Josef Sudek From the Window of My Atelier – Art Blart

Exhibition: ‘The Stillness of Things: Photographs from the Lane Collection’ at the Museum of Fine Arts, Boston

Exhibition dates: 27th August, 2022 – 27th February, 2023

William Henry Fox Talbot (English, 1800-1877)
Articles of China
Before 1844
Salt print from a paper negative
The Lane Collection

The world is a reality,
not because of the way it is,
but because
of the possibilities it presents.

Frederick Sommer

A small but vibrant posting. Beautiful still life photographs my favourite being those by Mather, Sommer, Weston, Cunningham, Sudek and Morrell.

Dr Marcus Bunyan

Many thankx to the Museum of Fine Arts, Boston for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

This exhibition presents nearly 60 innovative photographs – all departures from the traditional still life – drawn from the MFA’s Lane Collection. Grouped thematically, the works on view span the entire history of photography, from its first introduction in England during the 1840s by William Henry Fox Talbot to the work of contemporary artists such as Adam Fuss, David Hilliard, Kenro Izu, Abelardo Morell, and Olivia Parker. Works by American modernists are prominently featured, with unexpected takes on the still life by Ansel Adams, Imogen Cunningham, Charles Sheeler, and Edward Weston – photographers better known for capturing vast landscapes and portraits of people.

One of the largest gifts in the MFA’s history, the Lane Collection was promised to the Museum in 2012. This exhibition is the latest in a series that has celebrated the single most important donation to the Museum’s photography holdings.

Text from the Museum of Fine Arts, Boston website

Margrethe Mather (American, 1886-1952)
Water Lily
1922
Palladium print
The Lane Collection

Charles Sheeler (American, 1883-1965)
Still Life
Early 1920s
Gelatin silver print
The Lane Collection

Loosely organised by subject from messy desktops, kitchen utensils, and flora to empty chairs or found objects, the exhibit revels the mid-twentieth century strengths of the collection with works by modernists such as Ansel Adams, Edward Weston and especially Charles Sheeler. Sheeler pays homage to the painter Morandi with two still lifes featuring a simple ewer and ceramic vase and to Cezanne in a composition of apples. Often overlooked among the modernist masters are women such as Margaret Mather and Imogen Cunningham. Mather’s wispy pine needles and delicate water lily classically weave light, form and abstraction while Cunningham brings a geometric edge to the aloe plant she photographed on her window sill.

Suzanne Révy. “The Stillness of Things,” on the What Will You Remember website September 14, 2022 [Online] Cited 31/01/2023

Imogen Cunningham (American, 1883-1976)
Aloe Variagata
Early 1930’s
Gelatin silver print
The Lane Collection

Charles Sheeler (American, 1883-1965)
Cactus and Photographer’s Lamp
1931
Gelatin silver print
The Lane Collection

Ansel Adams (American, 1902-1984)
Still Life, San Francisco
about 1932
Gelatin silver print
The Lane Collection
© The Ansel Adams Publishing Rights Trust

Frederick Sommer (American, 1905-1999)
Chicken Entrails
1939
Gelatin silver print
The Lane Collection

Edward Weston (American, 1886-1958)
Junk
1939
Gelatin silver print
The Lane Collection

Imogen Cunningham (American, 1883-1976)
The Unmade Bed
1957
Gelatin silver print
The Lane Collection
© 2022 Imogen Cunningham Trust

Josef Sudek (Czech, 1896-1976)
From the Window of my Atelier
1965
Gelatin silver print
The Lane Collection
© I & G Fárová Heirs

Robert Heinecken (American, 1931-2006)
TV Dinner
1971
Gelatin silver print on canvas with pastel, chalk, and resin
The Lane Collection
© The Robert Heinecken Trust

Irving Penn (American, 1917-2009)
Gingko Leaves
1990
Dye-transfer print
The Lane Collection

Abelardo Morell (Cuban, b. 1948)
Wavy Book
2001
Gelatin silver print
The Lane Collection
© Abelardo Morell/Courtesy Edwynn Houk Gallery, NYC

