Posts Tagged ‘Luigi Veronesi

10
Oct
18

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

Exhibition dates: 2nd May – 14th October 2018

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

 

 

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

 

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

 

 

An interesting premise –

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

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

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

Why is this so?

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

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

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

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

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

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

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

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

Dr Marcus Bunyan

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

 

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

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

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

 

 

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

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

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

.
Hettie Judah. “By halfway round I actually felt faint,” on the iNews website May 5th 2018 [Online] Cited 14/07/2018. No longer available online

 

 

 

 

Shape of Light | First Look

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

 

 

Exhibition Review – Shape of Light: 100 years of Photography and Abstract Art at Tate Modern

 

 

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

 

Wyndham Lewis (British, 1882-1957)
Workshop
c. 1914-1915
Tate
Purchased 1974
© Wyndham Lewis and the estate of Mrs G A Wyndham Lewis by kind permission of the Wyndham Lewis Memorial Trust (a registered charity)

 

 

Percy Wyndham Lewis (18 November 1882 – 7 March 1957) was a British writer, painter, and critic. He was a co-founder of the Vorticist movement in art and edited BLAST, the literary magazine of the Vorticists.

His novels include Tarr (1918) and The Human Age trilogy, composed of The Childermass (1928), Monstre Gai (1955) and Malign Fiesta (1955). A fourth volume, titled The Trial of Man, was unfinished at the time of his death. He also wrote two autobiographical volumes: Blasting and Bombardiering (1937) and Rude Assignment: A Narrative of my Career Up-to-Date (1950).

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

Gallery label, April 2012

 

Man Ray. 'Rayograph' 1922

 

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

 

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

 

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

 

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

 

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

 

Wassily Kandinsky (1866-1944) 'Swinging' 1925

 

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

 

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

 

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

 

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

 

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

 

Imogen Cunningham (1883-1976) 'Triangles' 1928

 

Imogen Cunningham (American, 1883-1976)
Triangles
1928, printed 1947-1960
Gelatin silver print on paper
119 x 93mm
Pierre Brahm
© Imogen Cunningham Trust. All rights reserved

 

Joan Miró (1893-1983) 'Painting' 1927

 

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

 

Man Ray (1890-1976) 'Anatomies' 1930

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Luigi Veronesi (1908-1998) 'Construction' 1938

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

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

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

Press release from Tate Modern

 

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

 

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

 

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

 

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

 

Guy Bourdin (1928-1991) 'Untitled' 1952

 

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

 

Guy Bourdin (1928-1991) 'Untitled' 1952

 

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

 

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

 

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

 

 

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

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

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

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

Shoair Mavlian
August 2014

 

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

 

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

 

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

 

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

 

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

 

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

 

Brett Weston. 'Mud Cracks' 1955

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

In 1960 Villeglé, Hains and François Dufrêne (1930-1982), who also used torn posters, joined the Nouveaux Réalistes group gathered by the critic Pierre Restany (b.1930). Distinguished by the use of very disparate materials and techniques, the Nouveaux Réalistes – who also included Arman (b.1928), Yves Klein (1928-1962) and Jean Tinguely (1925-1991) – were united by what Villeglé has called their ‘distance from the act of painting’ as characterised by the dominant abstraction of the period (interview February 2000). In this way, Klein’s monochrome paintings (see Tate T01513) and Villeglé’s affiches lacérées (lacerated posters) conform to the group’s joint declaration of 27 October 1960: ‘The Nouveaux Réalistes have become aware of their collective singularity. Nouveau Réalisme = new perceptual approaches to reality.’ The Jazzmen, of the following year, embodies Villeglé’s understanding of his ‘singularity’ as a conduit for anonymous public expression.

Matthew Gale
June 2000

 

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

 

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

 

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

 

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

 

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

 

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

 

John Divola. '74V11' 1974

 

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

 

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

 

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

 

James Welling (b. 1951) 'Untitled' 1986

 

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

 

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

 

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

 

Sigmar Polke. 'Untitled (Uranium Green)' 1992

 

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

 

Daisuke Yokota (b. 1983) 'Untitled' 2014

 

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

 

 

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

IN THE STUDIO
Daisuke Yokota
By Jean Dykstra

November – December 2015. No longer available online

 

Antony Cairns (b. 1980) 'LDN5_051' 2017

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

Opening hours:
Daily 10am – 5pm

Tate Modern website

LIKE ART BLART ON FACEBOOK

Back to top

03
Oct
14

Exhibition: ‘A World of Its Own: Photographic Practices in the Studio’ at the Museum of Modern Art (MoMA), New York Part 2

Exhibition dates: 8th February – 2nd November 2014

The Edward Steichen Photography Galleries, third floor

Curators: Organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator, with Lucy Gallun, Assistant Curator, Department of Photography

 

 

Peter Hujar (American, 1934-1987) 'David Wojnarowicz' 1981

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz
1981
Gelatin silver print
14 x 14″ (35.6 x 35.6cm)
The Fellows of Photography Fund

 

 

Many thankx to MoMA for allowing me to publish four of the photographs in the posting. The rest of the images were sourced from the Internet in order to give the reader a more comprehensive understanding of what this exhibition is actually about – especially if you are thousands of miles away and have no hope of ever seeing it!

