Posts Tagged ‘Imogen Cunningham Magnolia Blossom

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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11
Mar
14

Exhibition: ‘See the Light – Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection’ at The Los Angeles County Museum of Art (LACMA)

Exhibition dates: 27th October 2013 – 23rd March 2014

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It is a real joy to bring these beautiful images to you!

Frederick H. Evans A Sea Of Steps – Wells Cathedral (England, 1903, below) is one of my favourite photographs of all time, up there in my top 20 or so. But you wouldn’t knock back any of these for your collection, especially Imogen Cunningham’s Magnolia Blossom (1925, below) and Edward Steichen’s Three Pears & An Apple (1921, below).

Marcus

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Many thankx to The Los Angeles County 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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William Henry Fox Talbot (England, 1800-1877) 'Articles of China' c. 1844

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William Henry Fox Talbot (England, 1800-1877)
Articles of China
c. 1844
Calotype
5 3/8 x 7 1/8 in. (13.65 x 18.1 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

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Linnaeus Tripe (England, 1822-1902) 'The Elliot Marbles, Central Museum, Madras' India, 1858

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Linnaeus Tripe (England, 1822-1902)
The Elliot Marbles, Central Museum, Madras
India, 1858
Albumen photograph
10 1/2 × 13 in. (26.67 × 33.02 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

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Carl Christian Heinrich Kühn (Germany, active Austria, 1866-1944) 'Still Life' c. 1905

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Carl Christian Heinrich Kühn (Germany, active Austria, 1866-1944)
Still Life
c. 1905
Bromoil print
8 1/4 × 11 1/2 in. (20.96 × 29.21 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© Estate of Heinrich Kühn

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Imogen Cunningham (United States, 1883-1976) 'Magnolia Blossom' 1925

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Imogen Cunningham (United States, 1883-1976)
Magnolia Blossom
1925
Gelatin silver print
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© 1925, 2013 Imogen Cunningham Trust

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Charles Harbutt (United States, New Jersey, Camden, born 1935) 'Triptych' 1978, printed 1978

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Charles Harbutt (United States, New Jersey, Camden, born 1935)
Triptych
1978, printed 1978
Gelatin silver prints
8 x 12
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© Charles Harbutt. All rights reserved, Courtesy Peter Fetterman Gallery

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“The Los Angeles County Museum of Art (LACMA) presents See the Light – Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection, an exhibition celebrating an extraordinary collection and exploring parallels between photography and the science of vision. Since the invention of photography in the late 1830s, the medium has evolved in relation to theories about vision, perception, and cognition. The exhibition takes a historical perspective, identifying correlations between photography and the science of vision during four chronological periods. See the Light is comprised of 220 works by more than 150 artists, including Ansel Adams, Julia Margaret Cameron, Imogen Cunningham, William Henry Fox Talbot, Edward Steichen, Edward Weston, Minor White, and many more.

The exhibition draws entirely from the Marjorie and Leonard Vernon Collection, a key collection within LACMA’s Wallis Annenberg Photography Department. Acquired in 2008, the collection represents the diversity of photographic processes from the medium’s invention in 1839 to the 21st century. See the Light is accompanied by a free mobile-phone multimedia tour featured on mobile.lacma.org with commentary by the Vernons’ daughter, Carol Vernon; curator Britt Salvesen; artist James Welling; expert in computational vision Pietro Perona; and others. A 208-page catalogue, published by LACMA and DelMonico Books/Prestel, includes an essay by Britt Salvesen with contributions from Todd Cronan, Antonio Damasio, Alan Gilchrist, Pietro Perona, Barbara Maria Stafford, and James Welling. A new web page features excerpts from LACMA’s Vernon Oral History Project, an ongoing series of interviews with prominent artists, curators, dealers, and scholars who worked closely with the Vernons.

