Posts Tagged ‘Louis Faurer

24
Jan
20

Exhibition: ‘Illusions of the Photographer: Duane Michals at the Morgan’ at The Morgan Library & Museum

Exhibition dates: 25th October 2019 – 2nd February 2020

Curator: Joel Smith

 

 

Duane Michals (American, b. 1932) 'Self-Portrait Asleep in a Tomb of Mereruka Sakkara' 1978

 

Duane Michals (American, b. 1932)
Self-Portrait Asleep in a Tomb of Mereruka Sakkara
1978
6 (5 x 7 inch) silver gelatin prints with hand-applied text
© Duane Michals, Courtesy DC Moore Gallery, New York
The Morgan Library & Museum

 

 

The things-for-which-there-are-no-words

Duane Michals is one of the greatest photographic storytellers of the twentieth century. His parables – seemingly simple stories used to illustrate a moral or spiritual lesson – resonate, vibrate, with energy, and insight into, the human condition. They are as profound as the air we breathe but cannot see – expressing the invisible, presencing the spiritual. I feel, I know these stories, intimately. Those things-for-which-there-are-no-words.
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Presencing. In 1885, Van Gogh, wrote a letter to his brother Theo: ‘Rembrandt goes so deep into the mysterious that he says things for which there are no words in any language. It is with justice that they call Rembrandt – [a] magician.’ (Letter from Vincent van Gogh to Theo van Gogh [letter 534], on or about 10 October 1885, in Leo Jansen, Luijten and Nienke Bakker (eds.,). Vincent van Gogh: The Letters. Van Gogh Museum and the Huygens Institute, Amsterdam, 2009 [Online] Cited 11/10/2019)

The things-for-which-there-are-no-words remain hidden when approached with conceptual thought. They need to be experienced to be known. The currency of this experience, as we have seen, is deeply personal, but in allowing it we can touch on truth, perhaps even the truth.”1

 

There are things here not seen in this photograph. The spirit leaves the body. William Blake and Duane Michals. Enchanted melancholy. The mysterious / music. In swift embrace. In love. In memory. In death. The fluidity of the line of the artist. Things are queer. The world implodes and ravages itself. Paradise is reborn. The letter, and love, from my father that I, also, never did receive. The nature of reality. Truth?

“I’m completely overwhelmed by the nature of our reality,” he is quoted as saying in the exhibition catalog about human evolution. “We’ve been working on this version of man for a thousand years. He lives longer, he’s healthier, but he’s still an unproven product. Still the same greedy little bastard.”

“For Michals, photography is not documentary in nature but theatrical and fictive: the camera is one of many tools humanity uses to construct a comprehensible version of reality. In his imaginative, visually rich photographs, the artist exploits the medium’s storytelling capacity,” says the press release. Isobel Crombie suggests the ‘medium’ of photography has ‘The ability to speak to us across time and to connect to the mind and the heart.’2

When I was young. What was time?

Dr Marcus Bunyan

 

  1. Kim Devereux. “Me and My Muse,” in the NGV Magazine Issue 19 Nov-Dec 2019, p. 55
  2. Isobel Crombie. “One Suggestive Moment,” in the NGV Magazine Issue 19 Nov-Dec 2019, p. 33

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Many thankx to The Morgan Library & Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“I write with this photograph not to tell you what you can see, rather to express what is invisible.”

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Duane Michals 1966 in Johnson, B. (ed.,) 2004, ‘Photography speaks: 150 photographers on their art’, Aperture, New York p. 150

 

“I think photographs should be provocative and not tell you what you already know. It takes no great powers or magic to reproduce somebody’s face in a photograph. The magic is in seeing people in new ways.”

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Duane Michals

 

Duane Michals uses visual narrative, symbolism and metaphysical imagery to interpret the human condition. His photographic sequences have a film-like appearance and represent intangible elements of dreams, imagination, death, time, myth and spirit. A freelance commercial photographer, Michals began experimenting with sequence works in the 1960s, later adding text to illuminate emotion and philosophical ideas and following in the tradition of painters such as René Magritte and Giorgio de Chirico whom he greatly admired. His staged, fictive tableaux vivants are intimate scenes that explore the atmosphere of the invisible and metaphysical…

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

 

 

DEATH

Robert Wiles. 'Evelyn Francis McHale May 1, 1947' 1947

 

Robert Wiles
Evelyn Francis McHale May 1, 1947
1947
Gelatin silver print
Overall: 9 1/2 × 8 in. (24.1 × 20.3 cm)
Purchased on the Goldsmith Fund for Americana
The Morgan Library & Museum

 

 

On 30 April she visited her fiancée in Easton presumably to celebrate his 24th birthday and boarded a train back to NYC at 7 a.m., 1 May 1947. Barry [Rhodes] stated to reporters that “When I kissed her goodbye she was happy and as normal as any girl about to be married.”

Of course we’ll never know what went through Evelyn’s mind on 66 mi train ride home. But after she arrived in New York she went to the Governor Clinton Hotel where she wrote a suicide note and shortly before 10:30 a.m. bought a ticket to the 86th floor observation deck of the Empire State Building.

Around 10:40 am Patrolman John Morrissey, directing traffic at Thirty-fourth Street and Fifth Avenue, noticed a white scarf floating down from the upper floors of the building. Moments later he heard a crash and saw a crowd converge on 34th street. Evelyn had jumped, cleared the setbacks, and landed on the roof of a United Nations Assembly Cadillac limousine parked on 34th street, some 200 ft west of Fifth Ave.

Across the street, Robert C. Wiles, a student photographer, also noticed the commotion and rushed to the scene where he took several photos, including this one, some four minutes after her death. Later, on the observation deck, Detective Frank Murray found her tan (or maybe gray, reports differ) cloth coat neatly folded over the observation deck wall, a brown make-up kit filled with family pictures and a black pocketbook with the note which read:

“I don’t want anyone in or out of my family to see any part of me. Could you destroy my body by cremation? I beg of you and my family – don’t have any service for me or remembrance for me. My fiance asked me to marry him in June. I don’t think I would make a good wife for anybody. He is much better off without me. Tell my father, I have too many of my mother’s tendencies.”

Lizz Buzz. “The Story Behind the “The Most Beautiful Suicide” Picture of Evelyn McHale (1947),” on the Atchuup! website April 23, 2019 [Online] Cited 17/11/2019

 

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

Duane Michals. 'The Spirit Leaves The Body' 1968

 

Duane Michals (American, b. 1932)
The Spirit Leaves the Body
1968
Gift of Richard and Ronay Menschel
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'I Build a Pyramid' 1978

 

Duane Michals (American, b. 1932)
I Build a Pyramid
1978
6 (5 x 7 inch) silver gelatin prints with hand-applied text
The Morgan Library & Museum

 

 

ILLUSION

Francesco Salviati (1510-1563) 'Emblematic Design with Two-Headed Horse and Moth' c. 1550-63

 

Francesco Salviati (1510-1563)
Emblematic Design with Two-Headed Horse and Moth
c. 1550-63
Pen and brown ink, brown wash, on paper; framing lines at upper left and right edges in pen and brown ink
Overall: 7 1/2 × 7 3/8 in. (19.1 × 18.7 cm)
Gift of János Scholz
The Morgan Library & Museum

 

William Blake (British, 1757-1827) 'Satan Smiting Job with Boils' c. 1805-10

 

William Blake (British, 1757-1827)
Satan Smiting Job with Boils
c. 1805-10
Pen and black and gray ink, gray wash, and watercolour, over faint indications in pencil, on paper
Overall: 9 3/16 x 11 inches (233 x 280 mm)
Purchased by Pierpont Morgan (1837-1913) in 1909
The Morgan Library & Museum

 

Jehan Georges Vibert (1840-1902) 'A Cardinal in Profile' 1880

 

Jehan Georges Vibert (French, 1840-1902)
A Cardinal in Profile
1880
Watercolour on paper
Overall: 4 7/8 × 3 3/8 in. (12.4 × 8.6 cm)
Gift of John M. Thayer
The Morgan Library & Museum

 

Henry Pearson (American, 1914-2006) '128th Psalm (Study for "Five Psalms")' 1968

 

Henry Pearson (American, 1914-2006)
128th Psalm (Study for “Five Psalms”)
1968
Chinese ink on heavy paper
Overall: 23 1/2 × 18 in. (59.7 × 45.7 cm)
Gift of Regina and Lawrence Dubin, M.D
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'The Illuminated Man' 1968

 

Duane Michals (American, b. 1932)
The Illuminated Man
1968
Gelatin silver print, unique print
Image: 15 5/8 x 22 7/8 inches
The Morgan Library & Museum

 

 

When Michals arrived in New York from Pittsburgh in the early 1950s, the city provided not only freedom from the strict conventions of his Catholic upbringing, but an opening to worlds of ideas and experiences that extended in all directions. By the early 1960s, he was living with his life partner, the architect Frederick Gorree (who passed away in 2017) and experimenting with the photographic image beyond the single frame, often including handwritten texts.

“Duane cut photography’s umbilical cord,” Smith said about the photographer’s contributions to the medium. “He saw there’s no reason to limit the camera to what you find in the world; it should be part of the history of expressing ideas.” Michals’s 1970 one-man show at the Museum of Modern Art confirmed his significance in establishing a new genre.

In the 1960s, he became interested in Buddhism and meditation, further expanding his artistic concerns. At the Morgan, Michals walked over to a large, eye-popping ink drawing by Henry Pearson, an abstract artist loosely associated with the Op Art movement. Pearson’s “128th Psalm (Study for ‘Five Psalms’)” from 1968, is a light-bulb-shaped form with lines emanating from the center like electrified nerve endings and pulsating out beyond the frame.

“This drawing is pure energy,” he said. That same year, Michals – who had not known Pearson’s work – made “The Illuminated Man,” a photograph of a male figure facing the camera, his head emanating light, suggesting enlightenment. “The Illuminated Man” and “128th Psalm” share the theme of spiritual radiance.

Michals cited a 1937 painting by René Magritte not in the Morgan Collection called “The Pleasure Principle.” It is a portrait of the poet Edward James, a patron of Surrealist art, his head a glowing light bulb. “I only discovered the painting later,” he said, after he had made his own photographic homage, in 1965, in which Magritte appears ghostlike in double exposure, against a canvas on an easel, behind an empty chair. “I was very proud to have had a similar idea to one of my deities,” he said.

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

Duane Michals (American, b. 1932) 'The Human Condition' 1969

 

Duane Michals (American, b. 1932)
The Human Condition
1969
© Duane Michals via DC Moore Gallery
The Morgan Library & Museum

 

 

“The nature of consciousness is always the central question,” he asserted. In The Human Condition, his panel of six photographs from 1969 begins with a man standing on the 14th Street subway platform; the train arrives and he is bathed in a halo of light; the light becomes a swirl and in the last frame he is swept into a white disc the size of a galaxy passing through the night sky. From the immediate to the universal in six frames.

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

Duane Michals. 'The Bewitched Bee' 1986

 

Duane Michals (American, b. 1932)
The Bewitched Bee
1986
Gelatin silver print
Gift of Duane Michals
The Morgan Library & Museum

 

 

IMAGE AND WORD

Duane Michals (American, b. 1932) 'There Are Things Here Not Seen in This Photograph' 1977

 

Duane Michals (American, b. 1932)
There Are Things Here Not Seen in This Photograph
1977
10 15/16 x 13 7/8 inches
The Morgan Library & Museum

 

Duane Michals. From the series 'I Remember Pittsburgh' 1982

 

Duane Michals (American, b. 1932)
I Remember Pittsburgh 8
1982
Gelatin silver print
The Morgan Library & Museum

 

Ciro Ferri (Italian, 1634-1689) 'Fame Painting a Portrait Held by Religion' 17th century

 

Ciro Ferri (Italian, 1634-1689)
Fame Painting a Portrait Held by Religion
17th century
Brush and brown and white gouache, pen and and brown ink, over black chalk, on brown toned paper
Overall: 11 x 7 9/16 inches (279 x 192 mm)
Purchased as the gift of the Fellows
The Morgan Library & Museum

Design for a frontispiece engraved by Gérard Audran for a volume of portraits of cardinals published by Giovanni Giacomo de’ Rossi

 

Irving Penn (American, 1917-2009) 'Giorgio de Chirico, Rome' Rome, 1944

 

Irving Penn (American, 1917-2009)
Giorgio de Chirico, Rome
Rome, 1944 (negative), 1946-47 (print)
Gelatin silver print on paper; mounted to cardstock
Image And Sheet: 7 1/16 × 7 3/8 in.
Gift of Irving Penn, 2006
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'Andy Warhol' 1958

 

Duane Michals (American, b. 1932)
Andy Warhol
1958
Gelatin silver print
8 × 10 inches (20.3 × 25.4 cm)
Collection of Richard and Ronay Menschel
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'René Magritte at His Easel' 1965

 

Duane Michals (American, b. 1932)
René Magritte at His Easel
1965
77/8 × 97/8 inches (20 × 25.1 cm)
Collection of Richard and Ronay Menschel
The Morgan Library & Museum

 

Florian, Marquis de (1755-1794) 'Red leather portfolio [realia]' 18th century

 

Florian, Marquis de (1755-1794)
Red leather portfolio [realia] – Portefeuille de Monsieur de Voltaire and Donné à Monsieur de Florian
“Voltaire’s briefcase”
18th century
Leather, gold clasp
Stamped on front: “Portefeuille de Monsieur / de Voltaire”; on back: “Donné a Monsieur / de Florian”
Overall: 16 15/16 × 12 5/8 in. (43 × 32 cm)
Purchased by Pierpont Morgan, 1911
Pierpont Morgan Library Dept. of Literary and Historical Manuscripts
The Morgan Library & Museum

 

 

Voltaire gave this briefcase to the marquis de Florian, the husband of his niece Elisabeth Mignot. Her sister, Marie-Louise Mignot, Mme Denis, was Voltaire’s companion for the last twenty-nine years of his life. With extensive decorative gold tooling. Exhibited numerous times at the Morgan Library as “Voltaire’s briefcase.”

