Posts Tagged ‘James Welling

19
Apr
20

Exhibition: ‘In Focus: Platinum Photographs’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 21st January – 31st May 2020

Curator: Arpad Kovacs, assistant curator of photographs at the museum

The J. Paul Getty Museum, Los Angeles has temporarily closed until further notice due to the novel coronavirus (COVID-19) pandemic

#MuseumFromHome

 

 

Peter Henry Emerson (British, born Cuba, 1856-1936) 'Coming Home from the Marshes' 1886

 

Peter Henry Emerson (British, born Cuba, 1856-1936)
Coming Home from the Marshes
1886
Platinum print
Image: 19.8 × 28.9 cm (7 13/16 × 11 3/8 in.)
The J. Paul Getty Museum, Los Angeles

 

 

Glorious. adjective: having a striking beauty or splendour.

I have seen quite a few vintage platinum prints over the years, from Paul Strand to Robert Mapplethorpe (even though he didn’t print them himself). And there has always struck me about them a lusciousness, a pleasingly rich “atmosphere” which appeals strongly to the senses, through an almost erotic charge of intensity.

Contrary to the contemporary mania for pure blacks and whites in an image, platinum prints, with their wide gamut, can have an innumerable number of greys in their tonal range which form a holistic whole in the rendition of the subject. For example, Frederick H. Evans’ Kelmscott Manor: In the Attics (2) (1896, below) has a delicacy of description and a glowing aura seemingly emanating from the very depths of the image, which fetishises the photographic object, itself.

As in a drizzle of light rain – and emerging from Pictorialist conventions of sfumato – there is a liquidity to the tonality of platinum prints, as though there is mercury flowing under the surface of the paper. Glorious.

Dr Marcus Bunyan

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

 

Admired for their velvety matte surface, wide tonal range, and neutral palette, platinum prints helped establish photography as a fine art. Introduced in 1873, the process was championed by prominent photographers until platinum’s use was restricted in World War I and manufacturers were forced to introduce alternatives. The process attracted renewed interest in the mid-twentieth century from a relatively small but dedicated community of practitioners. This exhibition draws from the Museum’s collection to showcase some of the most striking prints made with platinum and the closely related palladium processes.

Text from the J. Paul Getty Museum website

 

 

Eveleen W. H. Myers (British, 1856-1937) 'Leopold Hamilton Myers as 'The Compassionate Cherub'' about 1888-1891

 

Eveleen W. H. Myers (British, 1856-1937)
Leopold Hamilton Myers as ‘The Compassionate Cherub’
about 1888-1891
Platinum print
Image: 24.4 × 29 cm (9 5/8 × 11 7/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Sarah Choate Sears (American, 1858-1935) 'Helen Sears' 1895

 

Sarah Choate Sears (American, 1858-1935)
Helen Sears
1895
Platinum print
Image: 22.8 × 18.7 cm (9 × 7 3/8 in.)
The J. Paul Getty Museum, Los Angeles

 

 

Sarah Choate Sears (1858-1935) was an American art collector, art patron, cultural entrepreneur, artist and photographer

About 1890 she began exploring photography, and soon she was participating in local salons. She joined the Boston Camera Club in 1892, and her beautiful portraits and still life attracted the attention of fellow Boston photographer F. Holland Day. Soon her work was gaining international attention.

At the same time she was pursuing her photography interest, she and her husband were hosting some of the most elegant cultural and artistic parties in Boston. They often featured private symphonic performances and included many international composers and performers, including Ignacy Paderewski, Serge Koussevitsky and Dame Nellie Melba.

In 1899 she was given a one-woman show at the Boston Camera Club, and in 1900 she had several prints in Frances Benjamin Johnson’s famous exhibition in Paris. In early 1900 she met American Impressionist Mary Cassatt, and the two continued to be friends for the remainder of their lives. During this same period she was elected as a member of the prestigious photographic associations: the Linked Ring in London and Alfred Stieglitz’s Photo-Secession in New York…

In 1907, two of her photographs were published in Camera Work, but by that time she had lost much of her interest in photography.

Text from the Wikipedia website

 

Frederick H. Evans (British, 1853-1943) 'Kelmscott Manor: In the Attics (2)' 1896

 

Frederick H. Evans (British, 1853-1943)
Kelmscott Manor: In the Attics (2)
1896
Platinum print
Image: 19.9 × 14.9 cm (7 7/8 × 5 7/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Gertrude Käsebier (American, 1852-1934) '[Gertrude O'Malley and son Charles]' 1900

 

Gertrude Käsebier (American, 1852-1934)
[Gertrude O’Malley and son Charles]
1900
Platinum print
Image: 20.2 × 15.6 cm (7 15/16 × 6 1/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Edward Steichen (American, born Luxembourg, 1879-1973) 'La Cigale' (The cicada) Negative 1901; print 1908

 

Edward Steichen (American, born Luxembourg, 1879-1973)
La Cigale (The cicada)
Negative 1901; print 1908
Waxed gum bichromate over platinum print
Image: 31.4 × 27 cm (12 3/8 × 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles

 

 

The J. Paul Getty Museum presents In Focus: Platinum Photographs, featuring more than two dozen striking prints made with platinum and the closely related palladium photographic process.

Drawn from the museum’s collection, the exhibition explores the wide variety of visual characteristics that have come to define the allure and beauty of this medium, which include a velvety matte surface, wide tonal range, and neutral palette. Introduced in 1873 by scientist William Willis Jr. (British, 1841-1923), the use of platinum was quickly embraced by both professional and amateur photographers alike and helped to establish photography as a fine art.

The visual qualities of each print could be individualised by changing the temperature of the developer or adding chemicals such as mercury or uranium. Photographers further enhanced their works by using an array of commercially available papers with rich textures and by employing inventive techniques such as the application of pigments and layered coatings to mimic effects associated with painting and drawing.

Platinum printing became widely associated with Pictorialism, an international movement and aesthetic style popular at the end of the 19th century. Advocates of Pictorialism favoured visible marks of the artist’s hand that might be achieved by manipulating either the negative or the print, or both. These hand-crafted prints differentiated themselves from the crisp images produced by commercial photographers and snapshots made with hand-held cameras recently introduced by Kodak.

Among the works on view is a triptych of a mother and child by Gertrude Käsebier (American, 1852-1934), one of the most technically innovative photographers associated with Pictorialism, an atmospheric nude by Edward Steichen (American, born Luxembourg, 1879-1973), and a view of Venice by Alvin Langdon Coburn (British, born United States, 1882-1966). Other images by Paul Strand (American, 1890-1976) and Karl Struss (American, 1886-1981) incorporate geometric forms or unusual vantage points to introduce abstraction into their compositions.

The popularity of platinum paper declined in the years leading up to the First World War. The soaring price of the metal forced manufacturers to introduce alternatives, including papers made with palladium and a platinum-and-silver hybrid. As platinum became crucial in the manufacture of explosives, governments prohibited its use for any purpose outside the defence industry. The scarcity of materials and eventual shifting aesthetic preferences led many photographers to abandon the process in favour of gelatin silver prints.

