivan Albright, who was a medical draftsman in World War I. In his rarely shown Medical Sketchbook, he created fascinatingly gruesome watercolors that documented injured soldiers and the x-rays of their wounds.

Just as with the body, the mind in the modern era also came to be seen as fragmented. Stanislaw Witkiewicz (Polish, 1885-1939) produced a series of self-portraits as an act of psychological exploration. His work culminated in one stunning photograph made by shattering a glass negative, which he then reassembled and printed, thus conveying an evocative sense of a shattered psyche. The artistic expression of dreams and mental imagery perhaps reached a pinnacle not in a painting or a sculpture, but in a film. Luis Buñuel and Salvador Dalí’s film Un chien andalou (An Andalusian Dog) mystified viewers with its dreamlike narrative, dissolves from human to animal forms, dismembered body parts, and shockingly violent acts in an attempt to translate the unconscious mind onto a celluloid strip.

Kurt Schwitters (German, 1887-1948) and George Grosz (German, 1893-1959) explored collage, which took on new importance for avant-garde artists thanks to the aesthetic appeal and widespread availability of mass-produced media. Schwitters used the ephemera of German society to create what he called Merz, an invented term signifying an artistic practice that included collage, assemblage, painting, poems, and performance. The Art Institute owns a significant group of these collages by Schwitters, and six will appear in the exhibition. The use of thrown-away, ripped up, and scissored-out pieces of paper, divorced from their original meaning and reassembled with nails and glue into new objects, was an act that exposed the social and political disruptions of a German society that seemed broken and on the edge of collapse in the aftermath of World War I.

Shatter Rupture Break is unusual in that it unites objects from across the entire museum – from seven curatorial departments as well as the library. This multiplicity is significant because modern artists did not confine themselves to one medium, but explored different visual effects across a variety of media. As well, the show prominently features the voices of artists, writers, scientists, and other intellectuals of the period. The goal is to create a dynamic space that evokes the electrifying, disruptive, and cacophonous nature of modern art at the time.

“We hope to excite interest in the modern period as a crucial precursor to the changes of our own time, to show how what might seem old now was shockingly fresh then,” said Oehler.

Considered one of the finest and most comprehensive in the world, the Art Institute’s collection of modern art includes nearly 1,000 works by artists from Europe and the Americas. The museum was an early champion of modern artists, from its presentation of the Armory Show in 1913 to its early history of acquiring major masterpieces. This show highlights some recent acquisitions of modern art, but also includes some long-held works that have formed the core of the modern collection for decades. Shatter Rupture Break celebrates this history by bringing together works that visitors may know well, but have never seen in this context or with this diverse array of objects.”

Press release from the Art Institute of Chicago

 

Robert Delaunay. 'Champs de Mars: The Red Tower' 1911/23

 

Robert Delaunay (French, 1885-1941)
Champs de Mars: The Red Tower
1911/23
The Art Institute of Chicago
Joseph Winterbotham Collection

 

Fernand Léger. 'Composition in Blue' 1921-27

 

Fernand Léger (French, 1881-1955)
Composition in Blue
1921-27
The Art Institute of Chicago
Charles H. and Mary F. S. Worcester Collection
© 2014 Artists Rights Society (ARS), New York / ADAGP, Paris

 

Stuart Davis. 'Ready-to-Wear' 1955

 

Stuart Davis (American, 1892-1964)
Ready-to-Wear
1955
The Art Institute of Chicago
Restricted gift of Mr. and Mrs. Sigmund W. Kunstadter; Goodman Endowment

 

Designed by Ruben Haley, Made by Consolidated Lamp and Glass Company. "Ruba Rombic" Vase, 1928/32

 

Designed by Ruben Haley
Made by Consolidated Lamp and Glass Company
“Ruba Rombic” Vase
1928/32
Art Institute of Chicago
Raymond W. Garbe Fund in honor of Carl A. Erikson; Shirley and Anthony Sallas Fund

 

Kurt Schwitters. 'Mz 13 Call' 1919

 

Kurt Schwitters (German, 1887-1948)
Mz 13 Call
1919
The Art Institute of Chicago
Gift of Mr. and Mrs. Maurice E. Culberg
© 2014 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

 

Diego Rivera. 'Portrait of Marevna' c. 1915

 

Diego Rivera (Mexican, 1886-1957)
Portrait of Marevna
c. 1915
The Art Institute of Chicago
Alfred Stieglitz Collection, gift of Georgia O’Keeffe
© 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

 

Hans Bellmer. 'The Doll (La Poupée)' 1935

 

Hans Bellmer (German, born Poland, 1902-1975)
The Doll (La Poupée)
1935
Gelatin silver print overpainted with white gouache
65.6 x 64 cm
Anonymous restricted gift; Special Photography Acquisition Fund; through prior gifts of Boardroom, Inc., David C. and Sarajean Ruttenberg, Sherry and Alan Koppel, the Sandor Family Collection, Robert Wayne, Simon Levin, Michael and Allison Delman, Charles Levin, and Peter and Suzann Matthews; restricted gift of Lynn Hauser and Neil Ross
© 2015 Artists Rights Society (ARS), New York / ADAGP, Paris

 

Umbo (Otto Umber). 'Untitled' 1928

 

Umbo (Otto Umber) (German, 1902-1980)
Untitled
1928
Julien Levy Collection, Gift of Jean and Julien Levy
© 2014 Phyllis Umbehr/Galerie Kicken Berlin/ Artists Rights Society (ARS), New York

 

Stanisław Ignacy Witkiewicz. 'Self-Portrait, Zakopane [Broken Glass]' 1910

 

Stanisław Ignacy Witkiewicz (Polish, 1885-1939)
Self-Portrait, Zakopane [Broken Glass]
1910
Promised Gift of a Private Collection

 

 

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

Opening hours:
Monday – Wednesday, 10.30 – 5.00
Thursday, 10.30 – 8.00
Friday, 10.30 – 8.00
Saturday – Sunday, 10.00 – 5.00
The museum is closed Thanksgiving, Christmas, and New Year’s days.

The Art Institute of Chicago website

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06
Jan
15

Exhibition: ‘Eyes Wide Open: 100 Years of Leica Photography’ at Deichtorhallen Hamburg

Exhibition dates: 24th October 2014 – 11th January 2015

Curator: Hans-Michael Koetzle

 

A photographic revolution. So much more than just photojournalism… and it has a nice sound as well.
“Indiscreet discretion” as the photographer F. C. Gundlach puts it. Some memorable photographs here.

Marcus

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

 

 

Oskar Barnack. 'Wetzlar Eisenmarkt' 1913

 

Oskar Barnack
Wetzlar Eisenmarkt
1913
© Leica Camera AG

 

Ernst Leitz. 'New York II' 1914

 

Ernst Leitz
New York II
1914
© Leica Camera AG

 

 

Just a few months before the outbreak of the First World War, Ernst Leitz II travelled to the USA. While there, he was able to capture photos, using a second model of the “Liliput” camera developed by Oskar Barnack, which most certainly would be found in a history of street photography.

 

Oskar Barnack. 'Flood in Wetzlar' 1920

 

Oskar Barnack
Flood in Wetzlar
1920
© Leica Camera AG

 

 

From around the time of 1914, Oskar Barnack must have carried a prototype camera with him, particularly during his travels – the camera first received the name Leica in 1925. Perhaps his most famous sequence of images, because it has been shown continually since, is the striking series of the floods in Wetzlar, Germany, in 1920

 

'Ur-Leica' 1914

 

Ur-Leica
1914
© Leica Camera AG

 

 

Oskar Barnack invents the Ur-Leica

Designed by Oskar Barnack, the first functional prototype of a new camera for 35 mm perforated cinema film stock was completed in March 1914. The camera consisted of a metal housing, had a retractable lens and a focal plane shutter, which is not overlapped, however. A bolt-on lens cap that was swivelled during film transport, prevented incidental light. For the first time film advance and shutter cocking were connected to a camera – double exposures were excluded. The camera has gone down in the history of photography under the name Ur-Leica.

 

Ilse Bing. 'Self-portrait in Spiegeln' 1931

 

Ilse Bing
Self-portrait in Spiegeln
1931
© Leica Camera AG

 

Anton Stankowski. 'Greeting, Zurich, Rüdenplatz' 1932

 

Anton Stankowski
Greeting, Zurich, Rüdenplatz
1932
© Stankowski-Stiftung

 

Henri Cartier-Bresson. 'Behind the Gare Saint-Lazare, Paris' 1932

 

Henri Cartier-Bresson
Behind the Gare Saint-Lazare, Paris
1932

 

Alexander Rodchenko. 'Girl with Leica' 1934

 

Alexander Rodchenko
Girl with Leica
1934

 

 

Jewgenija Lemberg, shown here, was a lover of the photographer Alexander Rodchenko for quite some time. In 1992, a print of this photo brought in a tremendous 115,000 British pounds at a Christie’s auction in London. Alexander Rodchenko was continually capturing Jewgenija Lemberg in new, surprising and bold poses – until her death in a train accident. 

 

Heinrich Heidersberger. 'Laederstraede, Copenhagen' 1935

 

Heinrich Heidersberger
Laederstraede, Copenhagen
1935
© Institut Heidersberger

 

Robert Capa. 'Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936' 1936

 

Robert Capa
Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936
1936

 

 

At the age of 23 and equipped with his Leica, Robert Capa embedded himself in the Spanish Civil War while on assignment for the French press. On 5 September 1936, he managed to capture the perhaps most well-known war photo of the 20th century. 

 

Henri Cartier-Bresson. 'Sunday on the banks of the River Marne' Juvisy, France 1938

 

Henri Cartier-Bresson
Sunday on the banks of the River Marne
Juvisy, France 1938

 

 

This photo was taken two years after the large-scale strikes that ultimately led to a fundamental improvement in social conditions. Against this backdrop, the picnic in nature is also, above all, a political message – convincing in a formal, aesthetic way, and inherently consistent and suggestive at the same time.

 

Evgeny Khaldey (Russian, 1917-1997) 'The Flag of Victory' 1945

 

Evgeny Khaldey (Russian, 1917-1997)
The Flag of Victory
1945
Gelatin silver print
© Collection Ernst Volland and Heinz Krimmer, Leica Camera AG

 

 

Although this scene was staged, it loses none of its impact as an image and in no way hampers the resounding global response that it has achieved. The Red Army prevailed – there’s nothing more to convey in such a harmonious picture.