“Photography is often approached from either the artistic or the technological point of view, but these two aspects of the medium have been intertwined since its invention,” said Britt Salvesen, Department Head and Curator of the Wallis Annenberg Photography Department. “As a scientific instrument, the camera operates as an infallible eye, augmenting physiological vision, and as an artist’s tool, it channels the imagination, recording creative vision. The Marjorie and Leonard Vernon Collection offers unparalleled scope to the spirit of both science and art.”

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The Marjorie and Leonard Vernon Collection

Through a groundbreaking gift from Wallis Annenberg and the Annenberg Foundation, and with the support of Carol Vernon and Robert Turbin, LACMA acquired the Marjorie and Leonard Vernon Collection in 2008. Comprising of more than 3,600 prints by almost 700 artists, the Marjorie and Leonard Vernon Collection at LACMA constitutes one of the finest collections of photography spanning the 19th and 20th centuries. LACMA’s acquisition of this collection makes it possible for the museum to represent photography’s breadth in the context of its encyclopedic collections.

Marjorie and Leonard Vernon were avid collectors in the Los Angeles and Southern California communities. The Vernons built their collection beginning around 1975, cultivating a group of works with global significance, with a special emphasis on West Coast photography of the early and mid-20th century. The collection grew over the years to include works by international photographers, with the earliest photographs dating from the 1840s and the latest to 2001.

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Exhibition organization

See the Light is organized thematically and traces the trajectory of advanced research on cognition and perception in relation to the art of photography. Four approaches within photography are identified: descriptive naturalism, subjective naturalism, experimental modernism, and romantic modernism.

Descriptive naturalism: Early advocates of photography (from the 1840s through around 1880) were eager to recruit the authority of science without sacrificing the romance of art. The notion that the camera could make a pure transcription of nature, undistorted by human error, took hold at precisely the moment with research in physiological optics revealed the complexities of the human visual system. The depiction of far-off landscapes was one of photography’s key functions in its descriptive naturalist phase, as in Carleton Watkins’s commanding views of the American West, which recorded the natural splendor of the landscape and its settlement.

Subjective naturalism: In the late 19th century, experimental psychology, a newly defined scientific discipline, addressed the progression of sensation into interpretation. At the same time, champions of artistic photography introduced the possibilities of expression, ambiguous form, and abstraction into a medium previously valued for its descriptive functions. Heinrich Kühn’s mastery of painterly techniques, for example, led to the creation of photographs on par with paintings or charcoal drawings. Ultimately Kühn’s photographs depict dreams or memories as much as physical reality.

Experimental Modernism: After World War I, photography became a key tool for avant-garde artists determined to deploy technology in a positive rather than destructive manner, thus restoring balance within the individual psyche and within society at large. The abstract works of György Kepes, influenced by Gestalt psychology, represent a European version of this tendency, which he and other emigrés brought to the United States. A later heir to this tradition is Barbara Kasten, who uses photography to explore key interests including transparency, color, light, and structure.

Romantic Modernism: Inspired by nature, romantic modernism isolated moments of direct personal contact with the world, and explored the specific capabilities of photography. Despite an apparent divergence of art and science following World War II, photography was a site of connection. Ansel Adams believed in the artist’s unique vision, while also advocating technical precision to realize it. Concurrently, scientists were focusing on contrast perception, the neurological mechanisms by which we distinguish objects and make sense of spatial arrangements. Scientists and photographers alike had to understand the visual system and its responses to black and white.”

