Posts Tagged ‘Moderna Museet

01
Sep
17

Exhibition: ‘Written in Light – The First Photographers’ at Moderna Museet, Stockholm

Exhibition dates: 8th April – 3rd September 2017

Curator: Anna Tellgren

 

 

Nils Strindberg. '14/7 1897. The Eagle Balloon after landing' 1897/1930

 

Nils Strindberg
Örnen efter landningen. Ur serien Ingenjör Andrées luftfärd, 14/7 1897
14/7 1897. The Eagle Balloon after landing

From the series The Flight of the Eagle
1897/1930
Gelatin silver print

 

Nils Strindberg. '14/7 1897. After the crash' 1897/1930

 

Nils Strindberg
14/7 1897. After the crash

From the series The Flight of the Eagle
1897/1930
Gelatin silver print
Some rights reserved by Tekniska museet

 

Nils Strindberg. 'Setting up-camp, raising the Swedish flag' 1897/1930

 

Nils Strindberg
Setting up-camp, raising the Swedish flag

From the series The Flight of the Eagle
1897/1930
Gelatin silver print
Some rights reserved by Tekniska museet

 

Nils Strindberg. 'Moving a boat through the icy waters' 1897/1930

 

Nils Strindberg
Moving a boat through the icy waters

From the series The Flight of the Eagle
1897/1930
Gelatin silver print
Some rights reserved by Tekniska museet

 

 

Nils Strindberg (1872-1897)

In July 1897, Salomon August Andrée (1854-1897) embarked on his voyage to the North Pole in the balloon Örnen [The Eagle], accompanied by the engineer Knut Frænkel (1870-1897) and the photographer Nils Strindberg. A few days later, the balloon crashed on the ice, and they were forced to continue their journey on foot. The conditions were severe, and the expedition ended in disaster. After a few months, in October, they made up camp on Kvitøya on Svalbard. This is where their bodies were found thirty years later, along with Strindberg’s camera.
The expedition and the events surrounding it, were widely publicised both at the time of the expedition, and later when they were found. Per Olof Sundman’s book The Flight of the Eagle (1967) was turned into a film by Jan Troell in 1982. Although these photographs were taken as scientific observations, and to document the work of the members of the expedition, they now appear as some of the most remarkable and beautiful photographs in polar history.

John Hertzberg (1871-1935) was a photographer and docent at the KTH Royal Institute of Technology. He was commissioned to develop the exposed films, and managed successfully to process ninety-three of Strindberg’s photo­graphs. He made copies of the negatives, which were used to produce the prints on paper that are now at institutions including Moderna Museet, the National Museum of Science and Technology in Stockholm and Grenna Museum – Polarcenter in Gränna.

The original negatives ended up at the Royal Swedish Acad­emy of Sciences in Stockholm. Hertzberg re-touched some of the pictures, and these are primarily the ones that have been published and embody the public perception of the expedition. Moderna Museet has both sets, and the re-touched photographs are shown above the un-retouched versions in this exhibition.

More fascinating insights into the Flight of the Eagle can be found on James McArdle’s excellent website.

 

Nils Strindberg. 'At camp' 1897/1930

 

Nils Strindberg
At camp
From the series The Flight of the Eagle
1897/1930
Gelatin silver print
Some rights reserved by Tekniska museet

 

Nils Strindberg. 'Camp on White Island' 1897/1930

 

Nils Strindberg
Camp on White Island
From the series The Flight of the Eagle
1897/1930
Gelatin silver print
Some rights reserved by Tekniska museet

 

 

While there are some outstanding photographs in this posting, the selection seems rather ad hoc. It is always good to see the work of Julia Margaret Cameron and other illuminati of late 19 century photography, but the highlight in this posting are the ethereal and tragic photographs from the Eagle polar expedition. We can only be grateful that so many negatives have survived, a testament to both the photographer, the developer and the coldness of the ice, leaving us with such transcendent images of human endurance.

Marcus

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

 

William Henry Fox Talbot. 'Four Shelves of Books' 1844

 

William Henry Fox Talbot
Four Shelves of Books
1844
Salted Paper Print

 

 

William Henry Fox Talbot (1800-1877)

The Scientist William Henry Fox Talbot in Britain experimented with various silver salt solutions on paper. In the mid-1830s, he succeeded in producing a negative image on photosensitive paper in a camera and had thus ingeniously invented the negative.

In 1844-46, he published what could be regarded as the first photographically illustrated magazine, The Pencil of Nature, in which he described the technique and how photography could be used in practice. He himself claimed that its most important use was to produce evidence, but he also had artistic ambitions for his photographic images. It was Talbot who eventually launched the term “photography” (writing with light) for his invention. Many different words and metaphors were used to describe this new medium, but photography was soon established as its proper name.