 

Alfred Eisenstaedt. 'VJ Day, Times Square, NY, 14. August 1945'

 

Alfred Eisenstaedt
VJ Day, Times Square, NY, 14. August 1945
© Alfred Eisenstaedt, 2014

 

 

This photo appeared on the cover of Life magazine and grew to become one of Alfred Eisenstaedt’s most well-known images. “People tell me,” he once said, “that when I am in heaven they will remember this picture.”

 

W. Eugene Smith. 'Guardia Civil, Spain' 1950

 

W. Eugene Smith
Guardia Civil, Spain
1950
Gelatin silver print
25.1 x 32.1 cm

 

 

W. Eugene Smith’s image of Guardia Civil is also a symbol of an imperious, backward Spain under the rule of Franco. For two months, W. Eugene Smith went scouting for a village and photographed it with the residents’ consent. What he shows us is a strange world: rural, archaic, as if on another planet. 

 

Inge Morath. 'London' 1950

 

Inge Morath
London
1950

 

 

Inge Morath’s photo titled “London” is well spotted, clearly composed and yet complicated in its arrangement. It also tells of a structure of domination, of hierarchies and traditions which certainly were more stable in England than in other European countries. 

 

Franz Hubmann. 'Regular at the Café Hawelka, Vienna' 1956/57

 

Franz Hubmann
Regular guest at the Café Hawelka, Vienna
1956/57
© Franz Hubmann. Leica Camera AG

 

 

We shall never discover who the man is in this photo. Franz Hubmann, more or less while walking by the table, captured the guest gently balancing a cup with the tips of his fingers – viewed from above without the use of flash, without any hectic movement, and not at all staged.

 

Frank Horvat. 'Givenchy Hat For Jardin des Modes' 1958

 

Frank Horvat
Givenchy Hat For Jardin des Modes, Paris
1958
Abzug 1995 / Haus der Photographie / Sammlung F.C. Gundlach Hamburg

 

F.C. Gundlach. 'Fashion reportage for 'Nino', Port of Hamburg' 1958

 

F.C. Gundlach
Fashion reportage for ‘Nino’, Port of Hamburg
1958
© F.C. Gundlach

 

Hans Silvester. 'Steel frame assembly' about the end of the 1950s

 

Hans Silvester
Steel frame assembly
about the end of the 1950s
Silver gelatin, vintage print
© Hans Silvester / Leica AG

 

 

 

“The exhibition EYES WIDE OPEN: 100 YEARS OF LEICA PHOTOGRAPHY illuminates across fourteen chapters various aspects of recent small-format photography, from journalistic strategies to documentary approaches and free artistic positions, spanning fourteen chapters. Among the artists whose work will be shown are Alexander Rodchenko, Henri Cartier-Bresson, Robert Capa, Christer Strömholm, Robert Frank, Bruce Davidson, William Klein, William Eggleston, René Burri, Thomas Hoepker and Bruce Gilden. Following its premiere in the House of Photography at the Deichtorhallen Hamburg, the exhibition will travel to Frankfurt, Berlin, Vienna and Munich.

Some 500 photographs, supplemented by documentary material, including journals, magazines, books, advertisements, brochures, camera prototypes and films, will recount the history of small-format photography from its beginnings to the present day. The exhibition, which is curated by Hans-Michael Koetzle, follows the course of technological change and photographic history.

According to an entry in the workshop records, by March 1914 at the latest, Oskar Barnack, who worked as an industrial designer at Ernst Leitz in Wetzlar, completed the first functional model of a small-format camera for 35mm cinema film. The introduction of the Leica (a combination of “Leitz” and “Camera”) which was delayed until 1925 due to the war, was not merely the invention of a new camera; the small, reliable and always-ready Leica, equipped with a high-performance lens specially engineered by Max Berek, marked a paradigm shift in photography. Not only did it offer amateur photographers, newcomers and emancipated women greater access to photography; the Leica, which could be easily carried in a coat pocket, also became a ubiquitous part of everyday life. The comparatively affordable small-format camera stimulated photographic experimentation and opened up new perspectives. In general, visual strategies for representing the world became more innovative, bold and dynamic. Without question, the Leica developed by Oskar Barnack and introduced by Ernst Leitz II in 1924 was something like photography’s answer to the phenomenological needs of a new, high-speed era.

The exhibition EYES WIDE OPEN: 100 YEARS OF LEICA PHOTOGRAPHY will attempt for the first time to offer a comprehensive overview of the change in photography brought about by the invention and introduction of the Leica. Rather than isolating the history of the camera or considering it for its own sake, it will examine the visual revolution sparked by the technological innovation of the Leica. The exhibition will take an art- and cultural-historical perspective in pursuit of the question of how the photographic gaze changed as a result of the Leica and the small-format picture, and what effects the miniaturization of photography had on the work of amateurs, artists and photojournalists. Not least, it will also seek to determine what new subjects the camera addressed with its wide range of interchangeable lenses, and how these subjects were seen in a new light: a new way of perceiving the world through the Leica viewfinder.

Among the featured photographers are those who are internationally known for their work with Leica cameras as well as amateurs and artists who have not yet been widely associated with small-format photography, including Ilja Ehrenburg, Alfons Walde, Ben Shahn and George Grosz. Important loans, some of which have never been shown before, come from the factory archives of Leica Camera AG in Wetzlar, international collections and museums, as well as private lenders (Sammlung F. C. Gundlach, Sammlung Skrein, Sammlung WestLicht).”

Press release from the Deichtorhallen Hamburg website

 

 

Robert Lebeck. 'The stolen sword, Belgian Congo Leopoldville' 1960

 

Robert Lebeck
The stolen sword, Belgian Congo Leopoldville
1960
© Robert Lebeck/ Leica Camera AG

 

 

When a young Congolese man grabs the king’s sword from the backseat of an open-top car on 29 June 1960, Robert Lebeck manages to capture the image of his life. The photo became a metaphor for the end of the descending dominance by Europeans on the African continent. 

 

Christer Strömholm. 'Nana, Place Blanche, Paris' 1961

 

Christer Strömholm
Nana, Place Blanche, Paris
1961
© Christer Strömholm/Strömholm Estate, 2014

 

Ulrich Mack. 'Wild horses in Kenya' 1964

 

Ulrich Mack
Wild horses in Kenya
1964
© Ulrich Mack, Hamburg / Leica Camera AG

 

 

Ulrich Mack travelled to Africa to discover the continent as a reporter – a continent that had been battered by warmongers and massacres. But all this changed: as if in a state of ecstasy, Ulrich Mack photographed a herd of wild horses, virtually throwing himself down under the animals

 

Claude Dityvon. "L'homme à la chaise" [The man in the chair], Bd St. Michel, 21 May 1968

 

Claude Dityvon
“L’homme à la chaise” [The man in the chair], Bd St. Michel, 21 May 1968
1968
© Chris Dityvon, Paris

 

Fred Herzog. 'Man with Bandage' 1968

 

Fred Herzog
Man with Bandage
1968
Courtesy of Equinox Gallery, Vancouver
© Fred Herzog, 2014

 

Lee Friedlander. 'Mount Rushmore, South Dakota' 1969

 

Lee Friedlander
Mount Rushmore, South Dakota
1969
Haus der Photographie / Sammlung F.C. Gundlach Hamburg

 

Nick Út: The Associated Press. 'Napalm attack in Vietnam' 1972

 

Nick Út: The Associated Press
Napalm attack in Vietnam
1972
© Nick Út/AP/ Leica Camera AG

 

Eliott Erwitt. 'Felix, Gladys and Rover' New York City, 1974

 

Eliott Erwitt
Felix, Gladys and Rover
New York City, 1974

 

 

Elliott Erwitt’s passion focused on dogs – for him, they were the incarnation of human beings, with fur and a tail. His photo titled “New York City” was taken for a shoe manufacturer. 

 

René Burri. 'San-Cristobál' 1976

 

René Burri
San-Cristobál
1976

 

Martine Franck. 'Swimming pool designed by Alain Capeilières' 1976

 

Martine Franck
Swimming pool designed by Alain Capeilières
1976

 

Wilfried Bauer. From the series "Hong Kong", 1985

 

Wilfried Bauer
From the series Hong Kong
1985
Originally published in the Frankfurter Allgemeine Zeitung # 307, 17.01.1986
© Nachlass Wilfried Bauer/Stiftung F.C. Gundlach

 

Rudi Meisel. 'Leningrad' 1987

 

Rudi Meisel
Leningrad
1987

 

Jeff Mermelstein. 'Sidewalk' 1995

 

Jeff Mermelstein
Sidewalk
1995
© Jeff Mermelstein

 

Michael von Graffenried. From the series 'Night in Paradise', Thielle (Switzerland) 1998

 

Michael von Graffenried
From the series Night in Paradise, Thielle (Switzerland)
1998
© Michael von Graffenried

 

Bruce Gilden: 'Untitled', from the series "GO", 2001

 

Bruce Gilden
Untitled, from the series “GO”
2001
© Bruce Gilden 2014/Magnum Photos

 

 

Bruce Gilden is an avid portrait photographer, without his photos ever appearing posed or staged. His image of humanity arises from the flow of life, the hectic everyday goings-on or – like in “Go” – the deep pit of violence, the Mafia and corruption. 

 

François Fontaine. 'Vertigo' from the 'Silenzio!' series 2012

 

François Fontaine
Vertigo from the Silenzio! series
2012

 

Julia Baier. From the series "Geschwebe," 2014

 

Julia Baier
From the series Geschwebe
2014
© Julia Baier

 

 

Deichtorhallen Hamburg
House of Photography
Deichtorstr. 1-2
D – 20095 Hamburg

Opening hours:
Tuesday – Sunday 11 am – 6 pm
Every first Thursday of the month 11 am – 9 pm

Deichtorhallen Hamburg website

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12
Jan
14

Exhibition: ‘Photography at NOMA’ at The New Orleans Museum of Art

Exhibition dates: 10th November 2013 – 19th January 2014

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There are some rare and beautiful photographs in this posting. I have never seen the Kertész (Leger’s Studio 1926 – 1927) with its wonderful structure and tonality nor the unusual Mapplethorpe (Staircase, 1140 Royal 1982). I particularly like the Bellocq (Bedroom Mantel, Storyville c. 1911-1913) with its complex medley of shapes and images.