Text from The Morgan Library & Museum website

 

Duane Michals (American, b. 1932) 'Candide, 2019'

 

Duane Michals (American, b. 1932)
Candide, 2019
2019
Inspired by Voltaire
© Duane Michals via DC Moore Gallery
The Morgan Library & Museum

 

 

“The things we chose from the collection were so close to what my instincts are,” he said to Joel Smith, the curator of photography at the Morgan, who organised the show with Michals.

The photographer was referring to the kinship between things he chose and the irreverent nature of his own work. “I’m completely overwhelmed by the nature of our reality,” he is quoted as saying in the exhibition catalog about human evolution. “We’ve been working on this version of man for a thousand years. He lives longer, he’s healthier, but he’s still an unproven product. Still the same greedy little bastard.”

To illustrate the point, he reached for Voltaire’s briefcase among the holdings in the Morgan’s collection. It dates from the 1700s and is decorated with gold-leaf filigree on its red leather casing.

Smith recalled that Michals was so “wowed at the thought of Voltaire’s ideas living inside it and amused by the showbiz of its provenance” that he went home and painted a portrait of Candide on an old tintype, adding Voltaire’s bitterly ironic refrain in white block letters: “This Is the Best of All Possible Worlds.” The briefcase and Candide, 2019 are both in the show.

Yet, Michals doesn’t share Voltaire’s bleak view of existence. His own work is often characterised by an iconoclastic wit, imbued with serious metaphysical inquiry – a “curiosity about the nature of reality, in a much more profound sense than just a bunch of atoms.”

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

Auguste Rodin. 'Lucifer' c. 1900

 

Auguste Rodin (French, 1840-1917)
Lucifer
c. 1900
Pencil and watercolour, on paper
Overall: 9 3/8 × 12 7/16 in. (23.8 × 31.6 cm)
Gift of Alexandre P. Rosenberg
The Morgan Library & Museum

 

Egon Schiele (Austrian, 1890-1918) 'Embrace' 1914

 

Egon Schiele (Austrian, 1890-1918)
Embrace
1914
Graphite on wove paper
Overall: 19 1/8 × 12 3/4 in. (48.6 × 32.4 cm)
Bequest of Fred Ebb
The Morgan Library & Museum

 

 

[Looks at Egon Schiele’s drawing Embrace (p. 22)] There’s so much emotion in this; it’s so immediate. There’s a few things happening: physical entanglement, then you see the look on his face, registering some kind of emotional response. I love the idea: Schiele had no thought that in a hundred years we’d be standing here or how we’d be talking about it. Art is not really about the future.

Duane Michals in Illusions of the Photographer: Duane Michals at the Morgan exhibition catalogue 2019, p. 21

 

In this depiction of the artist in the arms of an unidentified companion, the jagged, seemingly erratic contours suggest a psychological agitation characteristic of Schiele’s self-portraits. A feeling of tension derives from the position of the artist’s head-turned away from the woman embracing him – as well as from the placement of the couple to the left of the sheet, with the figure of the woman cropped. The resulting asymmetry conveys the artist’s emotional unbalance and emphasises his egocentric character while demonstrating the amazing technical agility he brought to bear to express a wide range of emotions.

Text from The Morgan Library & Museum website

 

Duane Michals (American, b. 1932) 'A Letter from My Father' 1960

 

Duane Michals (American, b. 1932)
A Letter from My Father
1960 (image), 1975 (text)
15 3/4 × 19 7/8 inches (40 × 50.5 cm)
Gift of Duane Michals
The Morgan Library & Museum

 

 

The Morgan Library & Museum proudly presents an exhibition combining a six-decade retrospective of Duane Michals with an artist’s-choice selection of works from all corners of the permanent collection. Michals is known for his picture sequences, inscribed photographs, and, more recently, films that pose emotional, conceptual, and cosmic questions beyond the scope of the lone camera image. Illusions of the Photographer: Duane Michals at the Morgan (October 25, 2019 to February 2, 2020) takes viewers on a tour of the artist’s mind, putting work from his expansive career in conversation with Old Master and modern drawings, books, manuscripts, and historical objects.

The first retrospective on Michals to be mounted by a New York City institution, the exhibition is organised around animating themes in the artist’s work: Theatre, Reflection, Love and Desire, Playtime, Image and Word, Nature, Immortality, Time, Death, and Illusion. It showcases his storytelling instincts, both in stand-alone staged photographs and in sequences. The exhibition also includes screenings of short films, Michals’s preferred medium in recent years.

For Michals, photography is not documentary in nature but theatrical and fictive: the camera is one of many tools humanity uses to construct a comprehensible version of reality. In his imaginative, visually rich photographs, the artist exploits the medium’s storytelling capacity. For example, the six images in I Build a Pyramid (1978) find the artist in Egypt, stacking stones in a modest pile that, from the camera’s perspective, appears to rival the scale of the ancient pharaohs’ monuments. Michals reveals that the scenario echoes his childhood habit of building cities from stones in his backyard in McKeesport, Pennsylvania. In the exhibition, Michals’s staged scenes are juxtaposed with those of his creative heroes, who include William Blake, Edward Lear, and Saul Steinberg. In his dual role as artist and curator he matches wits with writers, stage designers, toy makers, and his fellow portraitists of the past and the present.

Since 2015 Michals has focused his creative efforts on filmmaking, a natural outgrowth of his directorial habits as a photographer. On a screen in the exhibition, three short films are featured amid a cycle of over 200 photographs from the series Empty New York (1964-65), the project through which the artist first recognised his theatrical vision of reality. Michals will host two special programs of film screenings in the Morgan’s Gilder Lehrman Hall, introducing films that have never been screened publicly before.

Illusions of the Photographer revives the format of the 2015 exhibition Hidden Likeness: Emmet Gowin at the Morgan, which The New York Times said “all but redefined the genre” of the collection dive curated by a contemporary artist. The present project is a personal one for Michals, who explains, “The Morgan literally is my favourite museum in New York. I always learn something at the Morgan. I’m so thrilled about this show, because it’s probably going to be the very last time to see me there, with all my resources and touchstones. I’m … archaic, in a way. I’m eighty-seven! I’m of my generation. My references are not at all to what people are talking about today. I’m comfortable there, that’s where I belong – and that’s what I contribute.”

Joel Smith, the Morgan’s Richard L. Menschel Curator and Department Head, says “Duane Michals’s art is contemplative, confessional, and comedic. It transcends the conventional bounds, and audience, of photography. Through narration and sequencing he reorients the camera towards timeless human dilemmas; he derives poetic effects from technical errors such as double exposure and motion blur. His originality and intimacy as an artist come through in the discoveries he brings to light from the Morgan’s collection.”

Illusions of the Photographer: Duane Michals at the Morgan is accompanied by an 88-page softcover catalogue featuring a wide-ranging interview with the artist and illustrations of seventy works, including his selections from the Morgan’s collection and the previously unpublished 1969 title sequence.

 

About Duane Michals

Duane Michals (b. February 18, 1932, McKeesport, Pennsylvania) is an American photographer who often combines images with text in a format that recalls cinematic storytelling. Michals received his BA from the University of Denver in 1953. He began photographing for magazines in 1960 and became a prolific portraitist of artists such as Andy Warhol, René Magritte, and Marcel Duchamp. His first solo exhibition was held at the Museum of Modern Art, New York, in 1970. Michals lives and works in New York City.

Press release from The Morgan Library & Museum [Online] Cited 14/11/2019

 

 

NATURE

James Jacques Joseph Tissot (French, 1836-1902) 'God Creating the World' c. 1900-1902

 

James Jacques Joseph Tissot (French, 1836-1902)
God Creating the World
c. 1900-1902
Gouache on board
7 3/4 x 5 1/4 inches (201 x 135 mm)
Morgan Family Collection

 

James Jacques Joseph Tissot (French, 1836-1902) 'God Creates Eve while Adam is Asleep' c. 1900-1902

 

James Jacques Joseph Tissot (French, 1836-1902)
God Creates Eve while Adam is Asleep
c. 1900-1902
Gouache on board
12 x 9 1/8 inches (305 x 233 mm)
Morgan Family Collection

 

James Jacques Joseph Tissot (French, 1836-1902) 'Adam and Eve in the Garden of Eden' c. 1900-1902

 

James Jacques Joseph Tissot (French, 1836-1902)
Adam and Eve in the Garden of Eden
c. 1900-1902
Gouache on board
11 x 8 inches (279 x 203 mm)
Morgan Family Collection

 

James Jacques Joseph Tissot (French, 1836-1902) 'Adam and Eve Perceive their Nakedness' c. 1900-1902

 

James Jacques Joseph Tissot (French, 1836-1902)
Adam and Eve Perceive their Nakedness
c. 1900-1902
Gouache on board
12 1/8 x 8 3/4 inches (308 x 221 mm)
Morgan Family Collection

 

Duane Michals. 'Paradise Regained' 1968

Duane Michals. 'Paradise Regained' 1968

Duane Michals. 'Paradise Regained' 1968

Duane Michals. 'Paradise Regained' 1968

Duane Michals. 'Paradise Regained' 1968

Duane Michals. 'Paradise Regained' 1968

 

Duane Michals (American, b. 1932)
Paradise Regained
1968
6 silver gelatin prints with hand-applied text

 

 

… He picked up a panel of gouache drawings from around 1900 by French illustrator James Jacques Joseph Tissot titled “God Creating the World,” a biblical morality tale in a series of lighthearted scenes depicting the creation of Adam; then Eve; the two of them frolicking; Eve eating the apple; and their banishment from paradise. The Tissot sequence is among nearly 60 works in his final selection for the current exhibition Illusions of the Photographer: Duane Michals at the Morgan, through Feb. 2. His pick of drawings, paintings and artefacts resides in dialogue with 38 of Michals’s photographic works – his narrative sequences as well as stand-alone prints, projected images from a series titled “Empty New York,” and several of his recent short films.

He pointed out a link between the Tissot drawings and his own “Paradise Regained,” from 1968: a suite of six images that begins with a well-dressed young couple sitting and facing the camera in an empty apartment. With each frame they get progressively undressed, and more and more plants fill up the space behind them. In the final image, they are naked amid a lush, domestic Eden.

“I had been looking at a lot of Rousseau paintings when I made the sequence,” Michals said, referring to the jungle scenes of the French Post-Impressionist. While he loves the Tissot panel, he admitted, “I’m a raging atheist,” distancing himself from its religious message. “I was a pretend Catholic and then I stopped pretending.” The spiritual dimension of “Paradise Regained” is balanced by the artist’s tongue-in-cheek view of urban life, where men and women only return to a natural state indoors, where everything is unnatural.

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

Jacob Hoefnagel (1573? - c. 1632) 'Orpheus Charming the Animals' 1613

 

Jacob Hoefnagel (1573? – c. 1632)
Orpheus Charming the Animals
1613
Watercolour and gouache, heightened with white gouache, over traces of black chalk, on vellum mounted to panel; bordered in gold
Overall: 6 9/16 × 8 5/16 in. (16.7 × 21.1 cm)
Purchased on the Sunny Crawford von Bülow Fund 1978
Morgan Family Collection

 

Duane Michals (American, b. 1932) 'Warren Beatty' 1967

 

Duane Michals (American, b. 1932)
Warren Beatty
1967
Gelatin silver print
8 × 9 15/16 inches (20.3 × 25.2 cm)
Purchased on the Photography Acquisition Fund
The Morgan Library & Museum

 

 

PLAYTIME

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

Duane Michals. 'Things are Queer' 1973

 

Duane Michals (American, b. 1932)
Things Are Queer
1973
Nine gelatin silver prints
Images: 5 × 7 inches (12.7 × 17.8 cm) each
Gift of Duane Michals
The Morgan Library & Museum

 

 

REFLECTION

Wallace Studio, Manchester, New Hampshire. 'Untitled (Mirror)' c. 1880s

 

Wallace Studio, Manchester, New Hampshire
Untitled (Mirror)
c. 1880s
Cabinet card with rounded corners
Mount: 6 7/16 × 4 3/16 in. (16.4 × 10.6 cm)
Print: 5 11/16 × 4 in. (14.4 × 10.2 cm)
Gift of Adam Fuss
The Morgan Library & Museum

 

Carlo Galli Bibiena (1728 - c. 1778) 'Interior of a Gallery' 1750s

 

Carlo Galli Bibiena (1728 – c. 1778)
Interior of a Gallery
1750s
Pen and black ink and gray and brown wash
Sheet is framed by an overmount of paper that leaves around 8 5/8 x 11 7/8 inches visible
Overall: 9 1/4 × 12 13/16 in. (23.5 × 32.5 cm)
Thaw Collection
The Morgan Library & Museum

 

John F. Collins (American, 1888-1990) 'Multiple Self-Portrait' 1935

 

John F. Collins (American, 1888-1990)
Multiple Self-Portrait
1935
Gelatin silver print
Image: 13 3/4 × 10 9/16 in. (34.9 × 26.8 cm)
Purchase on the Photography Collectors Committee Fund
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'A Story About a Story' 1989

 

Duane Michals (American, b. 1932)
A Story About a Story
1989
15 7/8 x 19 3/4 inches (40.3 × 50.2 cm)
Purchased on the Photography Collectors Committee Fund
The Morgan Library & Museum

 

 

In Michals work, the immediate and the infinite spar. In the show is a single image by a little-known photographer named John F. Collins. The 1935 self-portrait shows Collins looking at us while holding a large photograph of himself; in that photograph he is looking down at the same photograph of himself. In each subsequent picture within a picture, he is looking out, and then into the photograph he is holding, into a spiralling infinity.

It is a striking parallel to Michals’ “A Story Within a Story” of 1989, in which a man leans against a mirror in the corner of the frame and faces a mirror in which his reflection echoes repeatedly as it recedes behind him. “This is a story about a man telling a story about a man. …” starts his text.

He might as well have been describing himself.