Interest in the process was renewed in the mid-20th century, and a relatively small but dedicated number of photographers continue to use the process today. The fashion photographer Irving Penn (American, 1917-2009) began hand coating papers with platinum in the 1960s and created prints that simultaneously emphasise intense and detailed shadows and subtle luminous highlights. More recent examples include a double portrait by artist Madoka Takagi (American, born Japan, 1956-2015) featuring herself, arms crossed and a shirtless man covered in tattoos, both gazing stoically into the camera’s lens; a suburban night scene by Scott B. Davis (American, born 1971); and an experiment in abstraction by James Welling (American, born 1951).

In Focus: Platinum Photographs is on view January 21-May 31, 2020 at the J. Paul Getty Museum. The exhibition is curated by Arpad Kovacs, assistant curator of photographs at the museum.

Press release from The J. Paul Getty Museum

 

Gertrude Käsebier (American, 1852-1934) 'Gertrude and Charles O'Malley: A Triptych, summer 1903' 1903

 

Gertrude Käsebier (American, 1852-1934)
Gertrude and Charles O’Malley: A Triptych, summer 1903
1903
Platinum print
Image: 19.4 × 15.2 cm (7 5/8 × 6 in.)
Later overmat and mount -irregular: 58.3 × 71.1 cm (22 15/16 × 28 in.)
The J. Paul Getty Museum, Los Angeles

 

Gertrude Käsebier (American, 1852-1934) 'Gertrude and Charles O'Malley: A Triptych, summer 1903' 1903

 

Gertrude Käsebier (American, 1852-1934)
Gertrude and Charles O’Malley: A Triptych, summer 1903
1903
Platinum print
Image: 18.7 × 14.9 cm (7 3/8 × 5 7/8 in.)
Later overmat and mount -irregular: 58.3 × 71.1 cm (22 15/16 × 28 in.)
The J. Paul Getty Museum, Los Angeles

 

Gertrude Käsebier (American, 1852-1934) 'Gertrude and Charles O'Malley: A Triptych, summer 1903' 1903

 

Gertrude Käsebier (American, 1852-1934)
Gertrude and Charles O’Malley: A Triptych, summer 1903
1903
Platinum print
Image: 20 × 14.8 cm (7 7/8 × 5 13/16 in.)
Later overmat and mount -irregular: 58.3 × 71.1 cm (22 15/16 × 28 in.)
The J. Paul Getty Museum, Los Angeles

 

Gertrude Käsebier (American, 1852-1934) 'Gertrude and Charles O'Malley: A Triptych, summer 1903' 1903

 

Gertrude Käsebier (American, 1852-1934)
Gertrude and Charles O’Malley: A Triptych, summer 1903
1903
Platinum print
Image: 19.4 × 15.2 cm (7 5/8 × 6 in.)
Later overmat and mount -irregular: 58.3 × 71.1 cm (22 15/16 × 28 in.)
The J. Paul Getty Museum, Los Angeles

 

Joseph Turner Keiley (American, 1869-1914) 'Untitled' 1900-1905

 

Joseph Turner Keiley (American, 1869-1914)
Untitled
1900-1905
Platinum print
The J. Paul Getty Museum, Los Angeles

 

 

Joseph Turner Keiley (26 July 1869 – 21 January 1914) was an early 20th-century photographer, writer and art critic. He was a close associate of photographer Alfred Stieglitz and was one of the founding members of the Photo-Secession. Over the course of his life Keiley’s photographs were exhibited in more than two dozen international exhibitions, and he achieved international acclaim for both his artistic style and his writing.

He began photographing in the mid-1890s and met fellow New York photographer Gertrude Käsebier, who at that time was engaged in photographing American Indians who were performing in Buffalo Bill’s Wild West Show. Keiley also photographed some of the same subjects, and in 1898 nine of his prints were exhibited in the Philadelphia Photographic Salon. One of the judges for the Salon was Stieglitz, who also wrote a glowing review of Keiley’s work.

Due to his success in Philadelphia the next year Keiley became the fourth American elected to the Linked Ring, which at that time was the most prominent photographic society in the world promoting pictorialism.

In 1900 he joined the Camera Club of New York and had a one-person exhibition in the Club’s gallery. At that time Stieglitz was serving as the Vice President of the Club and editor of the Club’s journal Camera Notes, and Keiley soon became his closest ally. Stieglitz asked him to become Associate Editor of the journal, and over the next few years Keiley was one of its most prolific writers, contributing articles on aesthetics, exhibition reviews and technical articles. He also had several of his photographs published in the journal.

While working with Stieglitz the two began experimenting with a new printing technique for glycerine-developed platinum prints, and they co-authored an article on the subject that was later published in Camera Notes.

In 1902 Stieglitz included Keiley as one of the founding members of the Photo-Secession, and he had fifteen of his prints (one more than Edward Steichen) included in the inaugural exhibition of the Photo-Secession at the National Arts Club.

When Stieglitz started Camera Work in 1903 he asked Keiley to become Associate Editor, and for the next eleven years he was second only to Stieglitz in the details of publishing the journal. He contributed dozens of essays, reviews and technical articles, and he advised Stieglitz about promising new photographers from Europe.

Keiley had seven gravures published in Camera Work, one in 1903 and six in 1907.

Text from the Wikipedia website

 

Alvin Langdon Coburn (British, born United States, 1882-1966) 'Grand Canal, Venice' 1908

 

Alvin Langdon Coburn (British, born United States, 1882-1966)
Grand Canal, Venice
1908
Platinum print
40.8 × 21.3 cm (16 1/16 × 8 3/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe - Hands' 1918

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe – Hands
1918
Palladium print
The J. Paul Getty Museum, Los Angeles

 

Doris Ulmann (American, 1882-1934) 'Landscape with Pump and Barn' about 1920-1934

 

Doris Ulmann (American, 1882-1934)
Landscape with Pump and Barn
about 1920-1934
Platinum print
The J. Paul Getty Museum, Los Angeles

 

 

Doris Ulmann (May 29, 1882 – August 28, 1934) was an American photographer, best known for her portraits of the people of Appalachia, particularly craftsmen and musicians, made between 1928 and 1934.

 

Tina Modotti (American, born Italy, 1896-1942) 'Hands Resting on Tool' 1927

 

Tina Modotti (American, born Italy, 1896-1942)
Hands Resting on Tool
1927
Palladium print
Image: 19.7 × 21.6 cm (7 3/4 × 8 1/2 in.)
The J. Paul Getty Museum, Los Angeles

 

Manuel Álvarez Bravo (Mexican, 1902-2002) '[Wounded Agaves]' Negative 1950; print late 1970s - early 1980s

 

Manuel Álvarez Bravo (Mexican, 1902-2002)
[Wounded Agaves]
Negative 1950; print late 1970s – early 1980s
Platinum print
Image: 16.7 × 21.2 cm (6 9/16 × 8 3/8 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Daniel Greenberg and Susan Steinhauser
© Archivo Manuel Álvarez Bravo, S.C.