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

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André Kertész (American, born Hungary, 1894-1985) 'Leger's Studio' 1926 - 1927

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André Kertész (American, born Hungary, 1894-1985)
Leger’s Studio
1926 – 1927
Gelatin silver print
Image: 3 1/8 x 4 1/4in. (8 x 10.8 cm)
Museum purchase, Women’s Volunteer Committee Fund

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Lee Friedlander (American, born 1934) 'Untitled (Self-Portrait Reflected in Window, New Orleans)' c. 1965

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Lee Friedlander (American, born 1934)
Untitled (Self-Portrait Reflected in Window, New Orleans)
c. 1965
Gelatin silver print
Image: 7 x 10 3/4in. (17.6 x 27.2 cm) Mount: 11 x 14 in. (27.9 x 35.5 cm)
Museum purchase through the National Endowment for the Arts Grant, 75.83

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Robert Frank (American, born 1924) 'Canal Street, New Orleans' 1955

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Robert Frank (American, born 1924)
Canal Street, New Orleans
1955
Gelatin silver print
Image: 11 x 13 4/5 in. (28 x 35.2 cm)
Museum purchase through the National Endowment for the Arts and Museum Purchase Funds

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Ilse Bing (American, 1899-1998) 'New York, The Elevated and Me' 1936

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Ilse Bing (American, 1899-1998)
New York, The Elevated and Me
1936
Gelatin silver print
Image: 7 15/16 x 11 in. (18.6 x 28 cm)
Museum purchase through the National Endowment for the Arts Matching Grant
© Estate of Ilse Bing

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Henri Cartier-Bresson (French, 1908-2004) 'Louisiana' 1947, printed circa 1975

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Henri Cartier-Bresson (French, 1908-2004)
Louisiana
1947, printed circa 1975
Gelatin silver print
Image: 9 5/8 x 14 3/16 in. (24.4 x 36 cm)Paper: 12 x 16 in. (30.3 x 40.4 cm)
Museum purchase, General Acquisition Fund, 80.129

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Theodore Lilienthal (American, 1829-1894) 'Charles Hotel, New Orleans' c. 1867

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Theodore Lilienthal (American, 1829-1894)
Charles Hotel, New Orleans
c. 1867
Albumen print
10 3/4 x 13 13/16 in. (27.2 x 35.1 cm) Mount: 17 x 22 1/4 in. (43.3 x 56.6 cm)
Museum Purchase, 2013.21

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“Featuring masterworks by photographers Edward Weston, William Henry Fox Talbot, André Kertész, Robert Mapplethorpe, and many more, the New Orleans Museum of Art’s upcoming exhibition, Photography at NOMA, explores the Museum’s rich permanent photography collection through a selection of some of its finest works from the early 1840s to the 1980s.

The first comprehensive presentation of works from NOMA’s collection since the 1970s, the exhibition includes over 130 of the most important photographs in the Museum’s collection and presents rare and unusual examples from throughout photography’s history. On view November 10, 2013 through January 19, 2014, the exhibition highlights the tremendous depth and breadth of the Museum’s collection and includes photographs made as works of art as well as advertising images, social documents, and more. The photographers featured in the exhibition range from some of the most recognizable names in the field, including Henri Cartier-Bresson, Robert Frank, and Lewis Hine, to unknown photographers—reflecting the vast spectrum of photographic activity since the medium’s inception in the 19th century.

“NOMA began collecting photographs seriously in the early 1970s when photography was not commonly found in American art museum collections. Today our holdings include nearly 10,000 works, representing a broad range of creative energy and achievement,” said Susan Taylor, NOMA’s Director. “Our collection has strong roots in New Orleans history. Our city has long been an epicenter for the work of established and emerging photographers and we are delighted to share this aspect of New Orleans history with our audiences.”

“Since its origins, photography has infiltrated every aspect of modern life, from art to war, and religion to politics and many of these applications are represented in NOMA’s extensive collection,” said Russell Lord, Freeman Family Curator of Photographs. “Despite the collection’s long history, it remains one of the best kept secrets in this country. Photography at NOMA is an opportunity to re-examine and bring to the fore the diverse range of works found in the collection.”

Since the 1970s, NOMA has built an extensive collection of photographs that represents a wide range of achievement in that medium from the 1840s to the present. Today the collection comprises nearly 10,000 works with images by some of the most significant photographic artists including Berenice Abbott, Ansel Adams, Diane Arbus, Ilse Bing, and Edward Steichen, among many others. The collection includes examples that reflect photography’s international scope, from an 1843 view from his hotel window in Paris by William Henry Fox Talbot to a view of Mount Fuji by Kusakabi Kimbei, but it is also strong in photographs made in and around New Orleans by regional and national photographers such as E. J. Bellocq, Walker Evans, Clarence John Laughlin, and Robert Polidori.

Photography at NOMA features works by Berenice Abbott, Ansel Adams, Diane Arbus, Henri Cartier-Bresson, Walker Evans, Robert Frank, Robert Mapplethorpe, William Henry Fox Talbot, and Edward Weston, among many others.”

Press release from the NOMA website

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Felix Moissenet (American, 19th century) 'Freeman' c. 1855

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Felix Moissenet (American, 19th century)
Freeman
c. 1855
Daguerreotype
Sixth plate, 3 1/4 x 2 3/4 in. (8 x 6.8 cm) Case (open): 3 5/8 x 6 3/8 in. (9.2 x 16.1 cm)
Museum purchase, 2013.22

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Thomas Augustine Malone (British, 1823-1867) 'Demonstration of the Talbotype' December 11, 1848

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Thomas Augustine Malone (British, 1823-1867)
Demonstration of the Talbotype
December 11, 1848
Calotype (Talbotype) negative
7 3/8 x 9 2/16 in. (18.8 x 23.3 cm)
Museum purchase, 2012.90

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Robert Mapplethorpe (American, 1946-1989) 'Staircase, 1140 Royal' 1982

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Robert Mapplethorpe (American, 1946-1989)
Staircase, 1140 Royal
1982
Gelatin silver print
Image: 15 1/5 x 15 1/5 in. (38.5 x 38.5 cm)Paper: 20 x 16 in. (50.6 x 40.4 cm)
Promised gift from H. Russell Albright, MD, EL.2001.120

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William Henry Fox Talbot (British, 1800-1877) 'View of the Paris Boulevards from the First Floor of the Hôtel de Louvais, Rue de la Paix' 1843

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William Henry Fox Talbot (British, 1800-1877)
View of the Paris Boulevards from the First Floor of the Hôtel de Louvais, Rue de la Paix
1843
Salted paper print from a paper negative
Image: 6 3/8 x 6 3/4 in. (16.2 x 17.1 cm) Paper: 7 1/2x 9 in. (19 x 23 cm)
Museum purchase, 1977 Acquisition Fund Drive, 77.66

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Paul Outerbridge (American, 1896-1958) 'Groom Detective Agency' 1923

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Paul Outerbridge (American, 1896-1958)
Groom Detective Agency
1923
Platinum print
Image: 4 1/2 x 3 1/2 in. (11.5 x 9 cm) Paper: 14 x 11 in. (35.5 x 28 cm)
Paul Outerbridge, Jr. © 2013 G. Ray Hawkins Gallery, Beverly Hills, CA

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Morton Schamberg (American, 1881-1918) 'Cityscape' 1916

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Morton Schamberg (American, 1881-1918)
Cityscape
1916
Gelatin silver print
Image: 9 1/2 x 7 1/2 in. (24 x 19 cm) Mount: 15 3/4 x 13 in. (40 x 33 cm)
Museum purchase, Women’s Volunteer Committee Fund, 73.231

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Clarence John Laughlin (American, 1905-1985) 'A Mangled Staircase (No. 2)' 1949

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Clarence John Laughlin (American, 1905-1985)
A Mangled Staircase (No. 2)
1949
Gelatin silver print
Image: 13 1/2 x 10 13/16 in. (34.2 x 27.5 cm) Mount: 17 x 14 in. (43 x 35.5 cm)
Bequest of Clarence John Laughlin, 85.118.59

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E. J. Bellocq (American, 1873-1949) 'Bedroom Mantel, Storyville' c. 1911-1913

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E. J. Bellocq (American, 1873-1949)
Bedroom Mantel, Storyville
c. 1911-1913
Glass negative
Plate: 10 x 8 in. (25.2 20.2 cm)
Museum purchase, 73.241

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Lewis Hine. '[Mechanic and Steam Pump]' c. 1930

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Lewis Hine
[Mechanic and Steam Pump]
c. 1930
Gelatin silver print
Image:9 1/2 x 7 in. (24.3 x 17.6 cm)Paper: 10 x 8 in.(25.2 x 20.3 cm)
Museum Purchase

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The New Orleans Museum of Art
One Collins Diboll Circle, City Park
New Orleans, LA 70124
T: (504) 658-4100

Opening hours:
Tuesday through Thursday: 10 am – 6 pm
Friday: 10 am – 9 pm
Saturday and Sunday: 11 am – 5 pm
Closed Mondays

The New Orleans Museum of Art website

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12
Sep
13

Exhibition: ‘French Twist: Masterworks of Photography from Atget to Man Ray’ at the Delaware Art Museum, Wilmington, DE

Exhibition dates: 29th June – 15th September 2013

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C’est Magnifique!

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

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Ilse Bing (1899-1998) 'Cancan Dancers' Moulin Rouge 1931

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Ilse Bing (1899-1998)
Cancan Dancers

Moulin Rouge 1931
Gelatin silver print
6 1/4 × 9 in. (15.9 × 22.9 cm)
Collection of Michael Mattis and Judith Hochberg
© Estate of Ilse Bing. Courtesy Edwynn Houk Gallery, New York

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7_bing_eiffel_tower-WEB

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Ilse Bing (1899-1998)
Champ-de-Mars from the Eiffel Tower
1931
7 1/2 x 11 inches
Collection of Michael Mattis and Judith Hochberg
© Estate of Ilse Bing, Courtesy Edwynn Houk Gallery, New York

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Ilse Bing (1899-1998) 'Boarding House for Young Women, Tours' 1935

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Ilse Bing (1899-1998)
Boarding House for Young Women, Tours
1935
Gelatin silver print
11 1/8 × 7 1/2 in. (28.3 × 19.1 cm)
Collection of Michael Mattis and Judith Hochberg
© Estate of Ilse Bing. Courtesy Edwynn Houk Gallery, New York

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Brassaï (1899-1984) 'Lovers, Bal Musette des Quatre Saisons, rue de Lappe' c. 1932

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Brassaï (1899-1984)
Lovers, Bal Musette des Quatre Saisons, rue de Lappe
c. 1932
9 3/8 x 7 inches
Collection of Michael Mattis and Judith Hochberg
© The Brassaï Estate-RMN

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“In the early 20th century, between the two world wars, Paris saw a fervor of change. From 1910 to 1940, the city became a creative epicenter for artistic exploration, attracting international avant-garde artists – including photographers experimenting with Surrealism, Modernism, and the new reportage. French Twist: Masterworks of Photography from Atget to Man Ray, on view at the Delaware Art Museum from June 29, 2013 through September 15, 2013, features 100 vintage prints from this golden age of French photography and explores the variety and inventiveness of native and immigrant photographers working in France in the early 20th century.