 

Oscar Gustave Rejlander. 'Lesson' 1860

 

Oscar Gustave Rejlander
Lesson
1860
Albumen silver print

 

Carl Jacob Malmberg. 'The copper quay and the polishing works at Fiskars bruk, Finland' 1872

 

Carl Jacob Malmberg
The copper quay and the polishing works at Fiskars bruk, Finland
1872
Albumen silver print

 

Fiskars (Swedish, Finnish: Fiskari) is a village in the town of Raseborg (Raasepori) in western Uusimaa, Finland. The village is the site of the former Fiskars Bruk, which was founded in 1646 and gave rise to the company Fiskars.

 

 

The exhibition Written in Light – The First Photographers explores Moderna Museet’s collection of photography from the second half of the 19th century. It includes the Museum’s unique collection of daguerreotypes and works by a few of the world’s most famous photographers: Julia Margaret Cameron, Oscar Gustave Rejlander, and Carleton E. Watkins.

Since its invention, photography has developed, changed, and been used for many different aims and purposes. With the breakthrough of digital images, and their omnipresence in social media, photography is once again in a period of change. This gives all the more reason to look back and consider the impact of its legacy on contemporary photography. This exhibition highlights the Museum’s collection of daguerreotypes, but also gives examples of other early photographic techniques.

Thanks to two significant acquisitions in the mid-1960s, the Helmut Gernsheim Duplicate Collection, and the Helmer Bäckström Photographic Collection, some of the most internationally famous photographers in history are represented at Moderna Museet.

 

Before and Behind the Lens

Written in Light and Film Inside an Image are part of the photographic project Before and Behind the Lens, which consists of a series of exhibitions, discussions and guided tours. Before and Behind the Lens examines the role of photographic images in art and the transformation of the medium since the early experiments with new technology in the 19th century, to today’s explorations of the potential of the optical lens. Moderna Museet has one of Europe’s finest collections of photography, ranging from pioneers such as Julia Margaret Cameron to many of the most influential contemporary artists who visualise the world for us with the camera lens.

Press release from Moderna Museet

 

Robert Adamson and David Octavius Hill. 'Misses Grierson' c. 1845

 

Robert Adamson and David Octavius Hill
Misses Grierson
c. 1845
Salted paper print, calotype

 

 

Robert Adamson (1821-1848) and David Octavius Hill (1802-1870)

The first prominent calotype practitioners were active in Scotland, which was exempt from Talbot’s patent restrictions. David Octavius Hill was a portrait painter, and Robert Adamson an engineer. In 1843, they began collaborating as photographers, after Hill had been assigned to portray a group of clergymen and laymen who had left the Church of Scotland and founded the Free Church of Scotland. Hill wanted to use photographs to create individual portraits of the several hundred participants in this assembly.

It took them more than a year to produce a calotype of each member, and the painting took another 20 years for Hill to complete. They continued working together for four years, until Adamson’s premature death, producing nearly 3,000 photo­graphs of architecture, landscapes, but especially portraits, which they always signed together. They also documented working women and men in the fishing village of Newhaven near Edinburgh in a natural and personal style that was unusual for that period.

 

Salted Paper Print, Calotype

Silver in common salt on/in paper 1839 – c. 1870

A paper is first soaked in a saline solution and then brushed on one side with silver nitrate, forming light-sensitive silver chloride. After allowing the paper to dry in the dark, it is exposed in sunlight for hours, in contact with a negative, until the image appears (printing-out). Excess silver chloride is then subjected to fixation in a strong saline solution or in sodium thiosulphate and is rinsed away in water. Subsequent gold toning (after 1849) lent the picture a richer tonal range and greater permanence. After 1850 they were often waxed and/or sometimes coated with a layer of albumen. Salted paper prints have a matte finish, and the paper fibres of the support are clearly visible in magnification. When fixed in salt, the image tone is reddish brown; in sodium sulphate it is a yellowish orange. Permanence is relatively low, and when faded or discoloured the prints turn to a yellowish brown. This technique was the first used to reproduce an image on paper from a negative. Although the term calotype is sometimes used, a calotype is actually a salted paper negative.

 

Johan Wilhelm Bergström. 'Self-Portrait' c 1850

 

Johan Wilhelm Bergström
Self-Portrait
c 1850
Daguerreotype

 

 

In 1844 Bergström became a photographer, an occupation he would hold for about ten years. As a daguerreotypist he became diligently engaged, and took pictures of the great people of the day. He also took a series of topographic images, which today are of great value. During a visit to Uppsala in 1845, he captured what is today the oldest known photographic image of the city, as well as a stereoscope image.