 

Irving Penn (American, 1917-2009) 'Breton Onion Seller, London' Negative 1950; print 1967

 

Irving Penn (American, 1917-2009)
Breton Onion Seller, London
Negative 1950; print 1967
Platinum and palladium print
Image: 41 × 30.6 cm (16 1/8 × 12 1/16 in.)
The J. Paul Getty Museum, Los Angeles
Partial gift of Irving Penn
© The Irving Penn Foundation

 

Robert Mapplethorpe (American, 1946 - 1989) 'Coral Sea' 1983

 

Robert Mapplethorpe (American, 1946 – 1989)
Coral Sea
1983
Platinum print
Image: 58.8 × 49.7 cm (23 1/8 × 19 9/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
The J. Paul Getty Museum, Los Angeles
© Robert Mapplethorpe Foundation

 

Madoka Takagi (American, born Japan, 1956-2015) 'Untitled [Self-portrait with Bare-chested, Tattooed Latino Man]' 1986

 

Madoka Takagi (American, born Japan, 1956-2015)
Untitled [Self-portrait with Bare-chested, Tattooed Latino Man]
1986
Platinum and palladium print
Image: 24.3 × 19.4 cm (9 9/16 × 7 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Madoka Takagi

 

Scott B. Davis (American, b. 1971) 'Dana Point, California' Negative April 15, 2006; print April 25, 2010

 

Scott B. Davis (American, b. 1971)
Dana Point, California
Negative April 15, 2006; print April 25, 2010
Platinum and palladium print
Image: 40.6 × 50.3 cm (16 × 19 13/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the artist
© Scott B. Davis

 

James Welling (American, b. 1951) 'Untitled' 2013-2014

 

James Welling (American, b. 1951)
Untitled
2013-2014
Platinum print
The J. Paul Getty Museum, Los Angeles
Gift of the artist
© James Welling

 

 

James Welling (born 1951 in Hartford, Connecticut) is a postmodern artist. He earned both a BFA and an MFA at California Institute of the Arts in Valencia, California, where he studied with, among others, Dan Graham. He emerged in the 1970s as a post-conceptual artist for whom photographic norms and the representational field itself were and remain contested and problematised. Welling lives and works in Los Angeles.

 

 

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

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

The J. Paul Getty Museum website

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10
Oct
18

Exhibition: ‘Shape of Light: 100 Years of Photography and Abstract Art’ at Tate Modern, London

Exhibition dates: 2nd May – 14th October 2018

Curators: Simon Baker, Senior Curator, International Art (Photography) and Shoair Mavlian, Assistant Curator, Tate Modern, with Emmanuelle de l’Ecotais, Curator for Photographs

 

 

Pierre Dubreuil. 'Interpretation of Picasso, The Railway' 1911

 

Pierre Dubreuil (1872-1944)
Interpretation Picasso, The Railway
1911
Gelatin silver print on paper
238 x 194 mm
Centre Pompidou, Paris
Musée National d’Art Moderne / Centre de Création Industrielle
Purchased, 1987

 

 

An interesting premise –

“a premise is an assumption that something is true. In logic, an argument requires a set of (at least) two declarative sentences (or “propositions”) known as the premises or premisses along with another declarative sentence (or “proposition”) known as the conclusion” (Wikipedia)

– that the stories (the declarative sentences) of abstract art and abstract photography are intertwined (the conclusion). The two premises and one conclusion forms the basic argumentative structure of the exhibition.

Unfortunately in this exhibition, the abstract art and abstract photographs (declarations), seem to add up to less than the sum of its parts (conclusion).

Why is this so?

.
The reason these two bedfellows sit so uncomfortably together is that they are of a completely different order, one to the other.

Take painting for example. There is that ultimate linkage between brain, eye and hand as the artist “reaches out” into the unknown, and conjures an abstract representation from his imagination. This has a quality beyond my recognition. The closest that photography gets to this intuition is the cameraless Photogram, as the artist paints with light, from his imagination, onto the paper surface, the physical presence of the print.

Conversely, we grapple with the dual nature of photography, its relation to reality, to the real, and its interpretation of that reality through a physical, mechanical process – light entering a camera (metal, glass, digital chips, plastic film) to be developed in chemicals or on the computer, stored as a physical piece of paper or in binary code – but then we LOOK and FEEL what else a photograph can be. What it is, and what else it can be.

Initially, to take a photograph is to recognise something physical in the world which can then be abstracted. Here is a tree, a Platonic ideal, now here is the bark of the tree, or cracks in dried mud, or Aaron Siskind’s Pleasures and Terrors of Levitation in which, in our imagination, the body is no longer human. This archaeology of photography is a learnt behaviour (from the world, from abstract paintings) where ones learns to turn over the truth to something else, a recognition of something else. Where one digs a clod of earth, inspects it, and then turns it over to see what else it can be.

We can look at something in the world just for what it is and take a photograph of it, but then we can look at the same object for what else it can be (for example, Man Ray’s image Dust Breeding (1920), which is actually dust motes on the top of Duchamp’s Large Glass). Photographers love these possibilities within the physicality of the medium, its processes and outcomes. Photographers love changing scale, perspective, distortion using their intuition to perhaps uncover spiritual truths. Here I are not talking about making doodles – whoopee look what I can make as a photographer! it’s important because I can do it and show it and I said it’s important because I am an artist! the problem with lots of contemporary photography – it is something entirely different. It is the integrity of the emotional and intellectual process.

Not a reaching out through the arm and hand, but an unearthing (a reaching in?) of the possibilities of what else photography can be (other than a recording process). As Stieglitz understood in his Equivalents, and so Minor White espoused through his art and in one of his three canons:

When the image mirrors the man
And the man mirrors the subject
Something might take over

.
And that revelation is something completely different from the revelation of abstract art.

Dr Marcus Bunyan

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

 

For the first time, Tate Modern tells the intertwined stories of photography and abstract art. The birth of abstract art and the invention of photography were both defining moments in modern visual culture, but these two stories are often told separately.

Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction.

Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.

 

 

“Despite its roll call of stellar names, the show’s adrenaline soon slumps. A rhythm sets in, as each gallery offers perhaps a single non photographic work and dozens of medium format black and white abstracts arranged on an allied theme: extreme close ups, engineered structures, worms’ and birds’ eye views, moving light, the human body, urban fabric.

Individually each photograph is quite wonderful, but they echo each other so closely in their authors’ attraction to diagonal arrangements, rich surface textures, dramatic shadows, odd perspectives and close cropping, that the same ‘point’ is being made a dozen times with little to distinguish between the variants. …

By the present day, abstract photography has given in to its already Ouroboros-like tendencies, and swallowed itself whole, offering abstract photographs about the process of photography, and the action of light on its materials. This is a gesture I relished in Wolfgang Tillmans’s show in the same space this time last year, when it was broken up by a plethora of other ideas and perspectives on photography. Here it feels like another level of earnest self-absorption with a century-long backstory.”