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

N. Institoris (d. 1845) 'Interior of a Prison' c. 1825-45

 

N. Institoris (d. 1845)
Interior of a Prison
c. 1825-45
Pen and black ink, with gray wash, over pencil, on paper; verso contains slight sketch of a building, in graphite.
13 x 17 1/2 inches (330 x 445 mm)
Gift of Mrs. Donald M. Oenslager, 1982
The Morgan Library & Museum

 

Gabriel Pierre Martin Dumont (French, 1720-1791) 'Perspective View of the Mechanical Works and Construction of a Theater. Verso: Sketch of an elevation of a colonnade' 18th century

 

Gabriel Pierre Martin Dumont (French, 1720-1791)
Perspective View of the Mechanical Works and Construction of a Theater. Verso: Sketch of an elevation of a colonnade
18th century
Pen and black ink, with gray wash, over graphite, on paper; verso: graphite
12 1/4 x 14 9/16 inches (310 x 369 mm)
Purchased as the gift of Mrs. Donald M. Oenslager in memory of her husband
The Morgan Library & Museum

 

Eugène Atget (French, 1857-1927) 'Cour de Rouen' 1898

 

Eugène Atget (French, 1857-1927)
Cour de Rouen
1898
Albumen print
Overall: 8 × 6 3/4 in. (20.3 × 17.1 cm)
Purchased on the Photography Collectors Committee Fund
The Morgan Library & Museum

 

Louis Faurer (1916-2001) 'Penn Station Lovers' 1946-47, printed c. 1981

 

Louis Faurer (1916-2001)
Penn Station Lovers
1946-47, printed c. 1981
Gelatin silver print
14 x 11 in. (sheet)
Purchased as the gift of Elaine Goldman
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'Empty New York, Subway Interior' c. 1964

 

Duane Michals (American, b. 1932)
Empty New York, Subway Interior
c. 1964
Gelatin silver print
8 × 10 inches (20.3 × 25.4 cm)
Collection of Nancy and Burt Staniar
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'Empty New York' c. 1964

 

Duane Michals (American, b. 1932)
Empty New York, Dry cleaners upper East side
c. 1964
Gelatin silver print
8 × 10 inches (20.3 × 25.4 cm)
Collection of Nancy and Burt Staniar
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'Empty New York' c. 1964

Duane Michals (American, b. 1932) 'Empty New York' c. 1964

Duane Michals (American, b. 1932) 'Empty New York' c. 1964

 

Duane Michals (American, b. 1932)
From the series Empty New York
c. 1964
Gelatin silver prints
8 × 10 inches (20.3 × 25.4 cm)
Collection of Nancy and Burt Staniar
The Morgan Library & Museum

 

 

TIME

Herbert Matter (1907-1984) 'Alexander Calder hanging mobile in motion' 1936

 

Herbert Matter (1907-1984)
Alexander Calder hanging mobile in motion
1936
Gelatin silver print with additions by hand
5 9/16 × 6 3/16 in. (14.13 × 15.72 cm)
Purchased as the gift of Richard and Ronnie Grosbard
The Morgan Library & Museum

 

Saul Steinberg (American, b. Romania, 1914-1999) 'Untitled (Cat and wheel of time)' 1965

 

Saul Steinberg (American, b. Romania, 1914-1999)
Untitled (Cat and wheel of time)
1965
Ink (black, blue, red, green, brown) and pencil on laid Strathmore
19 × 25 in. (48.26 × 63.5 cm)
Gift of the Saul Steinberg Foundation
The Morgan Library & Museum

 

 

Saul Steinberg defined drawing as “a way of reasoning on paper,” and he remained committed to the act of drawing. Throughout his long career, he used drawing to think about the semantics of art, reconfiguring stylistic signs into a new language suited to the fabricated temper of modern life. Sometimes with affection, sometimes with irony, but always with virtuoso mastery, Saul Steinberg peeled back the carefully wrought masks of 20th-century civilisation.

Text from The Morgan Library & Museum website

 

Duane Michals (American, b. 1932) 'When He Was Young' 1979

 

Duane Michals (American, b. 1932)
When He Was Young
1979
8 x 9 15/16 inches (20.3 × 25.2 cm)
Purchased on the Photography Collectors Committee Fund
The Morgan Library & Museum

 

Duane Michals (American, b. 1932) 'What is Time?' 1994

 

Duane Michals (American, b. 1932)
What is Time?
1994
Gelatin silver print
16 × 19 7/8 inches (40.6 × 50.5 cm)
Gift of Duane Michals
The Morgan Library & Museum

 

 

Included in his selection from the Morgan is an amusing drawing by Saul Steinberg, “Cat and the Wheel of Time,” 1965, in which the months of the year, the days of the week, and the hours of the day are written in circles inside a large wheel following a small cat down a hill. “Time has always been central to so much of my thinking,” Michals said. Smith handed him his text and image piece, What Is Time? from 1994, in which an eternally handsome young man holds an old-fashioned round clock to his ear. The text beneath it begins, “Time is the duration of everything, and life is an event, a fluttering of wings … the moment is the interval between now and then and, then, again.”

Philip Gefter. “Duane Michals Searches the Morgan and Finds Himself,” on The New York Times website Oct 29, 2019 [Online] Cited 14/11/2019

 

 

The Morgan Library & Museum
225 Madison Avenue at 36th Street, New York, NY
Phone: (212) 685-0008

Opening hours:
Tuesday through Thursday: 10.30 am – 5 pm
Friday: 10.30 am – 9 pm
Saturday: 10 am – 6 pm
Sunday: 11 am – 6 pm

The Morgan Library & Museum website

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10
Jun
18

Exhibition: ‘(un)expected families’ at the Museum of Fine Arts, Boston

Exhibition dates: 9th December 2017 – 17th June 2018

 

Christopher Churchill (American, born in 1977) 'Hutterite Classroom, Gildford, MT' 2005

 

Christopher Churchill (American, born in 1977)
Hutterite Classroom, Gildford, MT
2005
Gelatin silver print
Gift of Elisa Fredrickson / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

 

It’s hard to get a sense of this exhibition from the media images, therefore difficult to make any constructive comment on the strength of the exhibition.

Apparently, “The exhibition’s gallery feels very domestic. Groups of photos hang on the walls – different sizes, colors, formats and frames – like you’d see in a living room or hallway. MFA curator Karen Haas confirms that evocation is absolutely intentional.

“Photographers from the very beginning have been fascinated by the way that the camera could capture images of loved ones, freeze them in time,” she says. “They form sort of reliquaries of memory, and these sorts of relationships to the objects – that idea of the photograph as a talisman-like object I think has been somewhat forgotten in our contemporary world.” …

Haas’ goal in creating this show is to illustrate how broad and diverse family configurations can be – without defining them. “The families that we’re born into, generational families,” she describes, “but also romantic unions, couples and chosen families – families we have chosen for ourselves.” And that includes the military and the church, Haas says. “I think the family is such a basic social construct – so basic to so many of our lives – that I hope that these kinds of images will really resonate with people.” (Text from The ARTery website)

Outsider family, insider family, single parent family, nuclear family, extended family, reconstituted family, childless family, gay family, step family, “family has always taken diverse forms: affluent and destitute, cohesive and fractured, expected and unexpected. Taken together, the photographs challenge visitors to consider what family means to them.”

But what is most important is this: “There is no right or wrong answer when it comes to what is the best type of family structure. As long as a family is filled with love and support for one another, it tends to be successful and thrive. Families need to do what is best for each other and themselves, and that can be achieved in almost any unit.” (Types of Family Structure)

Families all have secrets, no matter how perfect they may seem to the outside world. Whether it be domestic violence behind closed doors or skeletons in the closet there is always more than meets the eye. And that’s where these photographs of families fail in their representation of the family. That, and the title of the exhibition – (un)expected families – because in the 21st century, nothing should be unexpected. By adding emphasis to the (un), the title merely propagates a form of discrimination, of outsider as different and therefore worthy of abuse because of that very difference. Expected families: we are all human beings and therefore anything is to be expected.

Marcus

.
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.

 

Bringing together more than 80 pictures taken by American photographers from the 19th century to today, (un)expected families explores the definition of the American family – from the families we are born into to the ones we have chosen for ourselves. The works on view depict a wide range of relationships, including multiple generations, romantic unions, and alternative family structures. Using archival, vernacular, and fine art photographs, (un)expected families offers a variety of perspectives on the American family, from Dorothea Lange’s depiction of a migrant family at the time of the Dust Bowl to Louie Palu’s portraits of US Marines fighting in Afghanistan. The exhibition illustrates that the family has always taken diverse forms: affluent and destitute, cohesive and fractured, expected and unexpected. Taken together, the photographs challenge visitors to consider what family means to them. (un)expected families features celebrated practitioners like Nan Goldin, Carrie Mae Weems, LaToya Ruby Frazier, and Harry Callahan, as well as a number of renowned Boston-area artists, such as David Hilliard, Nicholas Nixon, Abe Morell, and Sage Sohier.

 

Lewis W. Hine (American, 1874-1940) 'Home Workers, New York' 1915

 

Lewis W. Hine (American, 1874-1940)
Home Workers, New York
1915
Lewis W. Hine/Museum of Fine Arts, Boston

 

Dorothea Lange (American, 1895-1965) 'Migrant family, Texas' 1936

 

Dorothea Lange (American, 1895-1965)
Migrant family, Texas
1936
Gelatin silver print
Sophie M. Friedman Fun
Dorothea Lange/Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Louis Faurer (American, 1916-2001) 'Ritz Bar, New York' 1947-48

 

Louis Faurer (American, 1916-2001)
Ritz Bar, New York
1947-48
Estate of Louis Faurer/Museum of Fine Arts, Boston

 

Duane Michals (American, born in 1932) 'When he was young, he could not imagine being old. And now that he is old, he cannot imagine ever having been young' 1979

 

Duane Michals (American, born in 1932)
When he was young, he could not imagine being old. And now that he is old, he cannot imagine ever having been young
1979
Gelatin silver print
Duane Michals, courtesy of the DC Moore Gallery, New York, and Osmos, New York

 

Nicholas Nixon (American, born in 1947) 'Yazoo City, Mississippi' 1979

 

Nicholas Nixon (American, born in 1947)
Yazoo City, Mississippi
1979
Gelatin silver contact print
Museum purchase with funds donated by the National Endowment for the Arts and Richard L. Menschel, Bela T. Kalman, Judge and Mrs. Matthew Brown, Mildred S. Lee, and Barbara M. Marshall
© Nicholas Nixon, Courtesy Fraenkel Gallery, San Francisco
Photograph: © Museum of Fine Arts, Boston

 

Nan Goldin (American, born in 1953) 'Jimmy Paulette and Tabboo! in the bathroom, New York' 1991

 

Nan Goldin (American, born in 1953)
Jimmy Paulette and Tabboo! in the bathroom, New York
1991
Cibachrome print
Horace W. Goldsmith Foundation Fund for Photography
© Nan Goldin
Photograph: © Museum of Fine Arts, Boston

 

 

“I used to think that I could never lose anyone if I photographed them enough. But in fact my pictures show me just how much I’ve lost.” ~ Nan Goldin

 

Tina Barney (American, born in 1945) 'Thanksgiving' 1992

 

Tina Barney (American, born in 1945)
Thanksgiving
1992
Chromogenic print
Contemporary Curator’s Fund, including funds donated by Barbara and Thomas Lee
Tina Barney/Museum of Fine Arts, Boston
© Tina Barney
Photograph: © Museum of Fine Arts, Boston

 

Sage Sohier (American, born in 1954) 'Mum in her bathtub, Washington, D.C.' 2002

 

Sage Sohier (American, born in 1954)
Mum in her bathtub, Washington, D.C.
2002
Inkjet print
Living New England Artists Purchase Fund, created by the Stephen and Sybil Stone Foundation
Courtesy Museum of Fine Arts, Boston

 

Nicholas Nixon (American, born in 1947) 'Tammy Hindle' 2006

 

Nicholas Nixon (American, born in 1947)
Tammy Hindle
2006
Digital inkjet print
Gift of James N. Krebs
© Nicholas Nixon, Courtesy Fraenkel Gallery, San Francisco
Photograph: © Museum of Fine Arts, Boston

 

Julie Mack (American, born in 1982) 'Self-portrait (Julie) with family in SUV, Michigan' 2007

 

Julie Mack (American, born in 1982)
Self-portrait (Julie) with family in SUV, Michigan
2007
Chromogenic print
James N. Krebs Purchase Fund for 21st Century Photography
© Julie Mack. Courtesy Laurence Miller Gallery, New York
Photograph: © Museum of Fine Arts, Boston

 

David Hilliard  (America, born 1964) 'Rock Bottom' 2008

 

David Hilliard  (America, born 1964)
Rock Bottom
2008
Panorama Construction

 

 

Rock Bottom features, in the left panel, a close up sharp focus portrait of Hilliard’s father standing in a lake, with a severe and harsh facial expression, yet vulnerably placing his hands on his chest between his two sailor swallow’s tattoos. In the right panel, Hilliard himself appears somewhat further from the camera. With a gentler facial expression, the photographer contrasts with his tense patriarchal figure, but features a similar hairy chest and matching tattoos  –  giving the viewer a hint on the subject’s father-son relationship. The middle panel is exclusive for environmental portraiture and the creation of meaning in the composition: a sunny day at the lake, where the blue skies and soft clouds perfectly reflect on the water and separate the subject matters. The real meaning of the juxtaposition relies on the knowledge of Hilliard’s personal life and the presence of the middle panel: although the father accept his son’s homosexuality, the issue has clearly been a source of tension between them, creating both emotional and physical distance between the subject matters. Represented by the central panel, a stunning view divides the two generations both visually and metaphorically, symbolizing the idea of emotional distance in an atypical form.

Like most of Hilliard’s photographs, Rock Bottom exposes how physical distance is often manipulated to represent emotional distance. The presence of the middle panel, exclusively dedicated to environmental portraiture and the emphasis on the importance of our surroundings, also suggests the emotional distance between the subjects. The lack of elements and presence of great depth of field of the center panel insinuates that, regardless of the level of intimacy between the subject matters  – distance is always palpable.