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image.

 

The exhibition is divided into 6 themes each with its own gallery space:

  1. Surveying the Studio
  2. The Studio as Stage
  3. The Studio as Set
  4. A Neutral Space
  5. Virtual Spaces
  6. The Studio, from Laboratory to Playground

 

 

A Neutral Space

Harry Callahan (American, 1912–1999) 'Eleanor' 1948

 

Harry Callahan (American, 1912–1999)
Eleanor
1948
Gelatin silver print
4 1/2 x 3 1/4″ (11.4 x 8.3cm)
Gift of the artist

 

Charles Harry Jones (English, 1866-1959) 'Brussels Sprouts' c. 1900

 

Charles Harry Jones (English, 1866-1959)
Brussels Sprouts
c. 1900
Gelatin silver printing-out-paper print
6 1/8 × 8 1/16″ (15.5 × 20.5 cm)
Acquired through the generosity of Robert B. Menschel

 

 

Charles Harry Jones (1866 – 15 November 1959) was an English gardener and photographer, noted for his still lifes of fruit and vegetables.

The photographs were probably made between 1895 and 1910, and likely while he was employed at Ote Hall. Jones’ work was never exhibited in his lifetime, and was largely unknown even to his family, until the photographic prints were discovered by accident in 1981. Sean Sexton found a suitcase containing hundreds of prints of vegetables, fruits and flowers at Bermondsey antiques market. Other than a very few exceptions, Jones’ photographs exist only in unique examples. None of the glass-plate negatives have been located.

Jones isolated his vegetables, fruits and flowers against neutral dark or light backgrounds, in the manner of formal studio portraits. He used long exposures and small apertures to give depth of field.

Text from the Wikipedia website

 

Imogen Cunningham (American, 1883-1976) 'Cala Leaves' 1932

 

Imogen Cunningham (American, 1883-1976)
Cala Leaves
1932
Gelatin silver print
9 9/16 x 7 9/16″ (24.3 x 19.2cm)
Gift of Paul F. Walter

 

Karl Blossfeldt (1865-1932) 'Chrysanthemum segetum - Feverfew' before 1928

 

Karl Blossfeldt (German, 1865-1932)
Chrysanthemum segetum – Feverfew Enlarged 8 Times
Before 1928
Gelatin silver print
11 15/16 × 9 7/16″ (30.4 × 23.9 cm)
Thomas Walther Collection. Gift of James Thrall Soby, by exchange
© 2022 Karl Blossfeldt / Artists Rights Society (ARS), New York

 

Edward Weston (American, 1886-1958) 'Nude, Mexico' 1925

 

Edward Weston (American, 1886-1958)
Nude, Mexico
1925
Palladium print
8 3/8 × 7 5/8″ (21.2 × 19.3cm)
Gift of David H. McAlpin
© 1981 Center for Creative Photography, Arizona Board of Regents

 

Richard Avedon (American, 1923-2004) 'Carl Hoefert, unemployed blackjack dealer, Reno, Nevada', from the series 'In the American West' August 30, 1983

 

Richard Avedon (American, 1923-2004)
Carl Hoefert, unemployed blackjack dealer, Reno, Nevada, from the series In the American West
August 30, 1983
Gelatin silver print, printed 1985
47 1/2 x 37 1/2″ (120.6 x 95.2cm)
Gift of the artist

 

Peter Hujar (American, 1934-1987) 'Pascal (Paris)' 1980

 

Peter Hujar (American, 1934-1987)
Pascal (Paris)
1980
Gelatin silver print
14 5/8 x 14 11/16″ (37.1 x 37.3cm)
Gift of David Wojnarowicz

 

Valérie Belin (French, born 1964) 'Untitled' from the series 'Mannequins' 2003

 

Valérie Belin (French, b. 1964)
Untitled from the series Mannequins
2003
Gelatin silver print
61 x 49″ (154.9 x 124.5cm)
Purchase

 