.
Hettie Judah. ‘By halfway round I actually felt faint’ on the iNews website May 5th 2018 [Online] Cited 14/07/2018

 

 

 

Tate Curator, Simon Baker, meets Caroline von Courten from leading photography Magazine, Foam. Together they explore the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern.

 

 

 

 

Wyndham Lewis (1882-1957) 'Workshop' c. 1914-5

 

Wyndham Lewis (1882-1957)
Workshop
c. 1914-5
Tate
Purchased 1974
© Wyndham Lewis and the estate of Mrs G A Wyndham Lewis by kind permission of the Wyndham Lewis Memorial Trust (a registered charity)

 

Paul Strand. 'Abstraction Bowls, Twin Lakes, Connecticut' 1916

 

Paul Strand (1890-1976)
Abstraction Bowls, Twin Lakes, Connecticut
1916
Silver gelatin print

 

Alvin Langdon Coburn (1882-1966) 'Vortograph' 1917

 

Alvin Langdon Coburn (1882-1966)
Vortograph
1917
Gelatin silver print on paper
283 x 214 mm
Courtesy of the George Eastman Museum NY
© The Universal Order

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing László Moholy-Nagy’s K VII at centre. Photo: © Tate / Andrew Dunkley.

 

László Moholy-Nagy (1895-1946) 'K VII' 1922

 

László Moholy-Nagy (1895-1946)
K VII
1922
Oil paint and graphite on canvas
Frame: 1308 x 1512 x 80 mm
Tate
Purchased 1961

 

 

The ‘K’ in the title of K VII stands for the German word Konstruktion (‘construction’), and the painting’s ordered, geometrical forms are typical of Moholy-Nagy’s technocratic Utopianism. The year after it was painted, he was appointed to teach the one year-preliminary course at the recently founded Bauhaus in Weimar. Moholy-Nagy’s appointment signalled a major shift in the school’s philosophy away from its earlier crafts ethos towards a closer alignment with the demands of modern industry, and a programme of simple design and unadorned functionalism.

Gallery label, April 2012

 

Man Ray. 'Rayograph' 1922

 

Man Ray (1890-1976)
Rayograph
1922
Gelatin silver print on paper
Private Collection
© Man Ray Trust/ADAGP, Paris and DACS, London 2018

 

El Lissitzky (1890-1941) 'Proun in Material (Proun 83)' 1924

 

El Lissitzky (1890-1941)
Proun in Material (Proun 83)
1924
Gelatin silver print on paper
140 x 102 mm
© Imogen Cunningham Trust. All rights reserved

 

László Moholy-Nagy (1895-1946) 'Photogram' c. 1925

 

László Moholy-Nagy (1895-1946)
Photogram
c. 1925
Gelatin silver print on paper
Photo: Jack Kirkland Collection, Nottingham

 

Wassily Kandinsky (1866-1944) 'Swinging' 1925

 

Wassily Kandinsky (1866-1944)
Swinging
1925
Oil paint on board
705 x 502 mm
Tate

 

Edward Steichen. 'Bird in Space' [L'Oiseau dans l'espace] 1926

 

Edward Steichen (1879-1973)
Bird in Space [L’Oiseau dans l’espace]
1926
Gelatin silver print on paper
253 x 202 mm
Bequest of Constantin Brancusi, 1957
Centre Pompidou, Paris
Musée National d’Art Moderne / Centre de Création Industrielle

 

Shape of Light, exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing at centre, Constantin Brancusi’s bronze and stone sculpture Maiastra (1911). Photo: © Tate / Andrew Dunkley.

 

Imogen Cunningham (1883-1976) 'Triangles' 1928

 

Imogen Cunningham (1883-1976)
Triangles
1928, printed 1947-60
Gelatin silver print on paper
119 x 93 mm
Pierre Brahm
© Imogen Cunningham Trust. All rights reserved

 

Joan Miró (1893-1983) 'Painting' 1927

 

Joan Miró (1893-1983)
Painting
1927
Tempera and oil paint on canvas
972 x 1302 mm
Tate
© Succession Miro/ADAGP, Paris and DACS, London 2018

 

Man Ray (1890-1976) 'Anatomies' 1930

 

Man Ray (1890-1976)
Anatomies
1930
Photo: © Man Ray Trust/ADAGP, Paris and DACS, London 2016

 

Aleksandr Rodchenko (1891-1956) 'Radio Station Power' 1929

 

Aleksandr Rodchenko (1891-1956)
Radio Station Power
1929
Gelatin silver print on paper
Lent by Jack Kirkland Collection, Nottingham
© A. Rodchenko and V. Stepanova Archive. DACS, RAO 2018

 

László Moholy-Nagy (1895-1946) 'Xanti Schawinsky on the balcony of the Bauhaus' 1929

 

László Moholy-Nagy (1895-1946)
Xanti Schawinsky on the balcony of the Bauhaus
1929
Gelatin silver print on paper

 

Luo Bonian (1911-2002) 'Untitled' 1930s

 

Luo Bonian (1911-2002)
Untitled
1930s
Gelatin silver print on paper
Courtesy The Three Shadows Photography Art Centre, Beijing
© Luo Bonian

 

Marta Hoepffner (1912–2000) 'Homage to de Falla' 1937

 

Marta Hoepffner (1912–2000)
Homage to de Falla
1937
Gelatin silver print on paper
387 x 278 mm
Stadtmuseum Hofheim am Taunus
© Estate Marta Hoepffner

 

Nathan Lerner (1913-1997) 'Light Tapestry' 1939

 

Nathan Lerner (1913-1997)
Light Tapestry
1939
Gelatin silver print on paper
401 x 504 mm
Musée d’Art Moderne de la Ville de Paris
Gift of Mrs Kiyoko Lerner, 2014
Photo: Nathan Lerner/© ARS, NY and DACS, London

 

Luigi Veronesi (1908-1998) 'Construction' 1938

 

Luigi Veronesi (1908-1998)
Construction
1938
Gelatin silver print on paper
286 x 388 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015

 

Luigi Veronesi (1908-1998) 'Photo n.145' 1940, printed 1970s

 

Luigi Veronesi (1908-1998)
Photo n.145
1940, printed 1970s
Gelatin silver print on paper
310 x 280 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015

 

Luigi Veronesi (1908-1998) 'Photo n.152' 1940, printed 1970s

 

Luigi Veronesi (1908-1998)
Photo n.152
1940, printed 1970s
Gelatin silver print on paper
320 x 298 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015

 

 

A major new exhibition at Tate Modern will reveal the intertwined stories of photography and abstract art. Shape of Light: 100 Years of Photography and Abstract Art will be the first show of this scale to explore photography in relation to the development of abstraction, from the early experiments of the 1910s to the digital innovations of the 21st century. Featuring over 300 works by more than 100 artists, the exhibition will explore the history of abstract photography side-by-side with iconic paintings and sculptures.