Marina Pedrosa. “David Hilliard: Building Meaning Through Composition,” on the medium website [Online] Cited 22/08/2018

 

Julie Blackmon (American, born in 1966) 'Baby Toss' 2009

 

Julie Blackmon (American, born in 1966)
Baby Toss
2009
Elizabeth and Michael Marcus
Courtesy, Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

LaToya Ruby Frazier (American, born in 1982) 'Mom' 2008

 

LaToya Ruby Frazier (American, born in 1982)
Mom
2008
Gelatin silver print
From “The Notion of Family” (Aperture, 2014)
Photograph: © Museum of Fine Arts, Boston

 

Caleb Cole (American, born in 1981) 'The Big Sister' 2012

 

Caleb Cole (American, born in 1981)
The Big Sister
2012
From the series Odd One Out (2010-Present)
Archival pigment print
49 × 68 cm (19 5/16 × 26 3/4 in.)
Museum purchase with funds donated by James N. Krebs

 

 

Bringing together more than 80 pictures taken by photographers from the 19th century to today, (un)expected families at the Museum of Fine Arts, Boston (MFA), explores the definition of the American family – from the families we’re born into to the ones we’ve chosen. The photographs in the exhibition, on view from December 9, 2017 through June 17, 2018, depict a wide range of relationships – multiple generations, romantic unions and alternative family structures – whether connected by DNA, shared life experiences, common interests or even a social media network. Encompassing both carefully staged portraits and serendipitous snapshots, the selection of vernacular, documentary and fine art photographs in (un)expected families illustrates that the concept of family has long taken many forms – a subject that has fascinated photographers since the invention of the camera – and challenges visitors to consider what family means to them. Drawn primarily from the MFA’s holdings, the exhibition includes photographs by celebrated artists such as Nan Goldin, Gordon Parks, Nicholas Nixon, Sally Mann, Diane Arbus, Tina Barney, Emmet Gowin and Bruce Davidson. Loans from private collections include Victorian-era “hidden mother” photographs of children and turn-of-the-century portraits of women in intimate relationships sometimes referred to as “Boston marriages.” Additionally, (un)expected families highlights many New England photographers whose work centers on familial relationships, debuting eight photographs – acquired specifically for the exhibition – by Zoe Perry-Wood, Arno Rafael Minkkinen, Amber Tourlentes, Caleb Cole, Tanja Hollander, David Hilliard and Jeannie Simms. An interactive component of (un)expected families invites visitors to share thoughts about their own families on response cards. A selection will be displayed in the gallery on a rotating basis, and all will be archived as part of the permanent exhibition record. Additionally, a free family guide engages children with close looking and drawing activities. The exhibition is generously supported by an anonymous donor.

“Almost as soon as exposure times became short enough to make portraiture feasible, photographers have been drawn to capture likenesses of loved ones. Perhaps that power to freeze a moment in time is what explains why family photographs are so often described as the first thing one would save from a burning building,” said Karen Haas, Lane Curator of Photographs. “I find it particularly fascinating that there seems to be a growing interest among contemporary photographers to focus on families in their work – even as with the rise of smartphones and social media, our own personal pictures are increasingly relegated to the ether, rarely experienced as tangible objects.”

The images presented in (un)expected families span 150 years. Among the oldest pictures are photographs of “hidden mothers” (1860s-70s), depicting infants in the laps of concealed adults – a trick to keep the children still during long sittings or exposures. The mothers or nursemaids were draped with scarves or blankets, or hidden behind furniture or painted backdrops. Similarly, the contemporary photograph Nayla, Ted, Alexandra, Nick, March 30, 1995 (1995) by Cambridge-based Elsa Dorfman (born 1937) focuses solely on the children. While names of the parents are among those handwritten on the bottom of the large-scale Polaroid, only their legs are visible in the composition. Another contemporary photograph juxtaposed with the Victorian-era “hidden mothers,” which were made during a period of high infant mortality rates, is Tammy Hindle (2006) by Nicholas Nixon (born 1947). Part of Nixon’s series documenting a family’s heartbreaking loss of a child, the image shows the mother, Tammy, carrying a portrait of the baby, Claire, to the funeral service, their bodies appearing to magically merge in the reflection within the picture frame.

Father-and-son relationships are explored in images by Dawoud Bey (born 1953), Duane Michals (born 1932) and Jim Goldberg (born 1953), all of which incorporate texts that amplify the moving and often painful stories behind the images, as well as recently acquired photographs by David Hilliard (born 1964) and Arno Rafael Minkkinen (born 1945). Hilliard’s triptych Rock Bottom (2008) is one of an extended series of panoramic photographs that trace the shifting narrative of the gay artist’s complicated relationship with his father. The beautifully choreographed self-portrait visually links the two men, unmistakably related to each other and sporting identical swallow tattoos, across a serene expanse of lake. Minkkinen’s 31-12-86, Self-Portrait with Daniel, Andover (1986), recently gifted to the MFA by the artist, is one of a little-known series of portraits that he took of his son Daniel as the boy grew and matured from infancy to adolescence. The photograph shows Daniel sitting on a bed, bathed in raking light and looking directly at his father’s large-format camera. With his head hidden from view, Minkkinen’s outstretched arms perfectly echo the curve of the headboard and create a haunting embrace that speaks to a parent’s deep-seated desire to encircle and protect a child.

Seventeen photographs representing multiple generations of a family are arranged in a salon-style hang, ranging from intimate depictions of parents with children, such as Baby Toss (2009) by Julie Blackmon (born 1966); to pairs of siblings, such as Twins at WDIA, Memphis (about 1948) by Ernest C. Withers (1922–2007); to a 1925 panorama capturing an extended family reunion encompassing about 200 people. The display also features recently acquired photographs by Sage Sohier (born 1954) and Jeannie Simms (born 1967). Sohier’s Mum in her bathtub, D.C. (2002) is from an extended series devoted to her mother, a former fashion model who had posed for Richard Avedon and Irving Penn in the 1940s. Simms’ Arnie, Susan & Elijah, Jamaica Plain, MA (2015) is from a series documenting the lives of couples married in Cambridge after Massachusetts became the first U.S. state to issue same-sex marriage licenses on May 17, 2004.

Recently acquired works by Amber Tourlentes (born 1970), Zoe Perry-Wood (born 1959) and Jess Dugan (born 1986) also document the experience of LGBTQ couples, families and individuals. Tourlentes has regularly made LGBTQ family portraits on the Town Hall stage in Provincetown, Massachusetts, during its annual Family Week, sometimes revisiting the same subjects over the course of several years. Perry-Wood has spent the last decade photographing another annual event, the Boston Alliance of Gay and Lesbian Youth (BAGLY) Prom, which offers a safe and celebratory occasion for young couples – an alternative to more traditional high-school proms. Allowing her subjects to pose in front of the camera in a studio-like setting, as seen in José and Luis (2015), Perry-Wood helps to give them a sense of personal agency and collective pride at a pivotal moment in their lives. Unlike Tourlentes and Perry-Wood, Dugan photographs her subjects – friends within the LGBTQ community – in natural light and the privacy of their own living spaces, exploring issues of gender, identity and social connection through large-format portraits such as Devotion, from the series Every Breath We Drew (2012).

With the invention of the small and affordable Kodak camera in the late 19th century, followed by the instant camera in the 1940s, many Americans no longer felt the need to visit formal portrait studios in order to record their personal lives. Among the casual snapshots featured in (un)expected families are Polaroids of Caroline Kennedy and her cousin Tina Radziwill, taken by Andy Warhol (1928-1987) in the summer of 1972 and exhibited at the MFA for the first time. The artist – along with filmmaker Jonas Mekas and photographer Peter Beard – was hired by Jacqueline Kennedy Onassis to teach the children filmmaking and photography. Also on view are an album of photographs commemorating a fraternity at Baker University in Kansas (1910s) and six snapshots depicting “Boston marriages” (1920s-30s) – a turn-of-the-century term used to describe two women living together without the support of a man – romantic relationships in some cases and simply platonic partnerships in others.

Several groupings in the exhibition are centered on places of family life. Working roughly 50 years apart, one on New York’s Lower East Side and the other in Harlem, Lewis Hine (1874-1940) and Bruce Davidson (born 1933) both found the kitchen table an ideal site for their documentary photographs of tenement families in New York City. The groundbreaking Kitchen Table series (1990) by Carrie Mae Weems (born 1953) – featuring the photographer herself as the central figure, alongside lovers, children and friends – speaks to all those who have loved, quarrelled and come together around a communal table. Similarly, Tina Barney (born 1945) often acts as both guide and participant in her photographs – including Thanksgiving (1992) – which portray complex family moments in the wealthy East Coast social scene that she grew up in. In another selection of photographs by Julie Mack (born 1982), Mary Ellen Mark (1940-2015) and Dorothea Lange (1895-1965), the car is shown as a setting for a contemporary family self-portrait, a shelter for a homeless family in Los Angeles, and a vehicle for escape for migrant farm workers and their families during the Dust Bowl.

Alongside biologically related families and romantic unions, the exhibition highlights bonds among close-knit communities – “chosen families” – often documented by photographers embedded within the groups. Louie Palu (born 1968) spent several years covering the conflict in Afghanistan, producing portraits of U.S. Marines that capture the terrible toll of war etched on their faces and reflected in their eyes. Danny Lyon (born 1942) was a student at the University of Chicago when he first befriended members of the Chicago Outlaws, a notorious motorcycle club. For a number of years, he documented the individual gang members, their families and friends, as well as races, meetings, social gatherings, rides throughout the Midwest and even their funerals. Nan Goldin (born 1953) uses her camera as a form of diary to record the lives of friends, whom she considers a surrogate family. In Jimmy Paulette and Tabboo! in the bathroom, NYC (1991), Goldin represents two drag queens in New York City’s East Village, working in her characteristically direct, snapshot-like style. For the artist, who has lost many in her circle to HIV-AIDS, such images form tangible records of powerful human connections in fragile times.

Ethel Shariff in Chicago (1963) by Gordon Parks (1912–2006) and Hutterite Classroom, Gilford, MT (2005) by Christopher Churchill (born 1977) are among the photographs depicting religious communities. Ethel Shariff, the eldest daughter of longtime Nation of Islam head Elijah Mohammed, stands at the apex of Parks’ group portrait, surrounded by fellow members of the organization’s women’s corps. Churchill’s photograph is from a series of pictures on the theme of American faith – a project he undertook in the years just after 9/11. Traveling across the country, he visited various sacred landscapes, places of worship and religious communities including the Hutterites, a branch of the Anabaptists who trace their beginnings back to the Protestant Reformation. For Churchill, the series became an exploration into the very basic human need to be connected to something greater than ourselves. Similarly, Tanja Hollander (born 1972) traveled all over the world – across the U.S. and Europe, but also as far away as Kuala Lumpur and New Zealand – for five years, tracking down all of her hundreds of Facebook friends and making portraits of them set in their own homes. Shot with an iPhone or a simple point-and-shoot camera, these intimate pictures – two of which were acquired for the exhibition – present a fascinating commentary on the role of social media and interpersonal relationships in the 21st century.

Additional highlights of (un)expected families include photographs in a variety of formats. Caleb Cole (born 1981) is a local photographer particularly fascinated by the dynamics of family photographs found at estate sales and flea markets in which one of the subjects – in contrast to the rest of the smiling faces – appears especially sad or downcast. Cole digitally alters these vernacular images to isolate the single, lonely figure, all the while maintaining the shapes of the remaining sitters so that the “odd one out” is set off against the blank, white expanse of the group. In The Big Sister (2012), a recent acquisition, a young girl whose parents have just introduced her to a new baby looks dejectedly off into space as if desperately wishing she could return to her former status as an only child. Digital projections from the series To Majority Minority (2014-15) by Annu Palakunnathu Matthew (born 1964) are also based on found snapshots, sourced from photo albums of immigrant families that have come to the U.S. from all over the world. Working with the owners of these albums, Matthew digitises the images and then recreates the figures and their poses using contemporary family members in place of the original sitters. By presenting them as projections that seamlessly flow from one generation into another, the artist measures the passage of time through the faces of subsequent generations, and the accompanying texts tell stories inspired by the treasured photographs of their ancestors.

Press release from Museum of Fine Arts, Boston

 

Photographer unknown (American) 'Untitled [Hidden Mother]' c. 1860s-70s

 

Photographer unknown (American)
Untitled [Hidden Mother]
c. 1860s-70s
Hand-coloured tintype
Collection of Lee Marks and John C. DePrez, Jr., Shelbyville, Indiana
Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Elaine Mayes (American, born in 1936) 'Group Portrait, Haight-Ashbury, San Francisco' c. 1970

 

Elaine Mayes (American, born in 1936)
Group Portrait, Haight-Ashbury, San Francisco
c. 1970
Elaine Mayes/Museum of Fine Arts, Boston

 

Ernest C. Withers (American, 1922–2007) 'Twins at WDIA, Memphis' about 1948

 

Ernest C. Withers (American, 1922–2007)
Twins at WDIA, Memphis
about 1948
Gelatin silver print
Sophie M. Friedman Fund / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Consuelo Kanaga (American, 1894-1978) 'She is a Tree of Life to Them' 1950

 

Consuelo Kanaga (American, 1894-1978)
She is a Tree of Life to Them
1950
Gelatin silver print
Lucy Dalbiac Luard Fund
Consuelo Kanaga/Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Gordon Parks (American, 1912-2006) 'Ethel Shariff in Chicago' 1963

 

Gordon Parks (American, 1912-2006)
Ethel Shariff in Chicago
1963
Gelatin silver print
Gift of Gus and Arlette Kayafas in honor of Karen E. Haas / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Roswell Angier (American, born in 1940) 'Mr. and Mrs. Steve Mills, Pilgrim Theatre, Boston' 1973

 

Roswell Angier (American, born in 1940)
Mr. and Mrs. Steve Mills, Pilgrim Theatre, Boston
1973
Gelatin silver print
Polaroid Foundation Purchase Fund, reproduced with permission / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Jock Sturges (American, born in 1947) 'Misty Dawn and Alisa, Northern California' 1989

 

Jock Sturges (American, born in 1947)
Misty Dawn and Alisa, Northern California
1989
Gelatin silver print
Gift of Elizabeth Lea
© Jock Sturges
Photograph: © Museum of Fine Arts, Boston

 

Milton Rogovin (American, 1909–2011) 'Felix and his Wife, Buffalo' 1992

 

Milton Rogovin (American, 1909–2011)
Felix and his Wife, Buffalo
1992
From the series Lower West Side Revisited
Gelatin silver print
Gift of Denise Jarvinen and Pierre Cremieux
© Milton Rogovin, Copyright 1952-2002 / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Louie Palu (Canadian, born in 1968) 'U.S. Marine Gysgt. Carlos "OJ" Orjuela, age 31. Garmsir, Helmand, Afghanistan' 2008

 

Louie Palu (Canadian, born in 1968)
U.S. Marine Gysgt. Carlos “OJ” Orjuela, age 31. Garmsir, Helmand, Afghanistan
2008
Inkjet print
Museum purchase with funds donated in honour of Linda and Alex Beavers
Louie Palu/Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

 

And then there’s Louie Palu’s black and white portraits of Marines. These are some of the few single-person portraits among images of families or groups. Paired with a group photo, there is an initial sense of loneliness. But isolate the image and it’s a different story.