This exhibition presents a number of themes that capture the flavor and nightlife of Paris at this exciting moment. “Life of the Streets,” “Diversions,” and “Paris by Night” are just some of the topics that these masterful photographs explore. Visitors will experience Eugène Atget’s lyrical views of Paris streets and gardens, Man Ray’s surrealist experiments, and Henri Cartier-Bresson’s pioneering photojournalism, as well as works by Ilse Bing, Brassaï, Jacques-Henri Lartigue, André Kertész, and Dora Maar. Many of these artists settled in France for life, while others, fleeing the Nazis, brought their Paris‐trained sensibilities and influences to America.

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Eugène Atget 

The exhibition opens with one of the most significant figures in the history of photography, Eugène Atget, whose work influenced a range of artists from Surrealists to documentary photographers. This selection encompasses pictures of city streets, architectural details, and the gardens at Versailles and includes one of his most famous photographs, Boulevard de Strasbourg, Corsets (1912).

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La vie de la rue (Life of the Street) 

This section includes images of the streets and buildings of Paris – of the bustling Champ-de-Mars and the deserted Avenue du Maine – and features a large selection of photographs by Ilse Bing. In her modernist views of urban architecture, Bing provides a modern take on the old city through unexpected angles and dramatic cropping.

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Divertissement (Diversions) 

Divertissement focuses on the myriad amusements available in the City of Lights. Lartigue provides an insider’s view of upper-class life in the Belle Epoque, while Bing and Brassaï chronicle the attractions of the dance hall, the theater, and the street.

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Henri Cartier-Bresson 

The master of the “decisive moment” and one of the most significant photojournalists of the 20th century, Henri Cartier-Bresson is featured along with 17 famous photographs from his travels around the world. This section includes his stellar images of the Spanish Second Republic and his iconic view of the coronation of George VI in London.

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Les basses classes (The Lower Classes) 

Between the wars, photographers from Ilse Bing to Andre Kertész to Brassaï chronicled lives of poor Parisians, often bringing a Modernist sensibility, rather than a reformer’s eye, to scenes of urban poverty.

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Paris de nuit (Paris by Night) 

In 1933 Brassaï released his photo book Paris by Night, which chronicled the city’s streets and amusements after dark. The book became an immediate success and Brassaï became famous as the foremost photographer of the city’s bars and brothels, performers, and prostitutes.

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L’art pour l’art (Art for Art’s Sake) 

This section focuses on the technical experimentation and virtuoso technique of photographers including Pierre Dubreuil, Edward Steichen, and Pal Funk Angelo. It features examples of unusual techniques like cliché-verre, solarization, and oil printing.

Cliché verre is a combination of art and photography. In brief, it is a method of either etching, painting or drawing on a transparent surface, such as glass, thin paper or film and printing the resulting image on a light sensitive paper in a photographic darkroom. It is a process first practiced by a number of French painters during the early 19th century. The French landscape painter Jean-Baptiste-Camille Corot was the best known of these. Some contemporary artists have developed techniques for achieving a variety of line, tone, texture and color by experimenting with film, frosted Mylar, paint and inks and a wide assortment of tools for painting, etching, scratching, rubbing and daubing.

Cliché verre is French. Cliché is a printing term: a printing plate cast from movable type; while verre means glass. (Text from Wikipedia)

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Andre Kertész, Dora Maar, Man Ray 

These three important photographers – all immigrants to Paris between the Wars and all involved in Surrealist movement – are featured in individual sections that highlight their most famous works. Kertész is represented by his photographs of the painter Piet Mondrian’s studio. Maar’s Surrealist street photographs capture her dark humor, and a full complement of Man Ray’s experimental and psychologically charged images summarize his photographic interests.

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La figure (Portraits and Nudes) 

La Figure showcases experimental approaches to the classic subject of the female nude, including a cameraless photograph and a solarization by Man Ray and a distortion created with fun-house-type mirrors by Kertész.

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Ilse Bing (1899-1998), nicknamed the “Queen of the Leica” after her camera of choice, moved to Paris in 1930 and immersed herself in its cultural milieu, interacting with painters like Pavel Tchelitchev and fashionistas Elsa Schiaparelli and Carmel Snow. The decade she spent in France is considered the high point of her artistic career.

Dora Maar (1907-1997) created startlingly imaginative Surrealist photographs under the tutelage of Man Ray. However, she is best known as Picasso’s lover, muse, and “Weeping Woman” from 1936 to 1943. Her photographs documenting Picasso’s creation of Guernica hang alongside the painting in the Reina Sofía museum in Madrid.

JacquesHenri Lartigue (1894-1986), considered by many to be a child prodigy, received his first camera as a gift when he was six years old and immediately set to work documenting the activities of his energetic family and circle of friends. Lartigue’s light‐hearted snapshots capture the essence of France’s Belle Époque, the halcyon period before World War I when it seemed that modernity would bring nothing but progress and delight.

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3_atget_corsets-WEB

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Eugène Atget (1857-1957)
Boulevard de Strasbourg Corsets
1912
Printing-out paper
8 3/4 x 7 inches
Collection of Michael Mattis and Judith Hochberg

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Eugène Atget (1857-1927) 'Rue Egynard' 1901

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Eugène Atget (1857-1927)
Rue Egynard
1901
Albumen print
8 1/4 × 7 in. (21 × 17.8 cm)
Collection of Michael Mattis and Judith Hochberg

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Man Ray (1890-1976) 'Solarized nude' 1930

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Man Ray (1890-1976)
Solarized nude
1930
11 5/8 x 8 7/8 inches
Collection of Michael Mattis and Judith Hochberg
© 2013 Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP, Paris

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Edward Steichen (1879-1973) 'Three Pears and an Apple, Voulangis, France' 1921

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Edward Steichen (1879-1973)
Three Pears and an Apple, Voulangis, France
1921
Gelatin silver print
14 x 11 inches
Collection of Michael Mattis and Judith Hochberg

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Man Ray (1890-1976) 'Kiki de Montparnasse' 1923

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Man Ray (1890-1976)
Kiki de Montparnasse
1923
11 x 8 3/4 inches
Collection of Michael Mattis and Judith Hochberg
© 2013 Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP, Paris

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2_brassai_russian_billiards-WEB

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Brassaï (1899-1984)
Fille de Montmartre playing Russian billiards, Blvd Rochechouart
1932-33
11 1/4 x 8 1/4 inches
Collection of Michael Mattis and Judith Hochberg
© The Brassaï Estate-RMN

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Delaware Art Museum
2301 Kentmere Parkway
Wilmington, DE 19806

Opening hours:
Wednesday – Saturday 10.00 am – 4.00 pm
Sunday noon – 4.00 pm

Delaware Art Museum website

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17
Dec
12

Exhibition: ‘The Serial Portrait: Photography and Identity in the Last One Hundred Years’ at the National Gallery of Art, Washington

Exhibition dates: 30th September 2012 – 31st December 2012

 

Emmet Gowin. 'Edith, Danville, Virginia' 1971

 

Emmet Gowin (American, b. 1941)
Edith, Danville, Virginia
1971
Gelatin silver print
20.2 x 25.2cm (7 15/16 x 9 15/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund
© Emmet and Edith Gowin, Courtesy Pace/MacGill Gallery, New York

 

 

  • Alfred Stieglitz / Georgia O’Keeffe
  • Paul Strand / Rebecca Strand
  • Emmet Gowin / Edith Gowin
  • Harry Callahan / Eleanor and Barbara Callahan
  • Robert Mapplethorpe / Patti Smith
  • Nicholas Nixon / The Brown Sisters
  • Andy Warhol / Serial Photography / Photo Booth Portraits
  • Mario Testino / Kate Moss
  • Baron Adolf de Meyer / Baroness Olga de Meyer
  • Edward Weston / Charis Weston
  • Lee Friedlander / Maria Friedlander
  • Paul Caponigro / The woods of Connecticut
  • Bernd and Hilla Becher / grids
  • Gerhard Richter / Overpainted Photographs
  • Masahisa Fukase / wife and family
  • Seiichi Furuya / Christine Furuya-Gößler
  • Sally Mann / children and husband
  • William Wegman / dogs

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Australia?
Nobody that I can think of except Sue Ford.

Notice how all the artists are men except two: Sally Mann and Hilla Becher.

Dr Marcus Bunyan

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

 

Emmet Gowin. 'Edith, Danville, Virginia' 1963

 

Emmet Gowin (American, b. 1941)
Edith, Danville, Virginia
1963
Gelatin silver print, printed 1980s
19.7 x 12.7cm (7 3/4 x 5 in.)
National Gallery of Art, Washington, Charina Endowment Fund
© Emmet and Edith Gowin, Courtesy Pace/MacGill Gallery, New York

 

Emmet Gowin. 'Edith and Moth Flight' 2002

 

Emmet Gowin (American, b. 1941)
Edith and Moth Flight
2002
Digital ink jet print
19 x 19cm (7 1/2 x 7 1/2 in.)
National Gallery of Art, Washington, Charina Endowment Fund
© Emmet and Edith Gowin, Courtesy Pace/MacGill Gallery, New York

 

Francesca Woodman. 'House #3, Providence, Rhode Island' 1976

 

Francesca Woodman (American, 1958-1981)
House #3, Providence, Rhode Island
1976
Gelatin silver print
16.1 x 16.3cm (6 5/16 x 6 7/16 in.)
National Gallery of Art, Washington, Gift of the Heather and Tony Podesta Collection

 

Francesca Woodman. 'Untitled, Providence, Rhode Island' 1975-1978

 

Francesca Woodman (American, 1958-1981)
Untitled, Providence, Rhode Island
1975-1978
Gelatin silver print
10.5 x 10.5cm (4 1/8 x 4 1/8 in.)
National Gallery of Art, Washington, National Gallery of Art, Washington, Gift of the Collectors
Committee and R. K. Mellon Family Foundation

 

Ann Hamilton. 'body object series #13, toothpick suit/chair' 1984

 

Ann Hamilton (American, b. 1956)
body object series #13, toothpick suit/chair
1984
Gelatin silver print, printed 1993
11 x 11cm (4 5/16 x 4 5/16 in.)
National Gallery of Art, Washington,Gift of Heather and Tony Podesta Collection

 

Ann Hamilton. 'body object series #14, megaphone' 1986

 

Ann Hamilton (American, b. 1956)
body object series #14, megaphone
1986
Gelatin silver print, printed 1993
11 x 11 cm (4 5/16 x 4 5/16 in.)
National Gallery of Art, Washington,Gift of Heather and Tony Podesta Collection

 

 

The National Gallery of Art explores how the practice of making multiple portraits of the same subjects produced some of the most revealing and provocative photographs of our time in The Serial Portrait: Photography and Identity in the Last One Hundred Years, on view in the West Building’s Ground Floor photography galleries from September 30 through December 31, 2012. Arranged both chronologically and thematically, the exhibition features 153 works by 20 artists who photographed the same subjects – friends, family, and themselves – numerous times over days, months, or years to create compelling portrait studies that investigate the many facets of personal and social identity.