Shape of Light will place moments of radical innovation in photography within the wider context of abstract art, such as Alvin Langdon Coburn’s pioneering ‘vortographs’ from 1917. This relationship between media will be explored through the juxtaposition of works by painters and photographers, such as cubist works by George Braque and Pierre Dubreuil or the abstract expressionism of Jackson Pollock and Otto Steinert’s ‘luminograms’. Abstractions from the human body associated with surrealism will include André Kertesz’s Distorsions, Imogen Cunningham’s Triangles and Bill Brandt’s Baie des Anges, Frances 1958, exhibited together with a major painting by Joan Miró. Elsewhere the focus will be on artists whose practice spans diverse media, such as László Moholy-Nagy and Man Ray.

The exhibition will also acknowledge the impact of MoMA’s landmark photography exhibition of 1960, The Sense of Abstraction. Installation photographs of this pioneering show will be displayed with some of the works originally featured in the exhibition, including important works by Edward Weston, Aaron Siskind and a series by Man Ray that has not been exhibited since the MoMA show, 58 years ago.

The connections between breakthroughs in photography and new techniques in painting will be examined, with rooms devoted to Op Art and Kinetic Art from the 1960s, featuring striking paintings by Bridget Riley and installations of key photographic works from the era by artists including Floris Neussis and Gottfried Jaeger. Rooms will also be dedicated to the minimal and conceptual practices of the 1970s and 80s. The exhibition will culminate in a series of new works by contemporary artists, Tony Cairns, Maya Rochat and Daisuke Yokota, exploring photography and abstraction today.

Shape of Light is curated by Simon Baker, Senior Curator, International Art (Photography) and Shoair Mavlian, Assistant Curator, Tate Modern, with Emmanuelle de l’Ecotais, Curator for Photographs, Musée d’Art Moderne de la Ville de Paris. The exhibition will be accompanied by a fully illustrated catalogue from Tate Publishing and a programme of talks and events in the gallery.

Press release from Tate Modern

 

Jackson Pollock (1912-1956) 'Number 23' 1948

 

Jackson Pollock (1912-1956)
Number 23
1948
Enamel on gesso on paper
575 x 784 mm
Tate: Presented by the Friends of the Tate Gallery (purchased out of funds provided by Mr and Mrs H.J. Heinz II and H.J. Heinz Co. Ltd) 1960
© ARS, NY and DACS, London 2018

 

Otto Steinert (1915-1978) 'Composition of Forms' 1949

 

Otto Steinert (1915-1978)
Composition of Forms
1949
Gelatin silver print on paper
290 x 227 mm
Jack Kirkland Collection, Nottingham

 

Guy Bourdin (1928-1991) 'Untitled' 1952

 

Guy Bourdin (1928-1991)
Untitled
1952
Gelatin silver print on paper
277 x 164 mm
Purchased with funds provided by the Photography Acquisitions Committee 2015
© The Guy Bourdin Estate

 

Guy Bourdin (1928-1991) 'Untitled' 1952

 

Guy Bourdin (1928-1991)
Untitled
1952
Gelatin silver print on paper
232 x 169 mm
Purchased with funds provided by the Photography Acquisitions Committee 2015
© The Guy Bourdin Estate

 

Guy Bourdin (1928-1991) 'Untitled' c. 1950s

 

Guy Bourdin (1928-1991)
Untitled
c. 1950s
Gelatin silver print on paper
239 x 179 mm
Purchased with funds provided by the Photography Acquisitions Committee 2015
© The Guy Bourdin Estate

 

 

Untitled c.1950s is a black and white photograph by the French photographer Guy Bourdin. The entirety of the frame is taken up by a close-up of peeling paint. The paint sections fragment the image into uneven geometric shapes, which are interrupted by a strip of the dark surface beneath that winds from the top to the bottom of the frame. There is little sense of scale or contextual detail, resulting in a near-abstract composition.

Bourdin is best known for his experimental colour fashion photography produced while working for French Vogue between 1955 and 1977. This photograph belongs to an earlier period of experimentation, before he began to use colour and work in fashion. Taken outside the studio, it shows Bourdin’s sensitivity to the natural world and his attempt to transform the everyday into abstract compositions, bridging the gap between surrealism and subjective photography. Bourdin’s early work was heavily influenced by surrealism, as well as by pioneers of photography as a fine art such as Edward Weston, Paul Strand and Bill Brandt. His surrealist aesthetic can be attributed to his close relationship with Man Ray, who wrote the foreword to the catalogue for Bourdin’s first solo exhibition of black and white photographs at Galerie 29, Paris, in 1952.

This and other early works in Tate’s collection (such as Untitled (Sotteville, Normandy) c. 1950s, Tate P81205, and Solange 1957, Tate P81216) are typical of Subjektive Fotografie (‘subjective photography’), a tendency in the medium in the late 1940s and early 1950s. Led by the German photographer and teacher Otto Steinert, who organised three exhibitions under the title Subjektive Fotografie in 1951, 1954 and 1958, the movement advocated artistic self-expression – in the form of the artist’s creative approach to composition, processing and developing – above factual representation. Subjektive Fotografie’s emphasis on, and encouragement of, individual perspectives invited both the photographer and the viewer to interpret and reflect on the world through images. Bourdin’s interest in this can be seen in his early use of texture and abstraction, evident in close-up studies of cracked paint peeling off an external wall or a piece of torn fabric. These still lives were often dark in subject matter and tone, highlighting Bourdin’s interest in surrealist compositions and the intersection between death and sexuality. The works made use of the photographer’s urban environment, with deep black and high contrast printing techniques employed to create a sombre mood.

This approach was also important for Bourdin’s early portraiture, which anticipated his subsequent work in fashion. The subject of his portraits – often Solange Gèze, to whom the artist was married from 1961 until her death in 1971 – is usually framed subtly, rarely appearing in the centre or as the main focus of the image. In these works the figure is secondary, showing how Bourdin let the natural or urban environment frame the subject and integrate the body into its immediate surroundings. Bourdin was meticulous about the creative process from start to finish, sketching out images on paper and then recreating them in the landscape, using the natural environment as a stage set for his work.

Shoair Mavlian
August 2014

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Jackson Pollock’s Number 23 at left. Photo: © Tate / Sepharina Neville.

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Nathan Lerner’s Light Tapestry top left, and Otto Steinert’s Luminogram II centre right. Photo: © Tate / Sepharina Neville.