Laurie Simmons (American, born 1949) Allan McCollum (American, born 1944) 'Untitled' from the series 'Actual Photos' 1985

 

Laurie Simmons (American, b. 1949)
Allan McCollum (American, b. 1944)
Untitled from the series Actual Photos
1985
Silver dye bleach print
9 5/16 x 6 5/16″ (23.7 x 16.1cm)
Joel and Anne Ehrenkranz Fund

 

Josephine Meckseper (German, born 1964) 'Blow-Up (Michelli, Knee-Highs)' 2006

 

Josephine Meckseper (German, b. 1964)
Blow-Up (Michelli, Knee-Highs)
2006
Chromogenic colour print
78 5/8 x 62 5/8″ (199.7 x 159.1cm)
Fund for the Twenty-First Century

 

Robert Mapplethorpe (American, 1946-1989) 'Hermes' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Hermes
1988
Gelatin silver print
19 1/4 × 19 1/4″ (48.9 × 48.9cm)
Gift of Agnes Gund
© 2022 Robert Mapplethorpe Foundation

 

Virtual Spaces

Christian Marclay (American and Swiss, born 1955) 'Allover (Genesis, Travis Tritt, and Others)' 2008

 

Christian Marclay (American and Swiss, b. 1955)
Allover (Genesis, Travis Tritt, and Others)
2008
Cyanotype
Composition and sheet: 51 1/2 x 97 3/4″ (130.8 x 248.3cm)
Publisher and printer: Graphic studio, University of South Florida, Tampa
Acquired through the generosity of Steven A. and Alexandra M. Cohen

 

Luigi Veronesi (Italian, 1908-1998) 'Composition' 1935

 

Luigi Veronesi (Italian, 1908-1998)
Composition
1935
Gelatin silver print
9 7/16 × 11 1/4″ (24 × 28.6 cm)
Thomas Walther Collection. Gift of Ansel Adams, by exchange
© 2022 Archivio Luigi Veronesi, Milan

 

Luigi Veronesi (28 May 1908 – 25 February 1998) was an Italian photographer, painter, scenographer and film director born in Milan.

 

Thomas Ruff (German, born 1958) 'phg.06' 2012

 

Thomas Ruff (German, b. 1958)
phg.06
2012
Chromogenic colour print
100 3/8 x 72 13/16″ (255 x 185cm)
Courtesy David Zwirner, New York/London

 

Man Ray (American, 1890-1976) 'Rayograph' 1923

 

Man Ray (American, 1890-1976)
Rayograph
1923
Gelatin silver print
9 7/16 x 7″ (23.9 x 17.8cm)
Purchase

 

György Kepes (American, born Hungary. 1906-2001) 'Abstraction - Surface Tension #2' c. 1940

 

György Kepes (American born Hungary, 1906-2001)
Abstraction – Surface Tension #2
c. 1940
Gelatin silver print
14 x 11 1/8″ (35.6 x 28.3cm)
Gift of the artist

 

The Studio, from Laboratory to Playground

Barbara Morgan (American, 1900-1992) 'Pure Energy and Neurotic Man' 1941

 

Barbara Morgan (American, 1900-1992)
Pure Energy and Neurotic Man
1941
Gelatin silver print, printed 1971
19 1/8 x 15 1/2″ (48.6 x 39.3cm)
Gift of the artist

 

Barbara Morgan (American, 1900-1992) 'Cadenza' 1940

 

Barbara Morgan (American, 1900-1992)
Cadenza
1940
Gelatin silver print, printed 1971
17 7/8 x 15″ (45.4 x 38.2cm)
Gift of the artist

 

Berenice Abbott (American, 1898-1991) 'Focusing Water Waves, Massachusetts Institute of Technology' 1958-61

 

Berenice Abbott (American, 1898-1991)
Focusing Water Waves, Massachusetts Institute of Technology
1958-61
Gelatin silver print
6 9/16 x 7 15/16″ (16.7 x 20.1cm)
Gift of Ronald A. Kurtz

 

Berenice Abbott (American, 1898-1991) 'Wave Pattern with Glass Plate, Massachusetts Institute of Technology' 1958-61

 

Berenice Abbott (American, 1898-1991)
Wave Pattern with Glass Plate, Massachusetts Institute of Technology
1958-61
Gelatin silver print
6 9/16 x 7 9/16″ (16.7 x 19.2cm)
Gift of Ronald A. Kurtz

 

Heinz Hajek-Halke (German, 1898-1983) 'Embrace (Umarmung)' 1947-51

 