“The Gallery’s photography collection essentially began with the donation of Alfred Stieglitz’s ‘key set,’ so it is fitting that this exhibition opens with portraits by Stieglitz, who understood that a person’s character was best captured through a series of photographs taken over time,” said Earl A. Powell III, director, National Gallery of Art. “Although the exhibition is drawn largely from the Gallery’s significant collection of photographs, we are grateful to the lenders who have allowed us to present more fully the serial form of portraiture that Stieglitz championed.”

Since the introduction of photography in 1839, portraiture has been one of the most widely practiced forms of the medium. Starting in the early 20th century, however, some photographers began to question whether one image alone could adequately capture the complexity of an individual. As Alfred Stieglitz, the era’s leading champion of American fine art photography, argued: “to demand the [single] portrait that will be a complete portrait of any person is as futile as to demand that a motion picture will be condensed into a single still.”

Along with Stieglitz, some of the 20th century’s most prominent photographers – Paul Strand, Harry Callahan, and Emmet Gowin – used the camera serially to transcend the limits of a single image. Each of these photographers made numerous studies of their lovers that sought to redefine the expressive possibilities of portraiture while probing the affective bonds of love and desire. By employing the camera’s capacity to record fluctuating states of being and mark the passage of time, other photographers such as Nicholas Nixon and Milton Rogovin have documented individuals – in families or communities – over four decades. Capturing subtle and dramatic shifts in appearance, demeanour, and situation, these series are poignant and elegiac memorials that remind us of our own mortality.

Other photographers have made serial self-portraits that explore the malleability of personal identity and the possibility of reinvention afforded by the camera. By photographing themselves as shadows, blurs, or partial reflections, Ilse Bing, Lee Friedlander, and Francesca Woodman have created inventive but elusive images that hint at the instability of self-representation. Conceptual artists of the 1970s and 1980s such as Vito Acconci, Blythe Bohnen, and Ann Hamilton have explicitly combined performance and self-portraiture to stage continual self-transformations. The exhibition concludes with work from the last 15 years by artists such as Nikki S. Lee and Gillian Wearing, who take the performance of self to its limits by adopting masquerades to delve into the ways identity is inferred from external appearance.

Press release from the National Gallery of Art website

 

Lee Friedlander. 'Haverstraw, New York' 1966

 

Lee Friedlander (American, b. 1934)
Haverstraw, New York
1966
Gelatin silver print
21.7 x 32.7cm (8 9/16 x 12 7/8 in.)
National Gallery of Art, Washington, Trellis Fund
© Lee Friedlander, courtesy Fraenkel Gallery

 

Lee Friedlander. 'Westport, Connecticut' 1968

 

Lee Friedlander (American, b. 1934)
Westport, Connecticut
1968
Gelatin silver print
19.8 x 12.3cm (7 13/16 x 4 13/16 in.)
National Gallery of Art, Washington, Trellis Fund
© Lee Friedlander, courtesy Fraenkel Gallery

 

Ilse Bing. 'Self-Portrait with Leica' 1931

 

Ilse Bing (German, 1899-1998)
Self-Portrait with Leica
1931
Gelatin silver print, printed c. 1988
26.7 x 29.7cm (10 1/2 x 11 11/16 in.)
National Gallery of Art, Washington, Gift of Ilse Bing Wolff

 

Gillian Wearing. 'Me as Mapplethorpe' 2009

 

Gillian Wearing (English, b. 1963)
Me as Mapplethorpe
2009
Gelatin silver print (based upon Robert Mapplethorpe work: Self Portrait, 1988. © Robert Mapplethorpe Foundation)
149.86 x 121.92cm (59 x 48 in.)
Private Collection
Courtesy the artist; Tanya Bonakdar Gallery, New York; Maureen Paley, London, Regen Projects, Los Angeles

 

Paul Strand. 'Rebecca' 1922

 

Paul Strand (American, 1890-1976)
Rebecca
1922
Platinum print
24.4 x 19.4cm (9 5/8 x 7 5/8 in.)
National Gallery of Art, Washington, Southwestern Bell Corporation Paul Strand Collection
© Aperture Foundation Inc., Paul Strand Archive

 

Paul Strand. 'Rebecca, New Mexico' 1932

 

Paul Strand (American, 1890-1976)
Rebecca, New Mexico
1932
Platinum print
14.9 x 11.8cm (5 7/8 x 4 5/8 in.)
National Gallery of Art, Washington, Southwestern Bell Corporation Paul Strand Collection
© Aperture Foundation Inc., Paul Strand Archive

 

Alfred Stieglitz. 'Georgia O'Keeffe' probably 1918

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe
probably 1918
Platinum print
18.4 x 23.1cm (7 1/4 x 9 1/8 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

Alfred Stieglitz. 'Georgia O'Keeffe - Hands and Thimble' 1919

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe – Hands and Thimble
1919
Palladium print
24 x 19.4cm (9 7/16 x 7 5/8 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

Alfred Stieglitz. 'Georgia O'Keeffe' 1930

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe
1930
Gelatin silver print
23.9 x 19.1cm (9 7/16 x 7 1/2 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

Nicholas Nixon. 'The Brown Sisters' 1975

 

Nicholas Nixon (American, b. 1947)
The Brown Sisters
1975
Gelatin silver print
20.2 x 25.2cm (7 15/16 x 9 15/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund
© Nicholas Nixon, courtesy Fraenkel Gallery, San Francisco and Pace/MacGill Gallery, New York

 

Nicholas Nixon. 'The Brown Sisters' 1978

 

Nicholas Nixon (American, b. 1947)
The Brown Sisters
1978
Gelatin silver print
Promised gift of James and Margie Krebs
© Nicholas Nixon, courtesy Museum of Fine Arts, Boston

 

For more images from this series please see my posting Nicholas Nixon: Family Album

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Daily 11.00am – 4.00pm

National Gallery of Art website

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01
Feb
12

Exhibition: ‘What’s in a face? aspects of portrait photography’ at the Art Gallery of New South Wales, Sydney

Exhibition dates: 24th September 2011 – 5th February 2012

 

Many thankx to the Art Gallery of New South Wales for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Glaister studio (Australia 1855-1870) 'Untitled (portrait of a man and three girls)' 1855-1870

 

Glaister studio (Australia 1855-1870)
Untitled (portrait of a man and three girls)
1855-1870
Ambrotype, colour dyes
6.5 x 9 cm sight; 9.3 x 11.9 cm case
Purchased 1989

 

 

This charming ambrotype was thought to have been produced by one of Australia’s most important early photographers, Thomas Glaister, owning to the presence of the Glaister stamp on the case. However, superb varnish was one of Glaister’s hallmarks and this ambrotype is not varnished. In addition, the hand-colouring is not considered to be to Glaister’s standard. As such, it is possible that the ambrotype was inserted into this case at a later date, not least because there is no form of blackening behind the image. This was standard practice to prevent the viewer seeing through to the inside of the case. The Eichmeyer ‘book’ case, patented in 1855 by Henry A Eichmeyer of Philadelphia, were made of fine leather and beautifully put together. Glaister certainly used these but the ambrotype is probably not his specifically and could have been made by one of his sons in the 1860s when they worked as travelling photographers. Regardless of who took the image, it is a charming colonial portrait which in size is typical of the period – it can easily be held in the hand.

Ambrotypes were developed in the 1850s. They were faster and cheaper to make than daguerreotypes, yet were still unique objects.

1. 1989, ‘Masterpieces of Australian photography’, Josef Lebovic Gallery, Sydney p. 25

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Olive Cotton (Australian, 1911 - 2003) 'Only to taste the warmth, the light, the wind' c. 1939

 

Olive Cotton (Australian, 1911-2003)
Only to taste the warmth, the light, the wind
c. 1939
Gelatin silver print
33.2 x 30.0 cm image/sheet
Purchased with funds provided by John Armati 2006
Art Gallery of NSW Collection

 

 

Only to taste the warmth, the light, the wind appears to have been the only print Cotton made of this image. It was found in the late 1990s and has been shown only once, in an exhibition at the AGNSW in 2000 where it was also used on the catalogue cover. It was unusual for Cotton to print so large, yet it is entirely fitting that this monumental head and shoulder shot of a beautiful young woman should be presented in this way. The subject was a model on a fashion shoot at which Cotton was probably assisting. Cotton often took her own photographs while on such shoots and used them for her private portfolio. The photograph transcends portraiture, fashion and time to become a remarkable image of harmony with the elements.

Cotton took the title for this photograph from an 1895 poem by English poet Laurence Binyon, ‘O summer sun’:

O summer sun, O moving trees!
O cheerful human noise, O busy glittering street!
What hour shall Fate in all the future find,
Or what delights, ever to equal these:
Only to taste the warmth, the light, the wind,
Only to be alive, and feel that life is sweet?1

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A photographer whose work straddles pictorialism, modernism and documentary, Cotton maintained an independent vision throughout her working life, based on the close observation of nature. Her understanding of the medium of photography was not to do with capture, but rather ‘drawing with light’.

1. 1915, ‘Poems of today’, English Association, London p. 96.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Destiny Deacon (Kuku / Erub, Australia b. 1957) 'Portrait: Janet Burchill & Jennifer McCamley, Artists' 1998

 

Destiny Deacon (Kuku / Erub, Australia b. 1957)
Portrait: Janet Burchill & Jennifer McCamley, Artists
1998
Colour bubble jet print from Polaroid photograph
57.9 x 71 cm
Purchased 1998
© Destiny Deacon. Licensed by Viscopy, Sydney

 

 

Deacon is widely recognised for her staged photographs which employ various props, including souvenirs and kitsch, in satirical tableaus that critique notions of Aboriginality. Initially, in 1991, she employed dolls and since then they have become a signature motif. This use of non-living models informed her practice when she began to photograph people. As Deacon states, ‘I’ve never been one for “live action” shots…I’ve got to rule the roost. It’s no different dealing with inanimate objects or people, except with people I’m more terrified.’1

This method can be seen in Deacon’s Portrait: Janet Burchill & Jennifer McCamley, artists 1998. Burchill and McCamley, Melbourne and Mildura based collaborative artists, have been arranged in a re-enactment of Henri Matisse’s Conversation 1908-12. The photograph echoes the deep blue background of the original painting. The two artists hold the stiff positions of Matisse and his seated wife gazing across at each other. This is one of a number of Deacon’s works that feature Australian writers, artists and other notable figures re-enacting iconic paintings. Other examples include artist Fiona Hall in a 2004 retake of Grace Cossington-Smith’s The sock knitter 1915 and a portrait of Gary Foley inspired by William Dobell’s The boy at the basin 1932.