 

Otto Steinert (1915-1978) 'Luminogram II' 1952

 

Otto Steinert (1915-1978)
Luminogram II
1952
Gelatin silver print on paper
302 x 401 mm
Jack Kirkland Collection Nottingham
© Estate Otto Steinert, Museum Folkwang, Essen

 

Brett Weston. 'Mud Cracks' 1955

 

Brett Weston (1911-1993)
Mud Cracks
1955
Silver gelatin print
203 x 254 mm
Lent by the Tate Americas Foundation, courtesy of Christian Keesee Collection 2013
© The Brett Weston Archive/CORBIS

 

Peter Keetman (1916-2005) 'Steel Pipes, Maximilian Smelter' 1958

 

Peter Keetman (1916-2005)
Steel Pipes, Maximilian Smelter
1958
Gelatin silver print on paper
508 x 427 mm
F.C. Gundlach Foundation

 

Man Ray (1890-1976) 'Unconcerned Photograph' 1959

 

Man Ray (1890-1976)
Unconcerned Photograph
1959
Museum of Modern Art, New York
© Man Ray Trust/ADAGP, Paris and DACS, London 2018

 

Jacques Mahé de la Villeglé (b. 1926) 'Jazzmen' 1961

 

Jacques Mahé de la Villeglé (b. 1926)
Jazzmen
1961
Printed papers on canvas
2170 x 1770 mm
Presented by the Friends of the Tate Gallery 2000
© Jacques Mahé de la Villeglé

 

 

The Jazzmen is a section of what Jacques Villeglé termed affiches lacérées, posters torn down from the walls of Paris. These particular ones were taken on 10 December 1961. Following his established practice, Villeglé removed the section from a billboard and, having mounted it on canvas, presented it as a work of art. In ‘Des Réalités collectives’ of 1958 (‘Collective Realities’, reprinted in 1960: Les Nouveaux Réalistes, pp. 259-60) he acknowledged that he occasionally tore the surface of the posters himself, although he subsequently restricted interventions to repairs during the mounting process. The large blue and green advertisements for Radinola (at the top right and lower left) provide the main visible surface for The Jazzmen. These establish a compositional unity for the accumulated layers. Overlaid are fragmentary music posters and fly-posters, some dated to September 1961, including the images of the red guitarists that lend the work its title. The artist’s records give the source as rue de Tolbiac, a thoroughfare in the 13th arrondissement in south-east Paris. Villeglé usually uses the street as his title, but has suggested (interview with the author, February 2000) that the title The Jazzmen may have been invented for the work’s inclusion in the exhibition L’Art du jazz (Musée Galliera, Paris 1967).

Villeglé worked together with Raymond Hains (b. 1926) in presenting torn posters as works of art. They collaborated on such works as Ach Alma Manetro, 1949 (Musée nationale d’art moderne, Centre Georges Pompidou, Paris), in which typography dominates the composition. They first showed their affiches lacérées in May 1957 at the Galerie Colette Allendy, Paris, in a joint exhibition named Loi du 29 juillet 1881 ou le lyrisme à la sauvette (The Law of 29 July 1881 or Lyricism through Salvage) in reference to the law forbidding fly-posting. Villeglé sees a social complexity in the developments in the style, typography and subject of the source posters. He also considers the processes of the overlaying and the pealing of the posters by passers-by to be a manifestation of a liberated art of the street. Both aspects are implicitly political. As Villeglé points out, anonymity differentiates the torn posters from the collages of the Cubists or of the German artist Kurt Schwitters. In ‘Des Réalités collectives’ Villeglé wrote: ‘To collages, which originate in the interplay of many possible attitudes, the affiches lacérées, as a spontaneous manifestation, oppose their immediate vivacity’. He saw the results as extending the conceptual basis of Marcel Duchamp’s readymades, whereby an object selected by an artist is declared as art. However, this reduction of the artist’s traditional role brought an end to Villeglé’s collaboration with Hains, who held more orthodox views of creative invention.

In 1960 Villeglé, Hains and François Dufrêne (1930-82), who also used torn posters, joined the Nouveaux Réalistes group gathered by the critic Pierre Restany (b.1930). Distinguished by the use of very disparate materials and techniques, the Nouveaux Réalistes – who also included Arman (b.1928), Yves Klein (1928-62) and Jean Tinguely (1925-91) – were united by what Villeglé has called their ‘distance from the act of painting’ as characterised by the dominant abstraction of the period (interview February 2000). In this way, Klein’s monochrome paintings (see Tate T01513) and Villeglé’s affiches lacérées conform to the group’s joint declaration of 27 October 1960: ‘The Nouveaux Réalistes have become aware of their collective singularity. Nouveau Réalisme = new perceptual approaches to reality.’ The Jazzmen, of the following year, embodies Villeglé’s understanding of his ‘singularity’ as a conduit for anonymous public expression.

Matthew Gale
June 2000

 

Edward Ruscha (b.1937) 'Gilmore Drive-In Theater - 6201 W. Third St.' 1967, printed 2013

 

Edward Ruscha (b.1937)
Gilmore Drive-In Theater – 6201 W. Third St.
1967, printed 2013
Gelatin silver prints on paper
356 x 279 mm
Courtesy Ed Ruscha and Gagosian Gallery
© Ed Ruscha

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London. Photo: © Tate / Andrew Dunkley.

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Gregorio Vardanega’s Circular Chromatic Spaces 1967. Musée d’Art moderne de la Ville de Paris. Photo: © Tate / Andrew Dunkley.

 

John Divola. '74V11' 1974

 

John Divola (b. 1949)
74V11
1974
Silver gelatin print
Jack Kirkland Collection, Nottingham
© John Divola

 

Barbara Kasten (b.1936) 'Photogenic Painting, Untitled 74/13' (ID187) 1974

 

Barbara Kasten (b.1936)
Photogenic Painting, Untitled 74/13 (ID187)
1974
Salted paper print
558 x 762 mm
Courtesy the artist, Thomas Dane Gallery and Bortolami Gallery, New York
© Barbara Kasten

 

James Welling (b. 1951) 'Untitled' 1986

 

James Welling (b. 1951)
Untitled
1986
C-print on paper
254 x 203 mm
Jack Kirkland Collection, Nottingham
© James Welling. Courtesy the artist and David Zwirner, New York/London/Hong Kong and Maureen Paley, London

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Sigmar Polke’s Untitled (Uranium Green) 1992. Hans Georg Näder © The Estate of Sigmar Polke / VG Bild-Kunst Bonn and DACS London, 2018. Photo: © Tate / Seraphina Neville.

 

Sigmar Polke. 'Untitled (Uranium Green)' 1992

 

Sigmar Polke (1941-1910)
Untitled (Uranium Green) (detail)
1992
10 Photographs, C-print on paper
Image, each: 610 x 508 mm
The Estate of Sigmar Polke / VG Bild-Kunst Bonn 2017
Photo: Adam Reich/The Estate of Sigmar Polke / VG Bild-Kunst Bonn and DACS London, 2018

 

Daisuke Yokota (b. 1983) 'Untitled' 2014

 

Daisuke Yokota (b. 1983)
Untitled
2014
from Abstracts series
© Daisuke Yokota
Courtesy of the artist and Jean-Kenta Gauthier Gallery

 

 

Process is at the core of Yokota’s photographs. For his black-and-white work, such as the series Linger or Site/Cloud, Yokota sifts through an archive of more than 10 years of photographs in his Tokyo apartment. When he finds something that speaks to him – a nude figure, a chair, a building, a grove of trees – he makes a digital image of it, develops it, and rephotographs the image up to 15 times, until it becomes increasingly degraded. He develops the film in ways that are intentionally “incorrect,” allowing light to leak in, or singeing the negatives, using boiling water, or acetic acid. The purported subject fades, and shadows, textures, spots and other sorts of visual noise emerge. For his recent colour work, trippy, sensual abstractions, the process is similar, except that it is cameraless; he doesn’t start with a preexisting image. “I wanted to focus on the emulsion, on the different textures, more than on a subject being photographed,” says Yokota.