“In the military, you arrive alone and leave the military alone but live on a battlefield as part of a close group of people who will do everything to support you and are willing to risk their life to save yours,” he said. “When you are a soldier, your comrades can define a life-changing experience not a single member of your biological family will ever understand. When you come home, your mother, father, wife, brothers, sisters and children can never connect to that experience like your comrades can. When you are in a group, you are strong, and when you are alone, you are not.” (Text from the New York Times website)

 

Andy Warhol (American, 1928-1987) 'Red Book: Tina Radziwill and Caroline Kennedy, Montauk' 1972

 

Andy Warhol (American, 1928-1987)
Red Book: Tina Radziwill and Caroline Kennedy, Montauk
1972
Polaroid photograph
Sheet: 10.8 x 8.6 cm (4 1/4 x 3 3/8 in.)
Gift of The Andy Warhol Foundation for the Visual Arts
© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York, NY

 

Elsa Dorfman (American, born in 1937) 'Nayla, Ted, Alexandra, Nick, March 30, 1995' 1995

 

Elsa Dorfman (American, born in 1937)
Nayla, Ted, Alexandra, Nick, March 30, 1995
1995
Polaroid polacolor
Gift of Elsa Dorfman in memory of Dorothy Glaser
© Elsa Dorfman, 2013, all rights reserved / Museum of Fine Arts, Boston
Photograph: © Museum of Fine Arts, Boston

 

Dawoud Bey (American, born in 1953) 'Kevin' 2005

 

Dawoud Bey (American, born in 1953)
Kevin
2005
From the series Class Pictures
Chromogenic print
Museum purchase with funds donated by the Friends of Photography and The Heritage Fund for a Diverse Collection
© Dawoud Bey
Photograph: © Museum of Fine Arts, Boston

 

 

Dawoud Bey (1953-) is a photographer known for his colour portraits of various subjects, perhaps most notably teenagers. This 2005 photograph is of a teen named Kevin and is from Bey’s series Class Pictures, which is a study of high school students across the country

 

Jess T. Dugan. 'Devotion' 2012

 

Jess T. Dugan
Devotion
2012
From the series Every Breath We Drew
Jess T. Dugan/Museum of Fine Arts, Boston
© Jess T. Dugan

 

Tanja Hollander (American, born in 1972) 'Brittany Marcoux and Brian McGuire, Swansea, Massachusetts' 2012

 

Tanja Hollander (American, born in 1972)
Brittany Marcoux and Brian McGuire, Swansea, Massachusetts
2012
Inkjet print
Museum purchase with funds donated by James N. Krebs
Courtesy, Museum of Fine Arts, Boston
© Tanja Hollander

 

 

Annu Palakunnathu Matthew
To Majority Minority – Thuan
2014-15

 

 

The word immigrant conjures up families passing through Ellis Island or young men climbing across the southwest border fence. The United States of America of yesterday, filled with immigrants of European descent is giving way to a new multi-coloured and multicultural America. By 2050 “minority” populations in the U.S. will become the majority of the population. In this new multi-coloured America, we need to reframe our understanding of our newest immigrants in terms of their cultures, religions and stories.

In this project, I explore the generational transition from immigrant to native within families, starting with portrait photographs from these immigrant’s albums. These old photographs reflect where they have come from, revealing family histories and shared stories of immigration. The final portrait animation helps us empathise with these new Americans beyond the stereotype of the family at Ellis Island or the presumed terrorist.

 

 

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

Opening hours:
Monday and Tuesday 10am – 5 pm
Wednesday – Friday 10am – 10 pm
Saturday and Sunday 10am – 5 pm

Museum of Fine Arts, Boston website

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30
Nov
16

Exhibition: ‘Louis Faurer’ at the Fondation Henri Cartier-Bresson, Paris

Exhibition dates: 9th September – 18th December 2016

Curator: The exhibition has been curated and organized by Agnès Sire, director of the Fondation Henri Cartier-Bresson in association with the Estate of Louis Faurer in New York, Howard Greenberg Gallery in New York and Deborah Bell Photographs.

 

 

Life, love and loneliness in the big smoke.

Champions and accidents.

Home of the brave, land of the fractured and destitute.

Unemployed and Looking.

Both * eyes * removed
Wounded

I AM TOTALLY BLIND.

Marcus

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Many thankx to the Fondation Henri Cartier-Bresson for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“However, with shocking suddenness in 1976 I came to believe that American photography of the moment of mid-century belonged to Louis Faurer.”

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Walter Hopps

 

“I have an intense desire to record life as I see it, as I feel it. As long as I’m amazed and astonished, as long as I feel that events, messages, expressions and movements are all shot through with the miraculous, I’ll feel filled with the certainty I need to keep going. When that day comes, my doubts will vanish.”

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Louis Faurer

 

 

Louis Faurer. 'Accident, New York' 1952

 

Louis Faurer
Accident, New York
1952
© Louis Faurer Estate, Courtesy Deborah Bell

 

Louis Faurer. 'Champion, New York' 1950

 

Louis Faurer
Champion, New York
1950
© Louis Faurer Estate, Courtesy Howard Greenberg Gallery

 

Louis Faurer. 'Orchard Street, New York' 1947

 

Louis Faurer
Orchard Street, New York
1947
© Louis Faurer Estate

 

Louis Faurer. 'New York' 1949

 

Louis Faurer
New York
1949
© Louis Faurer Estate, Courtesy Howard Greenberg Gallery

 

Louis Faurer. 'Untitled, New York' 1949

 

Louis Faurer
Untitled, New York
1949
© Louis Faurer Estate

 

Louis Faurer. '"Win, Place, and Show", 3rd Avenue El at 53rd Street, New York, New York' c. 1946-1948

 

Louis Faurer
“Win, Place, and Show”, 3rd Avenue El at 53rd Street, New York, New York
c. 1946-1948
© Louis Faurer Estate

 

Louis Faurer. 'Market Street, Philadelphia' 1944

 

Louis Faurer
Market Street, Philadelphia
1944
© Louis Faurer Estate

 

Louis Faurer. 'Untitled, New York' c. 1948-1950

 

Louis Faurer
Untitled, New York
c. 1948-1950
© Louis Faurer Estate

 

Louis Faurer. '42nd Street, New York' c. 1949

 

Louis Faurer
42nd Street, New York
c. 1949
© Louis Faurer Estate

 

Louis Faurer. 'Staten Island Ferry, New York' 1946

 

Louis Faurer
Staten Island Ferry, New York
1946
© Louis Faurer Estate, Courtesy Deborah Bell

 

 

From September 9 to December 18, 2016, The Fondation Henri Cartier-Bresson dedicates an exhibition to the American photographer, Louis Faurer. This show is the occasion to discover this artist who has not been the subject of an exhibition in France since 1992. A native of Philadelphia, Louis Faurer moved to New York after the War, as if irresistibly pulled into the life of Times Square, where he homed in, objectively and pitilessly, on loneliness in the crowd. Reporting held little interest for him, and journalism even less; he was drawn – as the captions to his photographs sometimes indicate – to the poetic side: the fragility of things and the unconscious revelation. He carried out much-admired commissions for leading magazines including Flair, Junior Bazaar, Glamour and Mademoiselle. This gave rise to an unfeigned self-contempt and a paradoxical inner division only humor could counter. These assignments earned a living and helped him pursue a more personal work in New York streets.

Profoundly honest, he refused the excessiveness (or obscenity) of violent scenes that might humiliate his subjects, and deliberately projected himself into the people he photographed; and if he often recognized himself in them, this was the whole point. Sometimes he encountered his double, or even appeared in shot as a reflection. Each of his images was “a challenge to silence and indifference” – theirs and his own.

After studying drawing and being noticed by the Disney Studios at the age of thirteen, Louis Faurer started his professional path by creating advertising posters and sketching caricatures in the seaside of Atlantic City. At the age of 21, he bought his first camera and won first prize for “Photo of the Week” in a contest sponsored by the Philadelphia Evening Public Ledger. Market Street would then be the scene of his first shots. In 1947, he left for New York, as Lilian Bassman, art director for Junior Bazaar, hired him as a photographer. He met Robert Frank who was to become a close friend and with who he would share a studio for a while.

In 1968, he abandoned New York, the scene of his most successful work, for personal and financial reasons. Faurer worked briefly in England, and then in Paris where he struggled doing fashion work, with occasional assignments from Elle and French Vogue. Shortly after Faurer returned to New York in 1974 at the age of 58, he found that photography was being embraced by the art world and was soon to become a commodity in the international art market. The art dealer, Harry Lunn brought his work to public attention through an exhibition at Marlborough Gallery in 1997 and resurrected his career, his contribution then began to be acknowledged. In 1984, a car in New York streets hit Faurer, his wounds prevented him to pursue his career as a photographer. He passed away in Manhattan on March 2, 2001.

Deeply concerned with what he saw, he shares his doubts with us as he chooses anonymous figures spotted amid the ordinariness of the sidewalk: figures pulled out of the ambient melancholy, the film noir, the pervasive distress that seem to have been his personal lot. A remarkably gifted printer, Faurer experimented with blur, overlaid negatives and the marked graininess resulting from his fondness for the nocturnal. His touchiness meant frequent problems with clients and people like the numerous photographers who tried to lend a helping hand; among the latter was William Eggleston, who had discerned the unique depth of Faurer’s work. The issue the elegant Japanese photography quarterly déjà vu devoted to him in 1994 speaks of a rediscovery and a style ahead of its time, and quotes Nan Goldin: “Some people believe again that photography can be honest”.

In 1948, Edward Steichen, Head of the Department of Photography of the MoMA, supported Faurer and included him in In and Out of Focus. Steichen wrote: “Louis Faurer, a new comer in the field of documentary reporting, is a lyricist with a camera, a seeker and finder of magic in some of the highways and byways of life.” Afterwards, Steichen presented Faurer photographs in a few other exhibitions and in particular The Family of Man, in 1955. During his lifetime, Faurer did not have the wherewithal to edit his photographs into a book.

Press release from Fondation Henri Cartier-Bresson

 

Louis Faurer. 'Market Street, Philadelphia' 1937

 

Louis Faurer
Market Street, Philadelphia
1937
© Louis Faurer Estate

 

Louis Faurer. 'Unemployed and Looking at Rockefeller Center, New York' 1947

 

Louis Faurer
Unemployed and Looking at Rockefeller Center, New York
1947
© Louis Faurer Estate

 

Louis Faurer. 'Eddie, New York' 1948

 

Louis Faurer
Eddie, New York
1948
© Louis Faurer Estate

 

Louis Faurer. 'Deaf Mute, New York' 1950

 

Louis Faurer
Deaf Mute, New York
1950
© Louis Faurer Estate

 

Louis Faurer. 'Union Square from Ohrbach’s Window, New York' c. 1948-1950

 

Louis Faurer
Union Square from Ohrbach’s Window, New York
c. 1948-1950
© Louis Faurer Estate, Courtesy Howard Greenberg Gallery

 

 

Narrative of my career

My earliest experience in art occurred at the Benjamin Rush Public school in Phila., Penna. Miss Duncan, who seemed to float on a rose petal scent, having requested that numbers be written on paper with lead pencil, was shocked when my sheet yielded a drawing of a locomotive. My next surprise, at the age of 13 arrived in the mail. I had submitted my drawings to Walt Disney and he proposed considering me for a position, although he couldn’t guarantee it, if I travelled to California. It seemed unreachable and so I didn’t go.

After graduating the South Phila. High School for Boys, I enrolled in a Commercial Lettering School. After months of hand trembling, I looked at my first sign, it read “FRESH FISH”. From 1934 to 1937 I sketched caricatures on the beach at Atlantic City, N.J. My interest in photography began in 1937. It was greatly intensified when I was awarded first prize in the Philadelphia Evening Public Ledger for the photo of the week contest. Soon, the Farm Security Administration’s early books became my bible. I was especially taken by Walker Evans’ photography. The world of Harper’s Bazaar also fascinated me.

Later, in New York, I was to meet Robert Frank at the Bazaar Studio. Since I was a commuter, he invited me to stay at his loft together with nine cats. He had recently arrived from Switzerland and was alone. New York enchanted and amazed me. Everywhere a new discovery awaited me. Rejection slips from U.S. Camera were transformed into reproduced pages. My work was being accepted, often it seemed unreal. I showed my photographs to Walker Evans. A handsome brass tea kettle in his tiny room in the offices at FORTUNE projected his stability and eloquence. “You wouldn’t photograph fat women, would you?” he asked me. Later he warned me, “don’t become contaminated.” My need to continue photographing was solved by photography for commerce. I worked for periodicals which included Harper’s Bazaar.