1. Destiny Deacon, ‘Interview with Virginia Fraser’ in Destiny Deacon: walk & don’t look blak, Museum of Contemporary Art, Sydney, 2004, p. 109.

 

Ilse Bing (United States of America, Germany 1899-1998) 'Self portrait with Leica' 1931 printed 1941

 

Ilse Bing (United States of America, Germany 1899-1998)
Self portrait with Leica
1931 printed 1941
Gelatin silver photograph
26.7 x 31.2 cm
Alistair McAlpine Photography Fund 2005
© Ilse Bing Estate. Courtesy Edwynn Houk Gallery, New York

 

 

Self portrait with Leica is a complex image in which the artist has photographed herself and her trademark Leica in one mirror, while the profile of both is reflected in another. The large button on her cuff disturbs the play between full face and profile, while the objects at the bottom of the frame lend a certain informality to an otherwise highly contrived set-up. The soft velvety curtain behind introduces a further element of rich tactility. The play between black, white and shades of grey softens and enriches the overall image.

Although Bing avoided becoming part of any specific movement of the 1920s or 1930s – for example, constructivism, the Bauhaus or surrealism, describing herself as being ‘on the edge of the periphery of the Bauhaus’ only – she was fully cognisant of the range of experimentation which was taking place across Europe. She forged her own path, combining an abiding belief in the importance of intuition and poetry with rigorous composition and superb technical skills.

Inspired by the work of Florence Henri, and with increasing confidence in her ability to marry naturalism with geometric formalism, Bing worked extensively as a press, fashion, portrait and documentary photographer in Paris until she was interned as an enemy alien in 1940. Late in her life Bing wrote:

‘I didn’t choose photography; it chose me. I didn’t know it at the time. An artist doesn’t think first and then do it, he [sic] is driven. Now over fifty years later, I can look back and explain it. In a way, it was the trend of the time; it was the time when you started to see differently … And the camera, that was, in a way, the beginning of the mechanical device penetrating into the field of art.’1

1. Barrett N C 1985, Ilse Bing: three decades of photography, New Orleans Museum of Art, New Orleans pp. 13-14.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Robert Rooney (Australia, b. 1937) 'Portrait of Maria Kozic and Philip Brophy II' 1981

 

Robert Rooney (Australia, b. 1937)
Portrait of Maria Kozic and Philip Brophy II
1981
Cibachrome photograph
20.1 x 30 cm image/sheet
Purchased 1996
© Robert Rooney

 

 

The four portraits in the Art Gallery of New South Wales collection reflect a particular period in Australian art, when the now established artists were beginning their careers. They depict members of the contemporary art scene of the late 1970s to mid 1980s associated with Art + Text, an Australian art magazine published from 1981-2000.

Philip Brophy formed the experimental group Tsk Tsk Tsk in 1977. The group produced experimental music, films, videos, and live theatrical performances. Brophy involved his friends in the group, including partner Maria Kozic on synthesiser. Kozic was also producing her own multimedia work. In this photograph, Kozic and Brophy are standing in a suburban backyard complete with Hills Hoist. This is reflective of Tsk Tsk Tsk’s suburban beginnings, based as it was at Clifton Hill’s Community Music Centre. After the group’s dissolution in the early 1980s, Brophy made several experimental films and curated numerous programs for the Melbourne international film festival as well as exhibitions such as Tezuka: the marvel of manga for the National Gallery of Victoria. Kozic moved to New York where she continued her artistic career. Her work has been exhibited widely throughout Australia and overseas and been collected by many museums including the Art Gallery of New South Wales.

 

Loretta Lux (Germany b. 1969) 'The waiting girl' 2006

 

Loretta Lux (Germany, b. 1969)
The waiting girl
2006
Ilfochrome photograph
38 × 53 cm
Purchased with funds provided by the Photography Collection Benefactors’ Program 2007
© Loretta Lux/Bild-Kunst. Licensed by Viscopy, Sydney

 

 

Lux’s portraits are by no means traditional, ‘I call them imaginary portraits. They are not really about the children that I photographed’, commented the artist in interview with Wim van Sinderen (Loretta Lux: new work 2004). In relation to The waiting girl, Lux has said: ‘It’s a picture about time, and timelessness. For me they are sitting on the sofa as if they are waiting for eternity.’ (The Guardian 23 November 06)

Through subtle digital manipulation of the body and facial features of her subjects, Lux creates eerie doll-like creatures with glazed eyes, porcelain smooth skin and subtly ill-proportioned forms. The resulting portraits contain an uncanny blend of mute childish innocence and the self-contained stoicism of adulthood.

Lux’s images of children recall those of the old masters, such as Veláquez, Runge and Bronzino whom she cites as main inspirations alongside German photographer August Sander. Lux has stated in an interview with Louise Baring for the Telegraph (UK) that she uses children ‘as a metaphor for a lost paradise’. Dressing her young models in past fashions (often of the era of her own childhood) suggests the child’s game of ‘dress ups’ in order to be an adult yet somehow played out in reverse. That is, Lux’s children do not seem like children at all, but rather like serious world-weary adults manifested in childish forms.

 

 

Spanning over a century, What’s in a face? aspects of portrait photography is an exhibition of 45 photographs from the Art Gallery of NSW collection. The exhibition focuses on crucial points in the history of photographic depictions of the human face ranging from studio portraiture in the late 19th century to contemporary practices today.

Works by Australian photographers, such as Paul Foelsche, Olive Cotton, Max Dupain, Carol Jerrems, Destiny Deacon, Patrina Hicks, Darren Sylvester and others, are placed in an international context, represented by Man Ray, Edward Weston, Iwao Yamawaki, Nan Goldin, Ben Cauchi and Loretta Lux, amongst others.

All portraits reveal something of the sitter, the photographer and also of us as viewers, but none reveal a whole and complete being. This is part of the enduring fascination with the photographic portrait which purports to be an exact likeness but operates more accurately as a metaphor for the self and how that self might exist in the world at a particular point in time.

Judy Annear, senior curator photographs, Art Gallery of NSW

.
Using photography to depict the face and figure was initially a time-consuming and expensive business. However, the drive to document all things in the world, and rapid technological advances, meant that by the 1880s most people, willing or not and regardless of the photographer’s or their own desires, were documented in some way.

Spurious 19th century ideas to do with what a face could represent exploded in the early 20th century when identity came to be seen as a psychological rather than social phenomenon. Theatricality and performing for the camera, which had existed in photography since its inception, also became much more evident in this period.

In the post-WWII era representations of the face and the body quickly acquired a political and socially aware edge. More recently the face has tended to stand less as an expression of personal experience and more a statement that may signify a set of ideas, whether about the individual, the group or the society at large. Many of these highly constructed images acknowledge and play upon the problematics of the photographic portrait.”

Text from the AGNSW website

 

Petrina Hicks (Australian, b. 1972) 'Shenae and Jade' 2005

 

Petrina Hicks (Australian, b. 1972)
Shenae and Jade
2005
From the series Untitled 2005
Lightjet print
85.5 x 80.0 cm
Courtesy the artist and Michael Reid Gallery

 

 

Shenae and Jade is typical of Hicks’ unconventional portraits. The young model holds the budgie’s head in her mouth. It’s the kind of slightly dangerous behaviour which can be unnerving to observe. The freckled nose of the model is in tension with her smooth pale temples, heavily lashed closed eyes and soft white top. The luminescent background and generally pale colouration throw the headless body of the brightly coloured budgie into high relief.

 

Darren Sylvester (Australia, b. 1974) 'They return to you in song' 2001

 

Darren Sylvester (Australia, b. 1974)
They return to you in song
2001
Lambda print
100.0 x 100.0cm image/sheet
Purchased with funds provided by the Photography Collection Benefactors’ Program 2002
© Darren Sylvester

 

 

Informed by the slick stylistic conventions of high-end consumer images, Darren Sylvester’s body of work suggests the existential dilemma of living in an overtly consumerist society – one that promises fulfilment but fails to truly satisfy even the most ardent consumer. Perpetually tantalised with glossy images of affluence, ‘must-have’ products and brochure living, our ‘real’ lives can at times seem unfulfilling by comparison, sometimes painful and often a little pathetic. Sylvester’s work seems to suggest that even in our most personal heartfelt moments, our lives are just like everybody else’s, not so special or unique. Our lives could equally be a series of advertising moments.

Yet the nature of this work is resolutely ambiguous, alternately offering intimacy and emotion with cool detachment. Photo-shopped clean of incidental detail and anomaly, and featuring youthful agency models, Sylvester’s evenly lit, tightly focused images still tap a nerve despite their polished finish. Perhaps this is because they are precisely ‘generic’ (and emotive) experiences to which we can all relate. The same principles underpin a good pop song and in Sylvester’s work this is no coincidence – he strives to produce images that carry the same directness and lasting impact. Commenting on the music of the Carpenters, ‘their lyrics were always sad and about emotional relationships but sealed beneath glossy west coast melodies’, Sylvester reveals the pop-music strategies he employs in his work.1

Based on short stories written by the artist prior to composing the scene, his images carry their own inherent narrative. Yet we don’t need to read Sylvester’s story to understand the drama, nor do we need to hear the tune to recognise the song – it’s an old one, and a shared one, that each of us remembers well.

1. Colless E 2006, ‘Darren Sylvester: the right stuff’, Australian Art Collector, no 36, Apr-Jun p. 102.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Hans Hasenpflug (Australia, Germany 1907-1977) 'Untitled (head of a woman)' 1940-1941

 

Hans Hasenpflug (Australia, Germany 1907-1977)
Untitled (head of a woman)
1940-1941
Gelatin silver photograph
28.8 x 24.3cm image
Gift of Mr Christopher Hamilton, the artist’s son 1984

 

 

Hans Hasenpflug arrived in Australia in 1927 aged 20. He had been born into an educated Stuttgart family but it does not appear that he became involved in photography until 1932 when he was employed by Leica Photo Service, Sydney. Hasenpflug went on to work for prominent photographer Russell Roberts from 1935 to 1937 before moving to Melbourne and working with Athol Shmith and other Melbourne studios from 1937 to 1942. As an enemy alien Hasenpflug was not allowed to work on industrial assignments during World War Two but he was not interned and was naturalised in 1945. Hasenpflug exhibited in photography salons in the 1930s and his work appeared in the Sydney Morning Herald, Australian Woman’s Weekly and the Sunday Telegraph.