Press release from the LACMA website

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Edward Steichen (Luxembourg, active United States, 1879-1973) 'Three Pears & An Apple' 1921, printed 1921

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Edward Steichen (Luxembourg, active United States, 1879-1973)
Three Pears & An Apple
1921, printed 1921
Gelatin silver print
9 5/8 × 7 1/2 in. (24.45 × 19.05 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin
© The Estate of Edward Steichen

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William Henry Fox Talbot (England, 1800-1877) 'Lace' 1841

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William Henry Fox Talbot (England, 1800-1877)
Lace
1841
Calotype
7 1/2 × 9 1/4 in. (19.05 × 23.5 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin

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Andrew Young (England, active 1870-1879) 'Plane at Aberdour, in Old Avenue' Scotland, late 1870s

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Andrew Young (England, active 1870-1879)
Plane at Aberdour, in Old Avenue
Scotland, late 1870s
Woodbury type
9 1/8 × 7 3/8 in. (23.18 × 18.73 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

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Frederick H. Evans (England, 1853-1943) 'A Sea Of Steps - Wells Cathedral' England, 1903

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Frederick H. Evans (England, 1853-1943)
A Sea Of Steps – Wells Cathedral
England, 1903
Platinum print
9 x 7 1/4 in. (22.86 x 18.44 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and Carol Vernon and Robert Turbin
© Frederick H. Evans, courtesy Janet B. Stenner

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Jaroslav Rössler (Bohemia, Havlíčkův Brod, 1902-1990) 'Still Life with Small Bowl' Czechoslovakia (now Czech Republic), 1923

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Jaroslav Rössler (Bohemia, Havlíčkův Brod, 1902-1990)
Still Life with Small Bowl
Czechoslovakia (now Czech Republic), 1923
Gelatin silver print
8 7/8 × 9 3/8 in. (22.54 × 23.81 cm)
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin

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György Kepes (Hungary, active United States, 1906-2001) 'Balance' 1942, printed 1942

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György Kepes (Hungary, active United States, 1906-2001)
Balance
1942, printed 1942
Gelatin Silver Print
The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin
© The György Kepes Estate

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Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
T: 323 857-6000

Opening Hours:
Monday, Tuesday, Thursday: noon – 8 pm
Friday: noon – 9 pm
Saturday, Sunday: 11am – 8 pm
Closed Wednesday

LACMA website

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17
Jan
13

Exhibition: ‘Imogen Cunningham’ at Fundación Mapfre, Madrid

Exhibition dates: 18th September 18 2012 – 20th January 2013

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This is the first posting on one of my favourite photographers of all time: Imogen Cunningham. The sensuality of this artist, from the early Pictorialist studies (including her ground breaking depiction of the male nude, her husband artist Roi Partridge) to the later Modernist nudes, portraits, industrial landscapes and botanical photographs is of the highest order. Cunningham reminds me of a photographic version of Georgia O’Keeffe without the undoubted darkness that inhabits some of O’Keeffe’s work.

The portrait of Frida Kahlo Rivera (1931, below) is a magnificent study of a proud woman with delicate use of natural light framing the face and gently clasped hands. Note the textures within the photograph – the dress, the shawl, the wicker chair and the wall – and also notice the reflective light falling behind the sitter upper left to balance the frontal light coming from bottom right. Masterful. Cunningham’s famous Two Callas (1929, below) is an glorious study of form, light and texture, a sensual symphony for the eyes, the background a kind of mutable black that allows the viewer’s gaze to be immersed in the subject. The viewer’s voyeuristic gaze is further engaged by the voluptuous suggestiveness of the copious hair and out of focus breast of Phoenix Recumbent (1968, below) where, “the object of the gaze is not aware of the current viewer (though they may originally have been aware of being filmed, photographed, painted etc. and may sometimes have been aware that strangers could subsequently gaze at their image).” “Notes on ‘The Gaze'” Daniel Chandler

Finally, the photograph of Imogen Cunningham and Twinka Thiebaud by Judy Dater (1974, below) seems to me to capture the spirit of the human being Imogen Cunningham with indelible grace. Youth, beauty, age, wisdom. A constantly inquisitive mind, wanting to know, wanting to see things more clearly, taking photographs right up until her final years. There she is with her twin-lens Rollei dressed as if from another century, the quizzical nature of her left hand and the look that passes between Imogen and Twinka, the space between them seeming to shimmer with possibility. That space seems to wash away the years of Imogen’s life to when she was young, lying naked near some trees (Self-Portrait (1906, below). It is a truly memorable image. In the sensitivity of this image, Dater embodies everything that I admire in Cunningham’s work: light, texture, sensitivity to subject, an understanding of beauty and an irrepressible, joyous sensuality. A fitting tribute to one of the world’s great photographers.