1946 to 1951 were important years. I photographed almost daily and the hypnotic dusk light led me to Times Square. Several nights of photographing in that area and developing and printing in Robert Frank’s dark room became a way of life. He would say, “whatta town”, “whatta town”. I was represented in Edward Steichen’s IN AND OUT OF FOCUS exhibit. Then, work, work, and more work. “Boy,” he boomed, “go out and photograph and put the prints on my desk.” This command was synchronized with a pound of his fist on the glass top desk. I thought it miraculous, that the glass did not shatter.

I tasted and accepted the offerings of the 50s and 60s. LIFE, COWLES PUBLICATIONS, HEARST and CONDE NAST, enabled me to continue with my personal photography efforts. Often I would carry a 16mm motion picture camera as I would a Leica and photograph in the New York streets. The results were never shown commercially. The negative has been stored.

In 1968, I needed new places, new faces and change. I tried Europe. I returned in the mid-seventies and was overwhelmed by the change that had occurred here. I took to photographing the new New York with an enthusiasm almost equal to the beginning. After the Lunn purchase, the gallery world. I was brought again to the drawing I first experienced, and as an unexpected bonus, the photographer had become an artist! 1978 found me the recipient of the National Endowment for the Arts Grant and the Creative Public Service Grant for photography. The latter is known as (CAPS). My eyes search for people who are grateful for life, people who forgive and whose doubts have been removed, who understand the truth, whose enduring spirit is bathed by such piercing white light as to provide their present and future hope.*

Louis Faurer

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* Reproduced, with editorial revisions, from the artist’s original text. Text published at the occasion of the exhibition Louis Faurer – Photographs from Philadelphia and New York 1937-1973 presented from March 10 to April 23, 1981 at the Art Gallery of University of Maryland. Extracts from the book Louis Faurer published by Steidl, September 2016

 

Louis Faurer. 'Somewhere in West Village, New York' 1948

 

Louis Faurer
Somewhere in West Village, New York
1948
© Louis Faurer estate

 

Louis Faurer. 'Untitled, Philadelphia' Date unknown

 

Louis Faurer
Untitled, Philadelphia
Date unknown
© Louis Faurer estate

 

'Louis Faurer' Steidl Verlag

 

Louis Faurer
Steidl Verlag

Foreword: Agnès Sire. Essay: Susan Kismaric. Original texts: Louis Faurer and Walter Hopps

208 pages
24 x 17.6 cm
100 illustrations
ISBN : 978-3-95829-241-3
September 2016

 

 

Extracts from the book

New York City has been the major center of the Faurer’s work, and that city’s life at mid-century, his great subject. The city is totally Faurer’s natural habitat. He can be at home, at one, with people on its streets, in its rooms. However serene or edgy his encounters, one senses Faurer (if at all) as being the same as the people in his photographs. And since these people are extremely varied, it is a transcendent vision that allows the photographer to be so many “others.” Faurer’s at-oneness with his subjects contrasts with both the mode of working and the results of Evans and Frank. They have proved to be great and wide-ranging explorers and fi nders of their images. Faurer made only one important trip: from Philadelphia (where he made his first, early brilliant photographs) to New York, where he stayed, and where in the course of things his vision consumed, whether ordinary or odd, the all of it.

Walter Hopps

 

Louis Faurer was a “photographer’s photographer”, one whose work was not known to a broad audience, or appreciated by the art world, but was loved by photographers. They saw in his pictures a purity of seeing, akin to what Faurer saw in the work of Walker Evans, the “poetic use of facts”. Faurer distinguished himself within this way of working through his instinct and his uncanny eye for people who radiate a rare and convincing sense of privacy, an inner life. They are people who would be true in any time and place,who are emblematic of human struggle.

For whatever reasons, Faurer did not have the wherewithal to edit his photographs into a book, the most visible and long-lasting expression of a photographer’s work. Yet his pictures are indelible. Their content presages a major shift in subject matter within the rubric of “documentary” American photography that was to come to fruition almost two decades later. In 1967 John Szarkowski identified this radical change when he wrote in his wall text for New Documents, an exhibition at the Museum of Modern Art, about the work of Diane Arbus, Lee Friedlander, and Garry Winogrand: “…In the past decade, a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it”.

Susan Kismaric

 

Louis Faurer. 'Viva, New York' 1962

 

Louis Faurer
Viva, New York
1962
© Louis Faurer Estate, Courtesy Christophe Lunn

 

 

Fondation Henri Cartier-Bresson
2, impasse Lebouis, 75014 Paris

Opening hours:
Tuesday – Sunday 1pm – 6.30 pm
Saturday 11am – 6.45 pm
Late night Wednesdays until 8.30 pm
Closed on Mondays

Fondation Henri Cartier-Bresson website

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24
Dec
13

Exhibition: ‘A Democracy of Images: Photographs from the Smithsonian American Art Museum’ at the Smithsonian American Art Museum, Washington DC

Exhibition dates: 28th June 2013 – 5th January 2014
1st floor West, American Art Museum (8th and F Streets, N.W.)

Browse the exhibition and related works on the exhibition website

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The next two weeks sees a lot of exhibitions finish their run on the 5th January 2014.

Here is a bumper posting which contains one of my favourite photographs of all time: Danny Lyon’s Crossing the Ohio River, Louisville (1966, below). From a distance, this looks to be a very interesting exhibition on a large topic, delineated for the viewer into four main sections. The task of the curator cannot have been easy, picking 113 images to represent a “democracy” of images out of a collection of over 7,000 images. Of course there can never be a true “democracy” of images as some will always be more valued within our culture than others. There is a meritocracy in this exhibition which features images by masters of the medium but this is balanced by the inclusion of images by anonymous photographers, little known photographers and vernacular and street photography.

What is most impressive is the specially developed website which includes many images from the different sections of the exhibition. These images are of good quality and, along with relevant text, help the viewer place the images in context. Related content is also suggested from the full photographic collection at The Smithsonian which has been placed online with good image quality. This is a far cry from many exhibitions at state galleries in Australia where there are hardly any dedicated exhibition websites. Most of the photographic collection from these galleries is not available online and if it has been scanned, the image quality is generally poor. How many times have I searched a state gallery or library collection and come up with the answer: “Image not available” ?

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

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“More often, though, the moments, places, people and views that have been collected here feel offhand and stumbled upon, telling a fragmentary, incomplete tale. Sometimes it’s literally a glance, as in “Girl Holding Popsicle,” a 1972 image by Mark Cohen, who rarely even looked through his viewfinder. Other times, it’s more like a long stare, as in William Christenberry’s 1979 “China Grove Church – Hale County, Alabama,” a locale that the Washington-based artist and Alabama native returned to again and again. These 113 pictures are, at the same time, quietly telling, revealing bits of America in oblique, prismatic ways.”

Part of Michael O’Sullivan’s review of the exhibition in The Washington Post.

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American Characters

Photographers have captured the texture of everyday life since the medium’s arrival in the United States in 1839. Photographic portraits have made both the iconic and the commonplace serve as stand-ins for all of us, forging a shared language of political and social understanding. In charting the passing parade of history – the faces of the anonymous and the famous; evolving stories of immigration, disenfranchisement, and assimilation; as well as emblematic objects and celebrated landmarks lodged within our collective memory – photographs reveal the complexities of America.

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Unidentified artist. '[Bird in Basin with Thread Spool and Patterned Cloth]' c. 1855

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Unidentified artist
[Bird in Basin with Thread Spool and Patterned Cloth]
c. 1855
Daguerreotype
Plate: 2 3/4 x 3 1/4 in. (6.9 x 8.2 cm.)
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.193

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Larry Sultan (born New York City 1946 - died Greenbrae, CA 2009) 'Portrait of My Father with Newspaper' 1988

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Larry Sultan (born New York City 1946 – died Greenbrae, CA 2009)
Portrait of My Father with Newspaper
1988
Chromogenic print
Image: 28 5/8 x 34 5/8 in. (72.7 x 87.9 cm.)
Smithsonian American Art Museum
Gift of Nan Tucker McEvoy, 1989.58
© 1988, Larry Sultan

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In Portrait of My Father with Newspaper, Irving Sultan reads the Los Angeles Times as light pours in behind him. This carefully composed portrait reveals the artist’s father almost entirely through reflections and shadows. Thin newsprint shields his body from the camera, while only a vague profile of his face is discernible on the right half of the spread. Prompted by the discovery of a box of home movies, Larry Sultan embarked on an eight-year enquiry into his parents’ lives. He stayed in their home for weeks at a time, interviewing them about their marriage and photographing their domestic activities.

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Eugene Richards (born Boston, MA 1944) 'First Communion (Dorchester, Mass.)' 1976

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Eugene Richards (born Boston, MA 1944)
First Communion (Dorchester, Mass.)
1976
Gelatin silver print
Image: 8 x 12 in. (20.3 x 30.5 cm) sheet: 11 x 14 in. (27.9 x 35.6 cm)
Smithsonian American Art Museum
Transfer from the National Endowment for the Arts, 1983.63.1168
© 1974, Eugene Richards

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Mark Cohen (born Wilkes-Barre, PA 1943) 'Girl Holding Popsicle' 1972, printed 1983

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Mark Cohen (born Wilkes-Barre, PA 1943)
Girl Holding Popsicle
1972, printed 1983
Gelatin silver print
Sheet: 14 x 17 in. (35.5 x 43.2 cm.)
Smithsonian American Art Museum
Gift of Dene and Mel Garbow, 1992.73.4
© 1972, Mark Cohen

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In Girl Holding Popsicle a young girl twists shyly as she poses before a graffiti-inscribed brick wall. Mark Cohen took this photograph spontaneously as he passed through a back alley. Cohen does not hesitate to get assertively close to the strangers he meets in his hometown of Wilkes-Barre, Pennsylvania. Many of his photographs are made without looking through a viewfinder, and so remain a mystery even to Cohen until they are developed.

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Unidentified artist. '[Gold Nugget]' c. 1860s

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Unidentified artist
[Gold Nugget]
c. 1860s
Albumen silver print
Image: 2 1/8 x 3 5/8 in. (5.4 x 9.2 cm) sheet: 2 3/8 x 3 7/8 in. (6.1 x 9.8 cm) irregular
Smithsonian American Art Museum
Gift of Charles Isaacs and Carol Nigro, 2006.36.1

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Mathew B. Brady (born Lake George, NY 1823 - died New York City 1896) 'Reviewing Stand in Front of the Executive Mansion, Washington, D.C., May, 1865' 1865, printed early 1880s

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Mathew B. Brady (born Lake George, NY 1823 – died New York City 1896)
Reviewing Stand in Front of the Executive Mansion, Washington, D.C., May, 1865
1865, printed early 1880s
Albumen silver print
Sheet and image: 6 1/2 x 9 in. (16.5 x 22.9 cm)
Smithsonian American Art Museum
Museum purchase through the Julia D. Strong Endowment, 2007.6

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Kevin Bubriski (born North Adams, MA 1954) 'World Trade Center Series, New York City' 2001

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Kevin Bubriski (born North Adams, MA 1954)
World Trade Center Series, New York City
2001
Gelatin silver print
Image: 18 x 18 in. (45.7 x 45.7 cm)
Smithsonian American Art Museum
Gift of the Consolidated Natural Gas Company Foundation, 2003.65.1
© 2001, Kevin Bubriski

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In the weeks and months following the World Trade Center attacks on September 11, 2001, Kevin Bubriski photographed people who gathered at Ground Zero. Frozen in awe, struck with disbelief, and overcome with loss, people stood before the destroyed building site to confront the horrible tragedy. More than ten years later, Bubriski’s photographs preserve the emotional impact of this infamous day through images of those who witnessed its aftermath first-hand.

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Deborah Luster (born Bend, OR 1951) '01-26 Location. 1800 Leonidas Street (Carrollton) Date(s). July 14, 2009 7:55 a.m. Name(s). Brian Christopher Smith (22) Notes. Face up with multiple gunshot wounds' 2008-2012

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Deborah Luster (born Bend, OR 1951)
01-26 Location. 1800 Leonidas Street (Carrollton) Date(s). July 14, 2009 7:55 a.m. Name(s). Brian Christopher Smith (22) Notes. Face up with multiple gunshot wounds
2008-2012
Gelatin silver print
55 x 55 in. (139.7 x 139.7 cm)
Smithsonian American Art Museum
Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2013.43, © 2010, Deborah Luster

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This photograph, from a series that documents contemporary and historical homicide sites in New Orleans, presents Deborah Luster’s interpretation of the last view of the crime victim lying face up on the ground. The title is the entry from the New Orleans Police blotter, but the photograph is Luster’s meditation on looking, seeing, and the power of images to haunt our imagination.

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Unidentified artist. '[Two Workmen Polishing a Stove]' c. 1865

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Unidentified artist
[Two Workmen Polishing a Stove]
c. 1865
Albumen silver print
Sheet and image: 14 1/8 x 11 in. (35.9 x 28.0 cm.)
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.220

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Anthony Barboza (born New Bedford, MA 1944) '"Marvelous" Marvin Hagler, boxer' 1981

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Anthony Barboza (born New Bedford, MA 1944)
“Marvelous” Marvin Hagler, boxer
1981
Gelatin silver print
Image: 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm)
Smithsonian American Art Museum
Gift of Kenneth B. Pearl, 1997.118.2, © 1981, Anthony Barboza

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Edward S. Curtis (born Whitewater, WI 1868 - died Los Angeles, CA 1952) 'Girl and Jar - San Ildefonso' 1905

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Edward S. Curtis (born Whitewater, WI 1868 – died Los Angeles, CA 1952)
Girl and Jar – San Ildefonso
1905
Photogravure
Sight 16 5/8 x 12 1/4 in. (12.3 x 31.1 cm.)
Smithsonian American Art Museum
Transfer from the United States Marshal Service of the U.S. Department of Justice, 1988.5.18

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Between 1900 and 1930, Edward S. Curtis traveled across the continent photographing more than seventy Native American tribes. The photographs, compiled into twenty volumes, presented daily activities, customs, and religions of a people he called “a vanishing race.” Curtis hoped to preserve the legacy of Native peoples in lasting images. To this end, Curtis often costumed his subjects and set up scenes, mixing tribal artifacts and traditions to match his romantic vision of the people he studied. In this intimate portrait, a young Tewa woman named Povi-Tamu (“Flower Morning”) balances a large jug with help from a hidden fiber ring. She is from the San Ildefonso Pueblo of New Mexico, which is famed for its rich tradition of fine pottery. Curtis associated the serpentine design of the vessel with the serpent cult, which he noted was central to Tewa life.