Adam Fuss (British, b. 1961)
Butterfly
2002
From the series My Ghost
Daguerrotype
The Lane Collection
© Adam Fuss

David Hilliard (American, b. 1964)
Perennial
2006
Archival pigment print
The Lane Collection
Museum purchase with funds donated by Saundra B. Lane
© David Hilliard

Olivia Parker’s green and purple artichoke dangling from a string is a nod to the Spanish painter Juan Sánchez Cotán whose vegetable paintings depict foodstuffs hung high to keep rodents at bay. Her work is installed near two surrealist pictures by Frederick Sommer. His jarring but beautiful compositions of chicken heads and innards brim with the tension between the life sustaining nourishment the chicken may have provided and the stark reminder of our mortality. And in an ironic twist, David Hilliard’s ebullient polyptych, Perennial, features an aisle of plastic Walmart flowers that were his mother’s favorites, in striking contrast to the ephemeral flowers featured in countless still life paintings in the galleries of the museum.

Suzanne Révy. “The Stillness of Things,” on the What Will You Remember website September 14, 2022 [Online] Cited 31/01/2023

Olivia Parker (American, b. 1941)
Artichoke
2010
Digital inkjet print
The Lane Collection
© Olivia Parker 2010

Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts

Opening hours:
Saturday – Monday, Wednesday 10am – 5pm
Thursday and Friday 10am – 10pm
Tuesday closed

Museum of Fine Arts, Boston website

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Review: ‘Terraria’ by Darron Davies at Edmund Pearce Gallery, Melbourne

Exhibition dates: 16th January – 9th February 2013

Darron Davies (Australian)
Atmosphere
2012
Archival Pigment Print on Photo Rag
80 x 80cm
Edition of 6

This is the first “magical” exhibition of photography that I have seen in Melbourne this year. Comprising just seven moderately large Archival Pigment Print on Photo Rag images mounted in white frames, this exhibition swept me off my feet. The photographs are beautiful, subtle, nuanced evocations to the fragility and enduring nature of life. The photographs move (shimmer almost) one to another, with slight changes in the colour green balanced with abstract splashes of light and pigment reminiscent of an abstract expressionist painting (I particularly like the splash of red in The Red Shard, 2102, below). These are beautifully seen works, that require 1) a good idea, 2) an aware and enquiring mind, 3) an understanding and receptive eye, and 4) a relationship to the ineffable that allows visions such as these to be breathed into existence. As Minor White would say,

Three Canons

Be still with yourself
Until the object of your attention
Affirms your presence

.
Let the Subject generate its own Composition

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

A sense of day/dreaming is possible when looking at these images. Interior/exterior, size/scale, ego/self are not fixed but fluid, like the condensation that runs down the inside of these environments (much like blood circulates our body). This allows the viewer’s mind to roam at will, to ponder the mysteries of our short, improbable, joyous life. The poetic titles add to this introspective reflection. I came away from viewing these magical, self sustaining vessels with an incredibly happy glow, more aware of my own body and its relationship to the world than before I had entered Darron Davies enveloping, terrarium world.

Dr Marcus Bunyan

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

Darron Davies (Australian)
Day’s Reach
2012
Archival Pigment Print on Photo Rag
80 x 80cm
Edition of 6

Darron Davies (Australian)
Encased
2012
Archival Pigment Print on Photo Rag
80 x 80cm
Edition of 6

Terraria

.
I step into your small world
Your secret world
Each a planet of green

Fragile edges holding
the lived
and living

Peering into your glass
your mirror
I see the shards of light
Drawing in
and
Stretching out

You are another
In atmosphere
In moss
In fear

Terraria is a photographic project exploring the magical, abstract and metaphoric world of terrariums – an increasingly popular form of enclosed and small scale eco-system designed for showcasing plants.

Ultimately, Terraria is also about the fragility of life – terrariums as self contained vessels, enduring, magical – like the human body or our planet – yet somewhat mysterious. These vessels are self sustaining with no watering needed. They are independent and endure quietly. This project would not have been possible without support from Lisa Rothwell from Lu Lu Blooms.

Artist statement