Heinz Hajek-Halke (German, 1898-1983)
Embrace (Umarmung)
1947-1951
Gelatin silver print
15 5/8 x 11 3/8″ (39.7 x 29.0cm)
Gift of the artist

 

Harold Edgerton (American, 1903-1990) 'Lead Falling in a Shot Tower' 1936

 

Harold Edgerton (American, 1903-1990)
Lead Falling in a Shot Tower
1936
Gelatin silver print
7 9/16 x 9 1/2″ (19.3 x 24.2cm)
Gift of Gus and Arlette Kayafas

 

Harold Edgerton (American, 1903-1990) 'Bouncing Ball Bearing' 1962

 

Harold Edgerton (American, 1903-1990)
Bouncing Ball Bearing
1962
Gelatin silver print
9 9/16 x 7 11/16″ (24.3 x 19.5cm)
Gift of Gus and Arlette Kayafas

 

Harold Edgerton (American, 1903-1990) 'This is Coffee' 1933

 

Harold Edgerton (American, 1903-1990)
This is Coffee
1933
Gelatin silver print
9 7/8 x 12 7/8″ (25.1 x 32.7cm)
Gift of the artist

 

Roman Signer (Swiss, born 1938) 'Sand Curtain (Sandvorhang)' 1983

 

Roman Signer (Swiss, b. 1938)
Sand Curtain (Sandvorhang)
1983
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Stairs (Sandtreppe)' 1975

 

Roman Signer (Swiss, b. 1938)
Sand Stairs (Sandtreppe)
1975
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Rubber Motor (Gummimotor)' 1983

 

Roman Signer (Swiss, b. 1938)
Rubber Motor (Gummimotor)
1983
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Cone (Sandkegel)' 1984

 

Roman Signer (Swiss, b. 1938)
Sand Cone (Sandkegel)
1984
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand Pillar (Sandturm)' 1987

 

Roman Signer (Swiss, b. 1938)
Sand Pillar (Sandturm)
1987
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Sand (Sand)' 1988

 

Roman Signer (Swiss, b. 1938)
Sand (Sand)
1988
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Umbrella (Schirm)' 1989

 

Roman Signer (Swiss, b. 1938)
Umbrella (Schirm)
1989
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Barrel (Fass)' 1985

 

Roman Signer (Swiss, b. 1938)
Barrel (Fass)
1985
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Carriage (Wagen)' 1982

 

Roman Signer (Swiss, b. 1938)
Carriage (Wagen)
1982
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

Roman Signer (Swiss, born 1938) 'Tube (Schlauch)' 1982

 

Roman Signer (Swiss, b. 1938)
Tube (Schlauch)
1982
Super 8 film transferred to video (colour, silent)
Approximately 2 min.
Committee on Media Funds

 

 

Roman Signer (b. 1938 in Appenzell, Switzerland) is principally a visual artist who works in sculpture, installations photography, and video. Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category.It is often being described as following the tradition of the Swiss engineer-artist, such as Jean Tinguely and Peter Fischli & David Weiss.

Signer’s “action sculptures” involve setting up, carrying out, and recording “experiments” or events that bear aesthetic results. Day-to-day objects such as umbrellas, tables, boots, containers, hats and bicycles are part of Signer’s working vocabulary. Following carefully planned and strictly executed and documented procedures, the artist enacts and records such acts as explosions, collisions, and the projection of objects through space. Signer advocates ‘controlled destruction, not destruction for its own sake’. Action Kurhaus Weissbad (1992) saw chairs catapulted out of a hotel’s windows; Table (1994) launched a table into the sea on four buckets; Kayak (2000) featured the artist being towed down a road in a canoe. In documenta 8 (1987), he catapulted thousands of sheets of paper into the air to create an ephemeral wall in the room for a brief, but all the more intense moment. As the Swiss representative at the Venice Biennale in 1999, he made 117 steel balls fall from the ceiling on to lumps of clay lying on the ground. Many of his happenings are not for public viewing, and are only documented in photos and film. Video works like Stiefel mit Rakete (Boot with Rocket) are integral to Signer’s performances, capturing the original setup of materials that self-destruct in the process of creating an emotionally and visually compelling event.