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

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Imogen Cunningham exhibition poster
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Imogen Cunningham exhibition poster

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Imogen Cunningham. 'Self-Portrait' 1906

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Imogen Cunningham
Self-Portrait
1906
Platinum print
©The Imogen Cunningham Trust, 2012

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Imogen Cunningham.  'Magnolia Blossom' 1925

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Imogen Cunningham
Magnolia Blossom
1925
Gelatin silver print
©The Imogen Cunningham Trust, 2012

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Imogen Cunningham
Roi on the Dipsea trail 3
1918

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Imogen Cunningham
Unmade bed
1957

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Imogen Cunningham. 'Three Dancers, Mills College' 1929

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Imogen Cunningham
Three Dancers, Mills College
1929
Gelatin silver print
©The Imogen Cunningham Trust, 2012

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Imogen Cunningham. 'Five Eggs' 1951

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Imogen Cunningham
Five Eggs
1951
Cibachrome
©The Imogen Cunningham Trust

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Imogen Cunningham. 'The Wood Beyond the World' c. 1912

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Imogen Cunningham
The Wood Beyond the World
c. 1912

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Imogen Cunningham. 'Agave Design 2' 1920s

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Imogen Cunningham
Agave Design 2
1920s

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 Imogen Cunningham. 'The dream' 1910

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Imogen Cunningham
The dream
1910
© The Imogen Cunningham Trust, 2011

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Imogen Cunningham. 'Frida Kahlo Rivera, Painter and Wife of Diego Rivera' 1931

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Imogen Cunningham
Frida Kahlo Rivera, Painter and Wife of Diego Rivera
1931

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Imogen Cunningham. 'Two Callas' 1929

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Imogen Cunningham
Two Callas
1929

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Imogen Cunningham.  'Cary Grant, Actor' 1932

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Imogen Cunningham
Cary Grant, Actor
1932
Gelatin silver print
©The Imogen Cunningham Trust, 2012

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Imogen Cunningham.  'Aloe' 1925

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Imogen Cunningham
Aloe
1925
Gelatin silver print
©The Imogen Cunningham Trust, 2012

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Imogen Cunningham. 'Nude' 1939

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Imogen Cunningham
Nude
1939
Gelatin silver print
©The Imogen Cunningham Trust, 2012

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Imogen Cunningham. 'Edward Weston and Margrethe Mather, Photographers I-II' 1922

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Imogen Cunningham
Edward Weston and Margrethe Mather, Photographers I-II
1922
© The Imogen Cunningham Trust, 2011

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Imogen Cunningham. 'Hen and Chickens' 1929

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Imogen Cunningham
Hen and Chickens
1929
© The Imogen Cunningham Trust, 2011

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Imogen Cunningham. 'Phoenix Recumbent' 1968

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Imogen Cunningham
Phoenix Recumbent
1968
Gelatin silver print
Private Collection

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Judy Dater. 'Imogen Cunningham and Twinka Thiebaud' 1974

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Judy Dater
Imogen Cunningham and Twinka Thiebaud
1974

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FUNDACIÓN MAPFRE – Instituto de Cultura
Paseo de Recoletos, 23
28004 Madrid, Spain
T: +34 915 81 61 00

Opening hours:
Sunday 11.00 am – 7.00 pm
Monday 2.00 – 8.00 pm
Tuesday 10.00 am – 8.00 pm
Wednesday 10.00 am – 8.00 pm
Thursday 10.00 am – 8.00 pm
Friday 10.00 am – 8.00 pm
Saturday 10.00 am – 8.00 pm

Fundación Mapfre website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, 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: ‘Mask’ 1994

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