Hasenpflug was a versatile advertising photographer. He specialised in fashion and product advertising and some portraiture. Despite his apparent lack of photographic training until the 1930s, he seems to be have been strongly influenced by the European avant-garde. Many of his photographs, regardless of genre or subject matter, depend on diagonals through the picture plane and on raking light.

This is true of Untitled. Strong light has created deep shadows across the subject, a closely cropped image of a woman’s face. This, combined with the oblique camera angle, creates a vivid and disconcerting image. The woman is staring directly into the camera, yet a band of strong shadow across the centre of the image creates a blank eyed effect. The pupil free eyes seem inhuman; mask-like or alien. This is in stark contrast to the woman’s open smile that dominates the bottom of the work. The strong, full light on this area highlights her lips, gums and teeth to an almost hyper real extent. These contradictions create an image that on the surface seems friendly and intimate, yet contains an undertone of threat. The inherent strangeness of the image makes it unlikely that this was a commissioned photograph, but rather the artist’s experiment with his medium, and indeed is probably a portrait of his fiancee, Elizabeth Hamilton Crouch.

 

Edward Weston (American, 1886-1956) 'Guadalupe de Rivera, Mexico' 1924

 

Edward Weston (American, 1886-1956)
Guadalupe de Rivera, Mexico
1924, printed later
Gelatin silver photograph
20.7 × 17.8 cm
Gift of Patsy W. Asch 2000
© Centre for Creative Photography, Arizona Board of Regents

 

 

Edward Weston’s Mexican years were of great importance to him and allowed for the maturing of his vision in relation to photography. Accompanied by Tina Modotti, whose own work developed at this time, Weston experimented with pure form through monumental portraits (of which Guadalupe de Rivera, Mexico is a classic example), images of landscapes and buildings, still-lifes and nudes.

Weston’s portraits of those he encountered in Mexico are uniformly compelling. Often taken with a hand-held camera against a plain background and with strong lighting, these images emphasise individuality, modernity and dynamism.

Guadalupe de Rivera was Diego Rivera’s wife at the time and both were among the group of people Weston and Modotti associated with. Weston described Guadalupe in his ‘Daybooks’ as ‘tall, proud of bearing, almost haughty; her walk like a panther’s, her complexion almost green, with eyes to match’.1 As he worked on the portrait, Weston wrote: ‘I am finishing the portrait of Lupe. It is a heroic head, the best I have done in Mexico; with the Graflex, in direct sunlight I caught her, mouth open, talking, and what could be more characteristic of Lupe! Singing or talking I must always remember her’.2

This later print by Weston emphasises, through the dramatic effect of light and shade, the strong lines of the face. The shape of the open mouth is echoed by the shadowed eye above and the jawline below. The diagonal of jaw to ear which runs in parallel to the nose also adds to the dynamism of this image. Outdoors, with the sun shining on her hair, this is a portrait of a remarkable woman.

1. Newhall N ed 1981, ‘The daybooks of Edward Weston 1 Mexico’, Aperture, New York p. 26.
2. Ibid p. 42.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Carol Jerrems. 'Vale Street' 1975

 

Carol Jerrems (Australian, 1949-1980)
Vale Street
1975
Gelatin silver print
20.1 x 30.4 cm
Purchased 1979
© Ken and Lance Jerrems

 

 

A quintessential image of the 1970s, Vale Street has lost none of its capacity to enchant and disturb in the intervening years. In one sense it can be read as a sociological document; in another as a wholly subjective work of art. Like the mediumistic spirit-photographs of the nineteenth century, Jerrems’s photo seems to disclose the very souls of its subjects. As they respond, each in their individual fashion, to the regarding presence of the camera lens, the figures compose themselves, without theatrics, into telling attitudes. The prominence and bodily confidence of the open-faced young woman is set against the reticence of her boyish companions. As a portrait of relationships as well as individuals, Vale Street speaks of gender relations, adolescent sexuality, suburban mores and the photographer’s own subtly partisan demeanour in regard to these themes.

Art Gallery Handbook, 1999

 

Carol Jerrems. 'Juliet Holding Vale Street' 1976

 

Carol Jerrems (Australian, 1949-1980)
Juliet Holding Vale Street
1976
Gelatin silver print
30.4 x 20.1 cm
Purchased 1979
© Ken and Lance Jerrems

 

Carol Jerrems. 'Lynn Gailey' 1976

 

Carol Jerrems (Australian, 1949-1980)
Lynn Gailey
1976
Gelatin silver print
30.3 x 20.1 cm
Purchased 1979
© Ken and Lance Jerrems

 

Max Dupain (Australia 1911-1992) 'Untitled (self portrait)' 1930s

 

Max Dupain (Australia, 1911-1992)
Untitled (self portrait)
1930s
Gelatin silver photograph
19.3 x 14 cm
Art Gallery of NSW Collection

 

 

This engaging self-portrait by Max Dupain was kept by the artist in an album of photographs from the 1930s. The album was possibly a workbook which would enable Dupain and his clients to review his career as a young modernist photographer. Dupain had opened his own studio in 1934 at the age of 23 having previously been apprenticed to Cecil Bostock and studying painting and drawing at the Julian Ashton Art School in Sydney. In his teens, through the Photographic Society of New South Wales, Dupain had also had contact with Harold Cazneaux whom he later described as ‘the father of modern Australian photography’.1 Both Cazneaux and Bostock provided Dupain with a solid technical and aesthetic base from which to work.

The young working photographer has chosen to depict himself in Untitled (self portrait) with rolled-up sleeves and a furrowed brow. The image is bisected into light in the upper half and dark below with the photographer’s right hand pressing the cable release. Looking away, in three-quarter profile, Dupain is engaged with something out of the frame. The dynamism of the image is further enhanced by the bent arms and the strong shadow of Dupain’s profile.

The 1930s was a period of intense experimentation for Dupain as he applied the lessons learned from Bostock and Cazneaux and absorbed the material in international publications. He mastered solarisation, montage, portraiture, interiors and advertising photography. His interest in form and composition matured. His dedication to his work is manifested in this image.

1. Dupain M 1978, Cazneaux: photographs by Harold Cazneaux 1878-1953, National Library of Australia, Canberra p. xi.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

 

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18
Mar
11

Exhibition: ‘Pictures by Women: A History of Modern Photography’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 7th May, 2010 – 4th April 2011

 

Ooooh, how I wish I could have been in New York to see this exhibition!

Marcus

.
Many thankx to the Museum of Modern Art (MoMA) for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Cindy Sherman (American, born 1954) 'Untitled #92' 1981

 

Cindy Sherman (American, born 1954)
Untitled #92
1981
Chromogenic colour print
24 x 47 15/16″ (61 x 121.9 cm)
The Museum of Modern Art, New York. The Fellows of Photography Fund
© 2010 Cindy Sherman

 

Nan Goldin (American, born 1953) 'Nan One Month After Being Battered' 1984

 

Nan Goldin (American, born 1953)
Nan One Month After Being Battered
1984
Silver dye bleach print (printed 2008)
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York. Purchase
© 2010 Nan Goldin

 

Ilse Bing (American, born Germany. 1899-1998) 'Self-Portrait in Mirrors' 1931


 

Ilse Bing (American, born Germany. 1899-1998)
Self-Portrait in Mirrors
1931
Gelatin silver print
10 1/2 x 12″ (26.8 x 30.8 cm)
The Museum of Modern Art, New York. Joseph G. Mayer Fund
© 2010 The Ilse Bing Estate / Courtesy Edwynn Houk Gallery

 

 

The Museum of Modern Art draws from its rich collection of photography to present the history of the medium from the dawn of the modern period to the present with the exhibition Pictures by Women: A History of Modern Photography, from May 7 to August 30, 2010. Filling the entire third-floor Edward Steichen Photography Galleries with photographs made exclusively by women artists, this installation comprises more than 200 works by approximately 120 artists, including a selection of exceptional recent acquisitions and works on view for the first time by such artists as Anna Atkins, Claude Cahun, Rineke Dijkstra, VALIE EXPORT, Nan Goldin, Helen Levitt, and Judith Joy Ross. The exhibition also includes masterworks by such luminaries as Berenice Abbott, Diane Arbus, Gertrude Käsebier, Dorothea Lange, Lisette Model, Tina Modotti, Cindy Sherman, and Carrie Mae Weems, as well as pictures, collages, video, and photography-based installations drawn from other curatorial departments by artists such as Hannah Höch, Barbara Kruger, Annette Messager, Yoko Ono, Lorna Simpson, Kiki Smith, and Hannah Wilke. The exhibition is organised by Roxana Marcoci, Curator; Sarah Meister, Curator; and Eva Respini, Associate Curator, Department of Photography, The Museum of Modern Art.

The Edward Steichen Photography Galleries comprise a circuit of six rooms devoted to a rotating selection of photographs from the Museum’s collection. The galleries featuring works from 1850 to the 1980s open on May 7, 2010, and remain on view through March 21, 2011. The most contemporary works in the exhibition are currently on view in The Robert and Joyce Menschel Gallery, and they remain on view through August 30, 2010.

For much of photography’s 170-year history, women have contributed to its development as both an art form and a means of communication, expanding its parameters by experimenting with every aspect of the medium. Self-portraits and representations of women by a variety of women practitioners are a recurring motif, as seen in works by artists ranging from Julia Margaret Cameron to Lucia Moholy, and from Germaine Krull to Katy Grannan. Significant groups of works by individual photographers are highlighted within this chronological survey, including in-depth presentations of the work of Frances Benjamin Johnston, Käsebier, Modotti, Lange, Levitt, Arbus, Goldin, and Ross.

Marking the entrance to The Edward Steichen Photography Galleries is a large-scale photographic wallpaper, Fluxus Wallpaper, realised by Yoko Ono and George Maciunas in the early 1970s. This work depicts the serial repetition of a set of buttocks, an image originating from a provocative Fluxus film made by Ono in 1966.