IN THE STUDIO
Daisuke Yokota
By Jean Dykstra

 

Antony Cairns (b. 1980) 'LDN5_051' 2017

 

Antony Cairns (b. 1980)
LDN5_051
2017
Courtesy of the artist
© Antony Cairns

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing the installation A Rock Is A River, 2018 by the aritst Maya Rochat. Courtesy Lily Robert and VITRINE, London | Basel © Maya Rochat. Photo: © Tate / Sepharina Neville.

 

Maya Rochat (b.1985) 'A Rock is a River (META CARROTS)' 2017

 

Maya Rochat (b.1985)
A Rock is a River (META CARROTS)
2017
Courtesy Lily Robert
© Maya Rochat

 

Maya Rochat (b.1985) 'A Rock is a River (META RIVER)' 2017

 

Maya Rochat (b.1985)
A Rock is a River (META RIVER)
2017
Courtesy Lily Robert
© Maya Rochat

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

Opening hours:
Sunday – Thursday 10.00 – 18.00
Friday – Saturday 10.00 – 22.00

Tate Modern website

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01
May
14

Exhibition: ‘What Is a Photograph?’ at the International Center of Photography, New York

Exhibition dates: 31st January – 4th May 2014

Artist in the exhibition include:

Matthew Brandt b. 1982, Los Angeles; lives and works in Los Angeles. Marco Breuer b. 1966, Landshut, Germany; lives and works in New York State. Liz Deschenes b. 1966, Boston; lives and works in New York City. Adam Fuss b. 1961, London; lives and works in New York City. Owen Kydd b. 1975, Calgary, Canada; lives and works in Los Angeles. Floris Neusüss b. 1937, Lennep, Germany; lives and works in Kassel, Germany. Marlo Pascual b. 1972, Nashville; lives and works in Brooklyn. Sigmar Polke 1941–2010; Germany. Eileen Quinlan b. 1972, Boston; lives and works in New York City. Jon Rafman b. 1981, Montreal; lives and works in Montreal. Gerhard Richter b. 1932, Dresden; lives and works in Cologne. Mariah Robertson b. 1975, Indianapolis, Indiana; lives and works in Brooklyn. Alison Rossiter b. 1953, Jackson, Mississippi; lives and works in the metro New York area. Lucas Samaras b. 1936, Macedonia, Greece; lives and works in New York City. David Benjamin Sherry b. 1981, Woodstock, New York; lives and works in Los Angeles. Travess Smalley b. 1986, Huntington, West Virginia; lives and works in New York City. Kate Steciw b. 1978, Bethlehem, Pennsylvania; lives and works in Brooklyn. Artie Vierkant b. 1986, Breinerd, Minnesota; lives and works in New York City. James Welling b. 1951, Hartford, Connecticut; lives and works in Los Angeles. Christopher Williams b. 1956, Los Angeles; lives and works in Cologne, Düsseldorf, and Amsterdam. Letha Wilson b. 1976, Honolulu; lives and works in Brooklyn.

 

 

A Vocabulary of Photography: representation and the original, the ‘I can’ of sight

.
What is a photograph? These days, it can be anything your imagination desires, any imag(in)ing that takes your fancy…

The images in this posting are a case in point. In a postmodern, post-photographic world where there is (allegedly) no centre and periphery, these art works are photography playing at the edges of photography. They examine “the range of creative experimentation that has occurred in photography since the 1970s,” reconsidering and reinventing, “the role of light, color, composition, materiality, and the subject in the art of photography.”

In an earlier posting I talked about A Vocabulary of Printing and the Syntax of the Image. Here we could equally posit a Vocabulary of Photography, a compendium of techniques and imaginings, noting that technology and imagination should never delimit the creativity of the photographer/artist. In other words visions, boundaries and technologies are there to be pushed!

All well and good. To solidify meaning in such a nebulous world, there is penchant for (ambiguous) numbers – titles such as 6236; Untitled (C-1189); 154 – or definitive titles that try to fix ambiguity in a specific time, place or typology (a classification according to general type) eg Image Object Friday 7 June 2013 4:33 PM, 2013 or Supplement ’13 (Mixed Typologies) #3.

However, what is produced by this experimentation, this voluminous vocabulary, seldom leads to satisfying results. When you actually look at this type of work, really look at it with a clear and aware mind (as Krishnamurti would say), a large proportion of it is blather, noise for the sake of making noise, tinkering for a terrestrial world saturated in meaningless images. No wonder I get disillusioned with the “contemporary” in photography. The art work seems to mean very little and takes me nowhere I particularly want to go.

While photographs are no longer necessarily “points of view” analogous to Littré’s rigorous definition: ‘The point of view is a collection of objects to which the eye is directed and on which it rests within a certain distance’,1 and “the image has nothing to do with signification, meaning, as implied by the existence of the world, the effort of truth, the law and the brightness of the day”2 – meaning that there is no single truth, there are only competing narratives and interpretations of a world that cannot be wholly, accurately described3 – for me there still needs to be a re(as)semblance towards some form of inherent truth in the image, ideally some form of human happiness.

The ‘I can’ of site (representation) /sight (vision) …

Marcus

 

1. Virilio, Paul. The Vision Machine (trans. Julie Rose). Bloomington: Indiana University Press, 1994, p. 19
2. Blanchot, Maurice. The Gaze of Orpheus. New York: Barrytown, 1981, p. 85
3. Townsend, Chris. Vile Bodies: Photography and the Crisis of Looking. Munich: Prestel, 1998, p. 10

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

 

“Vision is ordered according to a mode that may be generally called the function of images. This function is defined by a point-by-point correspondence of two unities in space. Whatever optical intermediaries may be used to establish their relation, whether their image is virtual, or real, the point-by-point correspondence is essential. That which is the mode of the image is therefore reducible to the simple schema that enables us to establish anamorphosis, that is to say, to the relation of an image, in so far as it linked to a surface, with a certain point that we shall call the ‘geometrical’ point. Anything that is determined by this method, in which the straight line plays its role of being the path of light, can be called an image.”
.
Lacan, Jacques. The Four Fundamental Concepts of Psycho-Analysis (trans. Alan Sheridan). London: The Hogarth Press, 1977, p. 86

 

“With the industrial proliferation of visual and audiovisual protheses and unrestrained use of instantaneous-transmission equipment from earliest childhood onwards, we now routinely see the encoding of increasingly elaborate mental images together with a steady decline in retention rates and recall. In other words we are looking at the rapid collapse of mnemonic [aiding memory] consolidation.