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Oliver H. Willard (died 1875) 'Portrait of a Young Woman' c. 1857

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Oliver H. Willard (died 1875)
Portrait of a Young Woman
c. 1857
Salted paper print
8 7/8 x 6 3/4 in. (22.5 x 17.1 cm)
Smithsonian American Art Museum
Museum purchase through the Horace W. Goldsmith Foundation, 1999.29.1

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Spiritual Frontier

The earliest photographs made in America describe an awesome land blessed with such an abundance of natural beauty that it seemed heaven sent. Images of waterfalls, mountains, and vast open spaces conveyed the beauty, the grandeur, the sublimity, and dynamics of a great spiritual endeavor. In the nineteenth century photographers pictured wilderness landscapes that symbolized American greatness. More recently, photographers have described a landscape no less romantic, but now recalibrated to account for the interaction of nature and culture.

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Eadweard Muybridge (born Kingston-upon-Thames, England 1830 - died Kingston-upon-Thames, England 1904) 'Valley of the Yosemite from Union Point' 1872

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Eadweard Muybridge (born Kingston-upon-Thames, England 1830 – died Kingston-upon-Thames, England 1904)
Valley of the Yosemite from Union Point
1872
Albumen silver print
Sheet: 17 x 21 1/2 in. (43.2 x 54.6 cm.)
Smithsonian American Art Museum
Gift of Dr. and Mrs. Charles T. Isaacs, 1994.89.1

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Eadweard Muybridge went to great lengths to photograph the best possible views of the West. He chopped down trees if they obstructed his camera, and ventured to “points where his packers refused to follow him.” Muybridge was determined to produce the most comprehensive photographs ever made of Yosemite and the surrounding region. His views were sold widely in both large-format prints and stereograph cards, which are viewed through a device that creates the illusion of three-dimensional space. This allowed Muybridge to transport his audience, if just for a moment, to a faraway place caught on film.

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Robert Frank (born Zurich, Switzerland 1924) 'Butte, Montana' 1956, printed 1973

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Robert Frank (born Zurich, Switzerland 1924)
Butte, Montana
1956, printed 1973
Gelatin silver print
Image: 8 3/4 x 13 in. (22.2 x 33.0 cm.)
Smithsonian American Art Museum
Museum purchase, 1974.31.2

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Robert Adams (born Orange, NJ 1937) 'New Housing, Longmont, Colorado' 1973

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Robert Adams (born Orange, NJ 1937)
New Housing, Longmont, Colorado
1973
Gelatin silver print
Sheet: 6 x 7 5/8 in. (15.1 x 19.3 cm)
Smithsonian American Art Museum
Transfer from the National Endowment for the Arts, 1983.63.9
© 1973, Robert Adams

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As both a photographer and writer, Robert Adams is committed to describing the western American landscape as both awe-inspiring and scarred by man. In New Housing, Longmont Colorado, Adams contrasted the vast space of the distant landscape view with a foreground image of the wall of a newly constructed suburban tract house. Adams invites a consideration of the balance between myth and reality and the land as home as well as scenic backdrop.

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Charles L. Weed (born New York City 1824 - died Oakland, CA 1903) 'Mirror Lake and Reflections, Yosemite Valley, Mariposa County, California' 1865

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Charles L. Weed (born New York City 1824 – died Oakland, CA 1903)
Mirror Lake and Reflections, Yosemite Valley, Mariposa County, California
1865
Albumen silver print
Sheet and image: 15 1/2 x 20 1/4 in. (39.4 x 51.4 cm.)
Smithsonian American Art Museum
Gift of Dr. and Mrs. Charles T. Isaacs, 1994.89.5

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Like Carleton Watkins, his better-known competitor, Charles Weed recognized the pictorial dividend to be gained by showing Yosemite’s glorious geological features in duplicate, using the valley’s lakes as reflecting ponds. Weed first traveled to what was then known as “Yo-Semite,” in 1859, but with a relatively small camera; he returned in 1865 with a larger model capable of using what were called mammoth plates. Like Watkins, he sold his prints to buyers eager to own a photograph of majestic natural beauty.

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Ansel Adams (born San Francisco, CA 1902 - died Monterey, CA 1984) 'Monolith: The Face of Half Dome, Yosemite Valley' 1926-1927, printed 1927

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Ansel Adams (born San Francisco, CA 1902 – died Monterey, CA 1984)
Monolith: The Face of Half Dome, Yosemite Valley
1926-1927, printed 1927
Gelatin silver print
Sheet: 11 7/8 x 9 7/8 in. (30.2 x 25.1 cm.)
Smithsonian American Art Museum
Museum purchase, 1992.101.3, © 2013 The Ansel Adams Publishing Rights Trust

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At just over 4,700 feet above the valley, Half Dome is the most iconic rock formation in Yosemite National Park. Adams squeezed the monolith into the frame to emphasize the majesty of its scale and the drama of its cliff. As it thrusts out of the brilliant white snow, Half Dome stands as a symbol of the unspoiled western landscape. Ansel Adams made his first trip to the Sierra Nevada mountain range when he was fourteen years old, and he returned every year until the end of his life, often for month-long stretches. Throughout his career Adams traveled widely – from Hawaii to Maine – to photograph the most picturesque vistas in America. After his death in 1984, a section of the Sierra Nevada was named the Ansel Adams Wilderness in his honor.

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John Pfahl (born New York City 1939) 'Goodyear #5, Niagara Falls, New York' 1989

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John Pfahl (born New York City 1939)
Goodyear #5, Niagara Falls, New York
1989
Chromogenic print
Sheet: 20 x 24 in. (50.8 x 61.0 cm.)
Smithsonian American Art Museum
Gift of the Consolidated Natural Gas Company Foundation, 1991.27.3, © 1989, John Pfahl

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John Pfahl’s photographs embody the conflict between progress and preservation. Throughout the 1980s he focused on oil refineries and power plants. He chose the sites strategically based on their location in picturesque landscapes, where he observed a “transcendental” connection between industry and nature. In Goodyear #5 a nuclear power plant occupies the horizon. The setting sun provides a romantic color palette as light filters through clouds of billowing steam. The landscape is reduced to an abstract composition that celebrates color and texture. Pfahl’s intention with this series, titled Smoke, was to “make photographs whose very ambiguity provokes thought.” This photograph complicates popular notions of power plants by revealing an uncommonly beautiful view of a controversial structure.

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“A Democracy of Images: Photographs from the Smithsonian American Art Museum celebrates the numerous ways in which photography, from early daguerreotypes to contemporary digital works, has captured the American experience. The photographs presented here are selected from the approximately 7,000 images collected since the museum’s photography program began thirty years ago, in 1983. Ranging from daguerreotype to digital, they depict the American experience and are loosely grouped around four ideas: American Characters, Spiritual Frontier, America Inhabited, and Imagination at Work.

The exhibition’s title is inspired by American poet Walt Whitman’s belief that photography provided America with a new, democratic art form that matched the spirit of the young country and his belief that photography was a quintessentially American activity, rooted in everyday people and ordinary things and presented in a straightforward way. Known as the “poet of democracy,” Whitman wrote after visiting a daguerreotype studio in 1846: “You will see more life there – more variety, more human nature, more artistic beauty… than in any spot we know.” At the time of Whitman’s death, in 1892, George Eastman had just introduced mass market photography when he put an affordable box camera into the hands of thousands of Americans. The ability to capture an instant of lasting importance and fundamental truth mesmerized Americans then and continues to inspire photographers working today. Marking the thirtieth anniversary of the establishment of the museum’s pioneering photography collection, the exhibition examines photography’s evolution in the United States from a documentary medium to a full-fledged artistic genre and showcases the numerous ways in which it has distilled our evolving idea of “America.”

The exhibition features 113 photographs selected from the museum’s permanent collection, including works by Edward S. Curtis, Timothy H. O’SullivanBerenice AbbottDiane ArbusRoy DeCaravaWalker Evans,Irving PennTrevor Paglen, among others, as well as vernacular works by unknown artists. A number of recent acquisitions are featured, including works by Ellen CareyMitch EpsteinMuriel HasbunAlfredo Jaar, Annie Leibovitz, Deborah Luster, and Sally Mann. Landscapes, portraits, documentary-style works from the New York Photo League and images from surveying expeditions sent westward after the Civil War are among the images on display, and explore how photographs have been used to record and catalogue, to impart knowledge, to project social commentary, and as instruments of self-expression.

Photography’s arrival in the United States in 1840 allowed ordinary people to make and own images in a way that had not been previously possible. Photographers immediately became engaged with the life of the emerging nation, the activity of new urban centers, and the possibilities of unprecedented access to the vast western frontier. From the nineteenth to the twentieth century, photography not only captured the country’s changing cultural and physical landscape, but also developed its own language and layers of meaning.

A Democracy of Images: Photographs from the Smithsonian American Art Museum is organized around four major themes that defined American photography. “American Characters” examines the ways in which photographs of individuals, places, and objects become a catalogue of our collective memory and have contributed to the ever-evolving idea of the American character. “Spiritual Frontier” investigates early ideas of a vast, inexhaustible wilderness that symbolized American greatness. “America Inhabited” traces the nation’s rapid industrialization and urbanization through images of speed, change, progress, immigration, and contemporary rural, urban, and suburban landscapes. “Imagination at Work” demonstrates how photography’s role of spontaneous witness gradually gave way to contrived arrangement and artistic invention. The exhibition is organized by Merry Foresta, guest curator and independent consultant for the arts. She was the museum’s curator of photography from 1983 to 1999.

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Connecting online
A complementary website designed for viewing on tablets includes photographs on view in the exhibition, an expanded selection of works from the museum’s collection and a timeline of American photography. It is available through tablet stations in the exhibition galleries, online, and on mobile devices.”

Press release from the Smithsonian American Art Museum website

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America Inhabited

Photography’s early presence in America coincided with the rise of an industrial economy, the growth of major urban population centers, and the fulfilling of what some saw as the Manifest Destiny of spanning the continent from sea to sea. Images of progress and industry, as well as of city and suburbs, quickly added themselves to photography’s catalogue of places and people. Some of these images reflect idealistically, and at times nostalgically, on the beauty and humanity of our own backyards. Others stand as social documents that can be seen as critical and ironic, inviting outrage as well as compassion about the way we now live our lives.

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Helen Levitt (born New York City 1913 - died New York City 2009) 'New York' c. 1942, printed later

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Helen Levitt (born New York City 1913 – died New York City 2009)
New York
c. 1942, printed later
Gelatin silver print
Image: 7 1/8 x 10 1/2 in. (18.1 x 26.6 cm.)
Smithsonian American Art Museum
Museum purchase, 1984.16.4, © 1981, Helen Levitt

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Caught before they run off into the streets, three masked youngsters pause on their front stoop. Expressive postures and mysterious disguises give this trio a theatrical quality. Helen Levitt, who found poetry in the uninhibited gestures of children, used a right-angle viewfinder to capture boys and girls roaming freely and playing with found objects. Working in New York City during the years surrounding World War II, her photographs show the drama of life that unfolded on the sidewalks of poor and working-class neighborhoods.

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Louis Faurer (born Philadelphia, PA 1916 - died New York City 2001) 'Broadway, New York, N.Y.' 1949-1950, printed 1980-1981

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Louis Faurer (born Philadelphia, PA 1916 – died New York City 2001)
Broadway, New York, N.Y.
1949-1950, printed 1980-1981
Gelatin silver print
Image: 8 3/8 x 12 9/16 in. (21.3 x 32 cm)
Smithsonian American Art Museum
Gift of David L. Davies and John D. Weeden and museum purchase, 2002.47.6, © Estate of Louis Faurer

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Danny Lyon (born New York City 1942) 'Crossing the Ohio River, Louisville' 1966, printed 1985

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Danny Lyon (born New York City 1942)
Crossing the Ohio River, Louisville
1966, printed 1985
Gelatin silver print
Image: 8 3/4 x 12 7/8 in. (22.2 x 32.7 cm.)
Smithsonian American Art Museum
Museum purchase made possible by Mrs. Marshall Langhorne, 1988.52.8, Photo courtesy Edwynn Houk Gallery and Dektol.wordpress.com

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William Eggleston (born Memphis, TN 1939) 'Tricycle (Memphis)' about 1975, printed 1980

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William Eggleston (born Memphis, TN 1939)
Tricycle (Memphis)
about 1975, printed 1980
Dye transfer print
Smithsonian American Art Museum, Gift of Amy Loeserman Klein, 1985.87.12

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An ordinary tricycle is made monumental in this playful color photograph. Taken from below, it suggests a child’s perspective – elevating this rusty tricycle to a symbol of innocence and freedom. The quiet Memphis suburb in the background typifies the safe neighborhoods where children could spend hours playing after school. This print was made with the expensive and exacting dye imbibition process, which was typically used for fashion and advertising at the time. Eggleston began experimenting with color photography in the mid-1960s. Inspired by trips to a commercial photography lab, he developed an approach that imitates the random, imperfect style of amateur snapshots to describe his immediate surroundings combined with a keen interest in the effects of color.

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Tina Barney (born New York City 1945) 'Marina's Room' 1987

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Tina Barney (born New York City 1945)
Marina’s Room
1987
Chromogenic print
Sheet: 48 x 60 in. (121.9 x 52.3 cm.)
Smithsonian American Art Museum
Museum purchase, 1989.5, © 1987, Tina Barney, Courtesy Janet Borden, Inc.