Pictures by Women opens with a gallery of nineteenth and early twentieth-century work, representing the variety of photography’s applications. The earliest photograph in the installation was made in the 1850s by British photographer Anna Atkins, who used the cyanotype process to record her many plant specimens. Presented side by side are in-depth groupings of work by American photographers Frances Benjamin Johnston and Gertrude Käsebier. In 1899 the Hampton Institute commissioned Johnston to take photographs at the school that were featured in an exhibition about contemporary African American life at the Paris Exposition of 1900. On view is a selection of pictures taken from a larger album of 156, which exemplify Johnston’s talent for balancing pictorial delicacy and classical composition with the demands of working on assignment. Käsebier – another woman who produced photographic works of art while operating a successful commercial studio – is best known for her portraits and symbolic, soft-focus pictures of the mother-and-child theme.

The rise of photographic modernism in the 1920s and 1930s is traced in the second gallery primarily with the work of European women artists. A wall of portraits of women showing the range of artistic expression and experimentation during this period includes Claude Cahun’s radical gender-bending self-portrait in drag (1921); Lucia Moholy’s striking portrait of fellow Bauhaus student Florence Henri (1927); and Hannah Höch’s Indian Dancer: From an Ethnographic Museum (1930), a collage evoking the modern woman. Included here is also a photocollage by the little known Japanese artist Toshiko Okanoue, titled In Love (1953). Cannibalising images from U.S. magazines such as Life and Vogue, this surreal collage represents a young Japanese woman’s perception of the Western way of life. A group of pictures taken in Mexico in the late 1920s by Italian photographer Tina Modotti possess an aesthetic clarity and beauty that reflect her increasing political involvement within her adopted country. Also included is Ilse Bing’s Self-Portrait in Mirrors (1931), a picture staging a complex mise-en-scène between two reflections – one in the mirror and the other in the camera’s eye – as well as similarly powerful works by Imogen Cunningham, Florence Henri, Germaine Krull, and Lee Miller, who experimented with mobile perspectives of the handheld camera and graphic compositions.

The third gallery features photographers who devoted themselves to the complex challenge of exploring the social world in the interwar and postwar periods. Largely comprising work by American women, this gallery includes comprehensive presentations of two of America’s leading photographers, Dorothea Lange and Helen Levitt. The breadth of Lange’s accomplishments is represented through a selection of approximately 20 photographs, all of women, including her iconic Depression-era picture Migrant Mother, Nipomo, California (1936); the memorable One Nation, Indivisible, San Francisco (1942); and pictures capturing the bustle of postwar life in America, such as Mother and Child, San Francisco (1952). Opposite these works is a wall of colour photographs taken by Levitt in the 1970s on the streets of New York City. These lively, spontaneous pictures are full of humour and drama, and continue the rich tradition of the American documentary genre that Levitt helped establish in the 1940s with her black-and-white photographs. The rest of the gallery includes a variety of work made during the period, including Berenice Abbott’s documents of the changing architecture and character of New York City in the 1930s, and Barbara Morgan’s elegant 1940 photograph of dancer Martha Graham performing her dramatic piece “Letter to the World,” based on the love life of American poet Emily Dickinson.

Photography’s documentary tradition in the postwar period continues in the fourth gallery, most notably with a selection of Diane Arbus’s portraits of women, such as A Widow in Her Bedroom, New York City (1963); Identical Twins, Roselle, New Jersey (1966); and Girl in Her Circus Costume, Maryland (1967). This gallery also includes work by artists of the 1960s and 1970s who embraced photography not just as a way of describing experience, but as a conceptual tool for appropriating and manipulating existing photographs. Examples include Martha Rosler’s collage Cleaning the Drapes (1969-72), which juxtaposes images of domestic bliss taken from women’s magazines with news pictures of the war in Vietnam. The gallery also introduces several notable examples of acts performed for the camera, including Adrian Piper’s self-portrait series Food for the Spirit (1971), a meditation on transcendental being through an analysis of Kant’s Critique of Pure Reason; and VALIE EXPORT’s provocative Action Pants: Genital Panic (1969). Presented as a set of posters, this work memorialised a performance in which the Austrian artist marched into an experimental art-film house in Munich wearing crotchless trousers, challenging mostly male viewers to “look at the real thing” instead of passively enjoying images of women on the screen.

The emergence of colour photography as a major force in the 1970s is seen in the fifth gallery, with large photographs, including Tina Barney’s Sunday New York Times (1982) and a picture from Cindy Sherman’s celebrated Centerfolds (1981) series. This gallery also includes the work of postmodern artists associated with The Pictures Generation, such as Barbara Kruger, Louise Lawler, Sherrie Levine, and Laurie Simmons, who played with photography’s potential to comment on the increasingly image-saturated world of the late twentieth century. Representing the other end of the photographic spectrum is the diaristic aesthetic of Nan Goldin. A group of Goldin photographs dating from 1978 to 1985 capture the shared experience of an artistic downtown New York community – a generation ravaged by drug abuse and AIDS. These pictures of the artist’s friends, lovers, and Goldin herself explore the highs and the lows of amorous relationships. These are presented opposite work by Gay Block, Sally Mann, and Sheron Rupp, who use the probing vision of straightforward photography to explore the world around us.

Concluding the installation in The Robert and Joyce Menschel Gallery are major groups of works that suggest the diversity of artistic strategies and forms in contemporary photography. A group of Judith Joy Ross portraits of very different women – a graduation guest (1993), a soldier (1990), a congresswoman (1987), and a visitor to the Vietnam Veterans Memorial (1984) – invite us to reflect upon the relationship between social roles and the unique identities of the individuals who fulfil them. Presented on the same wall is Rineke Dijkstra’s ongoing series Almerisa, comprising 11 photographs made over a period of 14 years. Dijkstra first photographed Almerisa – a six-year-old Bosnian girl whose family had relocated from their war-torn native country to Amsterdam – as part of a project documenting children of refugees. Dijkstra continued to photograph her at one- or two-year intervals, chronicling not only her development from childhood through adolescence and into adulthood but also her cultural assimilation from Eastern to Western Europe. A selection from Carrie Mae Weems’s series From Here I Saw What Happened and I Cried (1995) superimpose sand-blasted text over found photographs to dissect photography’s historical role in imposing stereotypes upon African Americans. Rounding out this gallery is a wall dedicated to portraits of women, including work by Valérie Belin, Tanyth Berkeley, Katy Grannan, and Cindy Sherman, suggesting the plasticity of photography and, indeed, of female identity itself.

Press release from the MOMA website

 

Hannah Höch (German, 1889-1978) 'Indian Dancer: From an Ethnographic Museum' 1930

 

Hannah Höch (German, 1889-1978)
Indian Dancer: From an Ethnographic Museum (Indische Tänzerin: Aus einem ethnographischen Museum)
1930
Cut-and-pasted printed paper and metallic foil on paper
10 1/8 x 8 7/8″ (25.7 x 22.4 cm)
Frances Keech Fund
© 2019 Hannah Höch / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany

 

 

Through the cut-and-pasted elements of Indian Dancer, Höch assembled references to film, Central African sculpture, and the domestic sphere. Her collaged model is the actress Renée (Maria) Falconetti (also known simply as “Falconetti”), appearing in a publicity still for Carl Theodor Dreyer’s 1928 film The Passion of Joan of Arc. Half of Falconetti’s face is replaced with the ear, eye, and mouth of a wooden dance mask from Cameroon. Atop her head rests a crown of cutlery: cutout shapes of spoons and knives, set against glinting metallic foil.

This work belongs to a series of photomontages called From an Ethnographic Museum (1924-34), in which Höch juxtaposed images of women with reproductions of tribal art cut from magazines. The artist cited a visit to the ethnographic museum in Leiden, in the Netherlands, as an influence in the conception of this series; however, she used material from other cultures mostly as a point of departure for commentary on the status of women in contemporary German society. Invoking an androgynous fifteenth-century French martyr as embodied by a glamorous movie star, capping her with the finery of a domestic goddess, and aligning her with a cultural Other, this composite representation examines the complex facets of modern femininity.

Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019)

 

Toshiko Okanoue (Japan, b. 1928) 'In Love' 1953

 

Toshiko Okanoue (Japan, b. 1928)
In Love
1953
Cut-and-pasted printed papers on printed paper
14 x 9 5/8″ (35.6 x 24.4 cm)
Committee on Photography Fund and Committee on Drawings Funds
© 2019 Toshiko Okanoue

 

Martha Rosler (American, b. 1943) 'Cleaning the Drapes' from the series 'House Beautiful: Bringing the War Home' c. 1967-72

 

Martha Rosler (American, b. 1943)
Cleaning the Drapes from the series House Beautiful: Bringing the War Home
c. 1967-72
Pigmented inkjet print (photomontage), printed 2011
17 5/16 x 23 3/4″ (44 x 60.3 cm)
Committee on Photography and The Modern Women’s Fund
© Martha Rosler

 

 

Rosler conceived Bringing the War Home during a time of increased intervention in Vietnam by the United States military. Splicing together pictures of Vietnamese citizens maimed in the war, published in Life magazine, with images of the homes of affluent Americans culled from the pages of House Beautiful, Rosler made literal the description of the conflict as the “living-room war,” so called in the USA because the news of ongoing carnage in Southeast Asia filtered into tranquil American homes through television reports. By urging viewers to reconsider the “here” and “there” of the world picture, these activist photomontages reveal the extent to which a collective experience of war is shaped by media images.

Gallery label from The Shaping of New Visions: Photography, Film, Photobook, April 16, 2012 – April 29, 2013

 

Tina Modotti. 'Campesinos (Workers' Parade)' 1926

 

Tina Modotti (Italian, 1896-1942)
Workers Parade
1926
Gelatin silver print
8 7/16 x 7 5/16″ (21.5 x 18.6 cm)
The Museum of Modern Art, New York. Given anonymously

 

Gertrude Käsebier (American, 1852-1934) 'The Manger' 1899

 

Gertrude Käsebier (American, 1852-1934)
The Manger
1899
Platinum print
12 13/16 x 9 5/8″ (32.5 x 24.4 cm)
The Museum of Modern Art, New York. Gift of Mrs. Hermine M. Turner

 

Julia Margaret Cameron (British, 1815-1879) 'Untitled' c. 1867

 

Julia Margaret Cameron (British, 1815-1879)
Untitled
c. 1867
Albumen silver print
13 3/16 x 11″ (33.5 x 27.9 cm)
The Museum of Modern Art, New York. Gift of Shirley C. Burden

 

Lucia Moholy (British, 1894-1989) 'Untitled (Florence Henri)' 1927

 

Lucia Moholy (British, 1894-1989)
Untitled (Florence Henri)
1927
Gelatin silver print
14 5/8 x 11″ (37.1 x 28 cm)
The Museum of Modern Art, New York. Thomas Walther Collection. Gift of Thomas Walther
© 2010 Lucia Moholy Estate/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn

 

 

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Dr Marcus Bunyan

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

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

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