Text from Wikipedia website

 

Kiki Smith (American, born Germany 1954) 'My Secret Business' 1993

 

Kiki Smith (American born Germany, b. 1954)
My Secret Business
1993
Lithograph
23 9/16 x 18 1/8″ (59.8 x 46cm)
Gift of Howard B. Johnson

 

Adrian Piper (American, born 1948) 'Food for the Spirit #2' 1971, printed 1997

 

Adrian Piper (American, b. 1948)
Food for the Spirit #2
1971, printed 1997
Gelatin silver print
14 9/16 x 15″ (37 x 38.1cm)
The Family of Man Fund

 

Adrian Piper (American, born 1948) 'Food for the Spirit #8' 1971, printed 1997

 

Adrian Piper (American, b. 1948)
Food for the Spirit #8
1971, printed 1997
Gelatin silver print
14 9/16 x 14 15/16″ (37 x 38cm)
The Family of Man Fund

 

Adrian Piper (American, born 1948) 'Food for the Spirit #14' 1971, printed 1997

 

Adrian Piper (American, b. 1948)
Food for the Spirit #14
1971, printed 1997
Gelatin silver print
14 9/16 x 15″ (37 x 38.1cm)
The Family of Man Fund

 

Harold Edgerton (American, 1903-1990) 'Indian Club Demonstration' 1939

 

Harold Edgerton (American, 1903-1990)
Indian Club Demonstration
1939
Gelatin silver print
13 x 10″ (33.0 x 26.0cm)
Gift of the artist

 

Harold Edgerton (American, 1903-1990) 'Bobby Jones with an Iron' 1938

 

Harold Edgerton (American, 1903-1990)
Bobby Jones with an Iron
1938
Gelatin silver print
9 5/8 x 11 1/2″ (24.4 x 29.2cm)
Gift of the artist

 

John Divola (American, born 1949) 'Untitled' from the series 'Vandalism' 1974

 

John Divola (American, b. 1949)
Untitled from the series Vandalism
1974
Gelatin silver print
7 1/16 x 7 1/16″ (18.0 x 18.0cm)
Purchase

 

John Divola (American, born 1949) 'Untitled' from the series 'Vandalism' 1974

 

John Divola (American, b. 1949)
Untitled from the series Vandalism
1974
Gelatin silver print
7 x 7″ (17.9 x 17.9cm)
Purchase

 

Robert Frank (American, born Switzerland 1924) 'Boston' (detail) March 20, 1985

 

Robert Frank (American born Switzerland, 1924-2019)
Boston (detail)
March 20, 1985
Colour instant prints (Polaroids) with hand-applied paint and collage
Each 27 3/4 x 22 1/4″ (70.3 x 56.4cm)
Acquired through the generosity of Polaroid Corporation

 

Anna Blume (German, born 1937) Bernhard Blume (German, born 1937) 'Kitchen Frenzy (Küchenkoller)' (detail) 1986

 

Anna Blume (German, 1937-2020)
Bernhard Blume (German, 1937-2011)
Kitchen Frenzy (Küchenkoller) (detail)
1986
Gelatin silver prints
Each 66 15/16 x 42 1/2″ (170 x 108cm)
Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art

 

 

Anna Blume (née Helming; 21 April 1936 – 18 June 2020) and Bernhard Johannes Blume (8 September 1937 – 1 September 2011) were German art photographers. They created sequences of large black-and-white photos of staged scenes in which they appeared themselves, with objects taking on a “life” of their own. Their works have been shown internationally in exhibitions and museums, including New York’s MoMA. They are regarded as “among the pioneers of staged photography”. …

Anna and Bernhard Blume together created installations, sequences of large photo scenes and, mostly in the 1990s, Polaroids. Both created drawings. They staged and photographed scenes in which they appeared themselves, with objects taking on a “life” of their own. According to the Deutsche Börse Photography Foundation, their process was to create their picture sequences together and complete all related tasks without outside help. That included designing the sets and costumes, developing the negatives, and producing enlargements; at each stage the artwork was refined, polished and painted. Anna said: “Wir malen mit der Kamera, und diese malerische Arbeit findet auch noch im Labor statt.” (We paint with our camera, and this painterly work continues in the lab, too.) The images were produced without the aid of digital manipulation or post-production montages. Taking pictures of a “flying, crashing, and swirling world”, the artists used safety features such as ropes, nets and mattresses.

Text from the Wikipedia website

 

 

The Museum of Modern Art
11 West 53 Street
New York, NY 10019
Phone: (212) 708-9400

Opening hours:
10.30 am – 5.30 pm
Open seven days a week

MoMA website

LIKE ART BLART ON FACEBOOK

Back to top




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, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor 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.

Enter your email address to subscribe to this blog and receive notifications of new posts by email. If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,907 other subscribers

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

Follow Art_Blart on Twitter
Art Blart on Pinterest

Blog Stats

  • 12,737,052 hits

Recent Posts

Lastest tweets

January 2023
M T W T F S S
 1
2345678
9101112131415
16171819202122
23242526272829
3031  

Archives

Categories

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,907 other subscribers