This collapse seems only natural, if one remembers a contrario that seeing, and its spatio-temporal organisation, precede gesture and speech and their co-ordination in knowing, recognising, making known (as images of our thoughts), our thoughts themselves and cognitive functions, which are never passive… (Romains, Jules. La Vision extra-rétinienne et le sens paroptique. Paris: Gallimard, 1964).

Everything I see is in principle within my reach, at least within reach of my sight, marked on the map of the ‘I can’. In this important formulation, Merleau-Ponty pinpoints precisely what will eventually find itself ruined by the banalisation of a certain teletopology. The bulk of what I see is, in fact and in principle, no longer with in my reach. And even if it lies within reach of my sight, it is no longer necessarily inscribed on the map of the ‘I can’. The logistics of perception in fact destroy what earlier modes of representation preserved of the original, ideally human happiness, the ‘I can’ of sight… ”

.
Virilio, Paul. The Vision Machine (trans. Julie Rose). Bloomington: Indiana University Press, 1994, p. 7 (my bold)

 

 

Matthew Brandt. 'Grays Lake, ID 7' 2013

 

Matthew Brandt
Grays Lake, ID 7
2013
© Matthew Brandt, courtesy Yossi Milo Gallery, New York

 

James Welling. '6236' 2008

 

James Welling
6236
2008
© James Welling, courtesy David Zwirner, New York/London

 

Alison Rossiter. 'Kilborn Acme Kruxo, exact expiration date unknown, ca. 1940s, processed in 2013 (#1)' 2013

 

Alison Rossiter
Kilborn Acme Kruxo, exact expiration date unknown, ca. 1940s, processed in 2013 (#1)
2013
© Alison Rossiter, courtesy Yossi Milo Gallery, New York

 

Eileen Quinlan. 'The Drink' 2011

 

Eileen Quinlan
The Drink
2011
© Eileen Quinlan, courtesy Miguel Abreu Gallery, New York

 

Gerhard Richter. '18.2.08' 2008

 

Gerhard Richter
18.2.08
2008
© Gerhard Richter, courtesy Marian Goodman Gallery, New York

 

Kate Steciw. 'Armchair, Background, Basic, Beauty, Bed, Bedside, Bread, Breakfast, Bright, Cereal, Closeup, Cloth, Color, Contemporary, Couch, Crust, Day, Decor, Fox, Frame, Grain, Ingredient, Interior, Invitation, Irregular, Juice, Life, Living, Loaf, Luxury, Macro, Sofa, Speed, Style, Sweet, Texture' 2013

 

Kate Steciw
Armchair, Background, Basic, Beauty, Bed, Bedside, Bread, Breakfast, Bright, Cereal, Closeup, Cloth, Color, Contemporary, Couch, Crust, Day, Decor, Fox, Frame, Grain, Ingredient, Interior, Invitation, Irregular, Juice, Life, Living, Loaf, Luxury, Macro, Sofa, Speed, Style, Sweet, Texture
2013
1 and 2 of infinite
© Kate Steciw

 

 

“On view at the International Center of Photography from January 31 through May 4, 2014, What Is a Photograph? explores the range of creative experimentation that has occurred in photography since the 1970s.

This major exhibition brings together 21 emerging and established artists who have reconsidered and reinvented the role of light, color, composition, materiality, and the subject in the art of photography. In the process, they have also confronted an unexpected revolution in the medium with the rise of digital technology, which has resulted in imaginative reexaminations of the art of analog photography, the new world of digital images, and the hybrid creations of both systems as they come together.

“Artists around the globe have been experimenting with and redrawing the boundaries of traditional photography for decades,” said ICP Curator Carol Squiers, who organized the exhibit. “Although digital photography seems to have made analog obsolete, artists continue to make works that are photographic objects, using both old technologies and new, crisscrossing boundaries and blending techniques.”

Among those included in the exhibition is Lucas Samaras, who adopted the newly developed Polaroid camera in the late 1960s and early 1970s and immediately began altering its instant prints, creating fantastical nude self-portraits. Another artist who turned to photography in the 1970s was Sigmar Polke. Although better known as a painter, Polke explored nontraditional ways of photographing and printing, manipulating both his film and prints in the darkroom and often drawing and painting on his images.

More recently, Liz Deschenes has used camera-less photography in a subtle investigation of nonrepresentational forms of expression and the outmoded technologies of photography. And, James Welling has created a heterogeneous body of work that explores optics, human perception, and a range of photographic genres both abstract and representational.”

Press release from the International Center of Photography website

 

Letha Wilson. 'Colorado Purple' 2012

 

Letha Wilson
Colorado Purple
2012
Concrete, chromogenic print transfer, and wood frame
Courtesy the artist and Higher Pictures, New York
© Letha Wilson, courtesy Higher Pictures, New York

 

Adam Fuss. 'Untitled' 1988

 

Adam Fuss
Untitled
1988
© Adam Fuss, courtesy Cheim & Read, New York

 

Marco Breuer. 'Untitled (C-1189)' 2012

 

Marco Breuer
Untitled (C-1189)
2012
© Marco Breuer, courtesy Yossi Milo Gallery, New York

 

David Benjamin Sherry. 'Lower Yosemite Falls, Yosemite, California' 2013

 

David Benjamin Sherry
Lower Yosemite Falls, Yosemite, California
2013
© David Benjamin Sherry, courtesy the artist and Salon 94, New York

 

Mariah Robertson. '154' [detail] 2010

 

Mariah Robertson
154 [detail]
2010
© Mariah Robertson, courtesy American Contemporary, New York

 

Artie Vierkant. 'Image Object Friday 7 June 2013 4:33 PM, 2013' 2013

 

Artie Vierkant
Image Object Friday 7 June 2013 4:33 PM, 2013
2013
© Artie Vierkant, courtesy Higher Pictures, New York

 

Christopher Williams. 'Supplement '13 (Mixed Typologies) #3' [detail] 2013

 

Christopher Williams
Supplement ’13 (Mixed Typologies) #3 [detail]
2013
© Christopher Williams, courtesy David Zwirner, New York/London and Galerie Gisela Capitain, Cologne

 

Jon Rafman. 'New Age Demanded (The heart was a place made fast)' 2013

 

Jon Rafman
New Age Demanded (The heart was a place made fast)
2013
© Jon Rafman, courtesy the artist and Zach Feuer Galery, New York

 

Floris Neusüss. 'Tango' 1983

 

Floris Neusüss
Tango
1983
© Floris Neusüss, courtesy the artist and Von Lintel Gallery, New York

 

Marlo Pascual. 'Untitled' 2010

 

Marlo Pascual
Untitled
2010
© Marlo Pascual, courtesy the artist and Casey Kaplan, New York
Photo: Jean Vong

 

Owen Kydd. 'Pico Boulevard (Nocturne)' 2012

 

Owen Kydd
Pico Boulevard (Nocturne)
2012
Courtesy the artist and Nicelle Beauchene Gallery
© Owen Kydd

 

 

International Center of Photography
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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: ‘Sleep/Wound’ 1995-96


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

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