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Aaron Siskind (born New York City 1903 - died Providence, RI 1991) 'Untitled' 1937, printed later

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Aaron Siskind (born New York City 1903 – died Providence, RI 1991)
Untitled
1937, printed later
Gelatin silver print
Sheet: 10 x 14 in. (25.4 x 35.5 cm.)
Smithsonian American Art Museum
Gift of Tennyson and Fern Schad, courtesy of Light Gallery, 1990.73.4, © 1940, Aaron Siskind

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In this untitled photograph Aaron Siskind focused on the regular grid of boarded-up windows on a derelict tenement building. Once portals into intimate domestic spaces, the windows represent loss in a community plagued by poverty, unemployment, and racial discrimination. Building upon the traditions of social documentary photographers before him, Siskind used his camera to raise public awareness of Harlem’s struggle, even as he created a modernist work of art.

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Walker Evans (born St. Louis, MO 1903 - died New Haven, CT 1975) 'Kitchen Wall, Alabama Farmstead' 1936, printed 1974

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Walker Evans (born St. Louis, MO 1903 – died New Haven, CT 1975)
Kitchen Wall, Alabama Farmstead
1936, printed 1974
Gelatin silver print
Sheet and image: 9 3/8 x 12 in. (23.9 x 30.5 cm)
Smithsonian American Art Museum
Gift of Lee and Maria Friedlander, 2006.13.1.8

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During the summer of 1936, Walker Evans joined writer James Agee in rural Alabama to work on a magazine assignment on cotton farming. Evans and Agee met with three tenant farm families and documented every detail of their experiences. The result, which the magazine declined to publish, was released as the book Let Us Now Praise Famous Men in 1941. It contains some of the most iconic and contentious photographs to document the Great Depression. Kitchen Wall, Alabama Farmstead reads like a modern novel. Every crack in the wood, every speck of paint tells part of the story. Evans drew special attention to the scarcity of cooking tools at the family’s disposal. These everyday utensils illustrate a metaphor for the struggle to meet basic needs.

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Judy Fiskin (born Chicago, IL 1945) 'Long Beach Pike (broken fence)', from the 'Long Beach, California Documentary Survey Project' 1980

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Judy Fiskin (born Chicago, IL 1945)
Long Beach Pike (broken fence), from the Long Beach, California Documentary Survey Project
1980
Gelatin silver print
Image: 2 1/2 x 2 1/2 in. (6.2 x 6.2 cm)
Smithsonian American Art Museum
Transfer from the National Endowment for the Arts, 1983.63.505, © 1980, Judy Fiskin

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For this series, sponsored by the National Endowment of the Art’s Long Beach Documentary Survey Project, Judy Fiskin focused on the Long Beach Pike, an amusement park that was demolished soon after she made the photographs. By printing in high contrast and restricting the scale of her prints, Fiskin reduced form to its bare essentials. Devoid of superfluous detail, these photographs appear more like conjured images than documents of reality. Judy Fiskin systematically catalogues the world of architecture and design in order to study variations of historical styles. Her series carefully investigate esoteric subjects such as military base architecture, “dingbat” style houses in southern California, and the art of flower arranging.

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Berenice Abbott (born Springfield, OH 1898-died Monson, ME 1991) 'Brooklyn Bridge, Water and Dock Streets, Brooklyn' 1936

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Berenice Abbott (born Springfield, OH 1898-died Monson, ME 1991)
Brooklyn Bridge, Water and Dock Streets, Brooklyn
1936
Gelatin silver print
Sheet: 18 x 14 3/8 in. (45.7 x 36.6 cm.)
Smithsonian American Art Museum
Transfer from the Evander Childs High School, Bronx, New York through the General Services Administration, 1975.83.10

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Berenice Abbott returned home in 1929 after nearly eight years abroad and found herself fascinated by the rapid growth of New York City. She saw the city as bristling with new buildings and structures which seemed to her as solid and as permanent as a mountain range. Aiming to capture “the past jostling the present,” Abbott spent the next five years on a project she called Changing New York. In Brooklyn Bridge, Water and Dock Streets, Brooklyn, Abbott presented a century of history in a single image. The Brooklyn Bridge, once a marvel of modern engineering, seems dark and heavy compared with the skeletal structure beneath it. The construction site at center suggests the never-ending cycle of death and regeneration. And the Manhattan skyline, veiled and weightless, hangs just out of reach, its shape accommodating the ambitious spirit of American modernism.

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Robert Disraeli (born Cologne, Germany 1905 - died 1987) 'Cold Day on Cherry Street' 1932

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Robert Disraeli (born Cologne, Germany 1905 – died 1987)
Cold Day on Cherry Street
1932
Gelatin silver print
Image and sheet: 14 x 11 in. (35.5 x 28.0 cm.)
Smithsonian American Art Museum
Museum purchase made possible by Mr. and Mrs. G. Howland Chase, Mrs. James S. Harlan (Adeline M. Noble Collection), Lucie Louise Fery, Berthe Girardet, and Mrs. George M. McClellan, 1990.19.9, © 1932, Robert Disraeli

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Imagination at Work

Nineteenth-century French commentator Alexis de Tocqueville observed that in America, nothing is ever quite what it seems. Yet the idea that “seeing is believing” is deeply ingrained in the American character. By yoking together style and subject under the guise of the real, today’s photographers borrow from photography’s rich past while embracing the conceptual framework of contemporary art. They read reality as something on the surface of a picture or, more complexly, as something located in the mind of its beholder.

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Sonya Noskowiak (born Leipzig, Germany 1900 - died Greenbrae, CA 1975) 'Calla Lily' c. 1930s

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Sonya Noskowiak (born Leipzig, Germany 1900 – died Greenbrae, CA 1975)
Calla Lily
c. 1930s
Gelatin silver print
Sheet: 7 3/8 x 9 3/4 in. (18.8 x 24.7 cm.)
Smithsonian American Art Museum
Museum purchase made possible through Deaccession Funds, 1986.54

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Ray K. Metzker (born Milwaukee, WI 1931) 'Composites: Philadelphia (Car and Street Lamp)' 1966

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Ray K. Metzker (born Milwaukee, WI 1931)
Composites: Philadelphia (Car and Street Lamp)
1966
Gelatin silver prints
Image: 25 3/8 x 17 3/4 in. (64.5 x 45.0 cm.)
Smithsonian American Art Museum
Museum purchase, 1984.57.1, © 1966, Ray K. Metzker

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Ray Metzker’s Composites series, begun in 1964, connected in a dramatic fashion his interests in contrasts of light and shadow, his strong sense of design, and his earlier explorations of the multiple image. Metzker studied at Chicago’s Institute of Design, where a rigorously formal, problem-solving approach to photography was taught. For this series he assembled grids of individual photographs to create complex image-fields. When viewed from a distance, this work reads as an abstract, rhythmic pattern of light and dark. On closer inspection, however, many crisply descriptive images are revealed. The Composites function somewhat like short filmstrips. The mystery of these brief narratives is exaggerated by the repetitive design and provides a unique opportunity, in Metzker’s words, “to deal with complexity of succession and simultaneity, of collected and related moments.”

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Irving Penn (born Plainfield, NJ 1917 - died New York City 2009) 'Mud Glove - New York' 1975, printed 1976

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Irving Penn (born Plainfield, NJ 1917 – died New York City 2009)
Mud Glove – New York
1975, printed 1976
Platinum-palladium print
Sheet and image: 29 3/4 x 22 1/4 in. (75.5 x 56.5 cm.)
Smithsonian American Art Museum
Gift of the artist, 1988.83.39

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Irving Penn was one of the most important and influential photographers of the twentieth century. In a career that spanned almost seventy years, Penn worked across multiple genres, from celebrity portraits to fashion, from still lives to images of native cultures in remote places of the world. Throughout his career Penn also worked on a series of photographs of discarded objects: things that had been lost, neglected, or misused. Printed in platinum, these detailed photographs of objects such as a lost glove found in the gutter, are Penn’s photographic memento mori, offering beauty compromised by age or disuse.

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Edward Weston (born Highland Park, IL 1886 - died Carmel, CA 1958) 'Pepper no. 30' 1930

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Edward Weston (born Highland Park, IL 1886 – died Carmel, CA 1958)
Pepper no. 30
1930
Gelatin silver print
Sheet: 9 1/2 x 7 1/2 in. (24.3 x 19.2 cm.)
Smithsonian American Art Museum
Museum purchase, 1985.56

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Imogen Cunningham (born Portland, OR 1883 - died San Francisco, CA 1976) 'Auragia' 1953, printed c. 1960s

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Imogen Cunningham (born Portland, OR 1883 – died San Francisco, CA 1976)
Auragia
1953, printed c. 1960s
Gelatin silver print
Sheet and image: 11 1/8 x 8 3/4 in. (28.3 x 22.2 cm)
Smithsonian American Art Museum
Gift of Charles Isaacs and Carol Nigro, 2007.37.2

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Ellen Carey (born New York City 1952) 'Dings and Shadows' 2012

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Ellen Carey (born New York City 1952)
Dings and Shadows
2012
Chromogenic print
Sheet and image: 40 x 30 in. (101.6 x 76.2 cm)
Smithsonian American Art Museum
Gift of Linda Cheverton Wick and Walter Wick, 2013.29
© 2012, Ellen Carey

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Ellen Carey created the series she calls Dings and Shadows by exposing photosensitive paper to light projected through primary and complementary color filters. The artist first folds and crushes paper; then after exposing the paper to light from a color enlarger, flattens it out again for processing. In doing so, Carey dissects the process of developing film, and evokes the hand-crafted nature of early photographic techniques.

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Some images from the Timeline on the website

1843

Daguerreotypists Albert S. Southworth and Josiah Johnson Hawes begin a partnership, establishing Southworth & Hawes as the most highly regarded portrait studio in Boston, Mass. The studio caters to the city’s elite, and is visited by Charles Dickens, Ralph Waldo Emerson, and Oliver Wendell Holmes, among many other influential people of the time.

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Albert Sands Southworth and Josiah Johnson Hawes. 'A Bride and Her Bridesmaids' 1851

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Albert Sands Southworth and Josiah Johnson Hawes
A Bride and Her Bridesmaids
1851
Daguerreotype
Smithsonian American Art Museum
Museum purchase made possible by Walter Beck, 2000.110

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1853

The New York Daily Tribune estimates that in the United States, three million daguerreotypes are being produced annually.

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Unidentified artist. 'Mother and Son' c. 1855

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Unidentified artist
Mother and Son
c. 1855
Daguerreotype with applied color
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.192

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1857

Julian Vannerson and Samuel Cohner make the first systematic photographs of Native American delegations to visit Washington, D.C. They photograph ninety delegates representing thirteen tribes who conduct treaty and other negotiations with government officials.

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Julian Vannerson. 'Shining Metal' 1858

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Julian Vannerson
Shining Metal
1858
Salted paper print
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment

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1861

American Civil War begins with shots fired on Fort Sumter by Confederate troops. Portrait photographer Mathew Brady is given permission by President Abraham Lincoln to photograph the First Battle of Bull Run, but comes so close to the battle that he narrowly avoids capture. Using paid assistants Alexander Gardner, Timothy O’Sullivan, George N. Barnard, and others, Brady’s studio makes thousands of photos of the sites, material, and people of the war. Civilian free-lance photographer Egbert Guy Fowx sells numerous negatives to Brady’s studio, which publishes and copyrights many of them. Many other images are credited to Fowx, including this group of Union officers.

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Egbert Guy Fowx. 'New York 7th Regiment Officers' c. 1863

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Egbert Guy Fowx
New York 7th Regiment Officers
c. 1863
Salted paper print
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.53

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1867

Eadweard Muybridge begins trip to photograph in Yosemite Valley. He publishes his photographs under the name “Helios,” which is also the name of his San Francisco studio. An exhibition of more than 300 photographic portraits of Native American delegates to Washington, D.C., opens in the Smithsonian Castle. Clarence R. King begins direction of the U.S. Geological Expedition of the Fortieth Parallel, appointing Timothy O’Sullivan as the official photographer. Photographer Carleton Watkins joins the survey in 1871.

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Timothy H. O'Sullivan. 'Tufa Domes, Pyramid Lake, Nevada' 1867

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Timothy H. O’Sullivan
Tufa Domes, Pyramid Lake, Nevada
1867
Albumen silver print
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.142

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1869

Andrew J. Russell’s album, The Great West Illustrated in a Series of Photographic Views across the Continent; Taken along the Line of the Union Pacific Railroad from Omaha, Nebraska, Volume I, is published. George M. Wheeler begins direction of the United States Geological Surveys West of the 100th Meridian for the U.S. Army Corps of Engineers. Wheeler makes fourteen trips to the West over the next eight years. Photographer Timothy O’Sullivan accompanies him in 1871, 1873, and 1874.

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Andrew Joseph Russell. 'Sphinx of the Valley' 1869

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Andrew Joseph Russell
Sphinx of the Valley
1869
Albumen silver print
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.164

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1967

The Friends of Photography is founded in Carmel, California, by Ansel Adams, Beaumont and Nancy Newhall, Brett Weston, and others, with the aim of promoting creative photography and supporting its practitioners. It remains in existence until 2001.

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Brett Weston. 'Untitled (Snow Covered Mountains)' 1973

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Brett Weston
Untitled (Snow Covered Mountains)
1973
Gelatin silver print
Smithsonian American Art Museum
Transfer from the National Endowment for the Arts, 1983.63.1659
© 1973, Brett Weston

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1975

New Topographics: Photographs of a Man-Altered Landscape opens at the International Museum of Photography in Rochester, N.Y. It includes photographs by Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore, and Henry Wessel Jr.

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Frank Gohlke. 'Grain Elevator, Dumas, Texas, 1973' 1973, printed 1994

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Frank Gohlke
Grain Elevator, Dumas, Texas, 1973
1973, printed 1994
Gelatin silver print
Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2010.15.3
© 1973, Frank Gohlke

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Smithsonian American Art Museum
8th and F Streets, N.W.
Washington, D.C. 20004

Opening hours:
11.30 am – 7.00 pm daily

Smithsonian American Art Museum website

A Democracy of Images 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: ‘Dogs, chickens, cattle’ 1994-95

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