 

Daguerreotype

Amalgam on silver-coated copper 1839 – c. 1865

A copper plate is coated with a thin layer of silver, buffed and treated with iodine vapour in a closed container, transforming the silver to light-sensitive silver iodide. After being exposed in the camera for 10-30 minutes, the image is developed in heated mercury vapour. Silver and mercury form a white amalgam and the image is a reverse, low contrast positive. The picture was initially fixed in a saline bath, later in a bath of sodium sulphite. A subsequent toning in gold solution strengthened the sharpness and stability of the image. To protect the image against chemical and physical damage, the plate was tightly sealed with mats and glass and often enclosed in a case. Daguerreotypes are detailed, neutral in tone, sometimes hand-tinted, and are easily distinguishable by their alternately negative and positive impressions, depending on the angle of the light in which they are viewed.

 

Marcus Selmer. 'Bride from Birkeland' 1855

 

Marcus Selmer
Bride from Birkeland
1855
Daguerreotype, hand coloured

 

Marcus Selmer. 'Bride from Birkeland' 1855 (detail)

 

Marcus Selmer
Bride from Birkeland (detail)
1855
Daguerreotype, hand coloured

 

 

It is not immediately clear what drew Marcus Selmer (1819-1900), a Danish portrait photographer, to spend most of his life working in Norway. He trained as a pharmacist in his native Denmark, and was working in a chemist owned by his uncle when he discovered daguerreotype photography. He experimented with this new technology in his spare time and began sending his pictures in to local exhibitions. In 1852, Selmer travelled to Norway, to visit some of his uncle’s family in the city of Bergen. He never returned.

He soon found work as a photographer in Bergen and, within a year, was able to establish his own studio. This became the first permanent photographic studio in Bergen, as few photographers who visited would stay all year round. Photographers often visited Bergen in the summer, hoping to capture the fjords and mountains that surround the area, but, as they needed good light for their work, the dark and cold weather had driven most of them away by the time winter rolled around. Selmer ingeniously built his studio almost entirely out of glass, allowing enough light into the space, which enabled him to continue working throughout the year.

Selmer’s work quickly became well-known throughout Norway. He sold many books of his photographs, and sold individual images to the press and the burgeoning tourist industry, before eventually being appointed the royal photographer in 1880. Although his career was varied, Selmer is primarily remembered today for his portraits of local people in national folk costume… These photographs depict the customs, traditions and culture of the Norwegian people, and reflect Selmer’s interest in his adopted home.

Anonymous. “Marcus Selmer’s Photographs of 19th-Century Norwegians,” on the The Public Domain Review website [Online] Cited 05/08/2017

 

Carl Jacob Malmberg. 'Maria Catharina Malmberg with Children' c. 1860

 

Carl Jacob Malmberg
Maria Catharina Malmberg with Children
c. 1860
Ambrotype

 

 

Ambrotype

Silver in collodion on glass
1854 – c. 1880

A glass plate, coated with silver halogens in collodion, is sensitised with silver nitrate and then exposed wet in the camera. After being developed in iron sulphate – occasionally with the addition of silver nitrate – and fixed in potassium cyanide and washed, the plate is allowed to dry. The picture is then lacquered or protected with a sheet of glass, and the back is coated with black lacquer, textile, or cardboard so that the picture – actually a thin negative – is seen as a positive. It is a direct positive which is often tastefully displayed with mats and under glass in cases. Ambrotypes have a neutral tone, but are sometimes hand-tinted. The surface is characterised by a typical “doubleness”, as high-keys can be seen in the negative on the glass surface and low-keys against the dark background lining.

 

Oscar Gustave Rejlander. 'No title (Shoeless boy playing whistle)' c. 1860

 

Oscar Gustave Rejlander
No title (Shoeless boy playing whistle)
c. 1860
Albumen silver print

 

 

Oscar Gustave Rejlander (1813-1875)

One of few internationally famous Swedish photographers is Oscar Gustave Rejlander, but little is known of his early life in Sweden. He settled in Britain around 1840, where he worked as a photographer until he died. He had probably studied art and was interested in art history. His works show distinct influences from Italian renaissance, Span­ish baroque, Dutch 17th-century painting and the British Pre-Raphaelites.

In his studio, he would build and photograph a kind of “tableaux vivants”, or staged scenes. Perhaps the most famous of Rejlander’s works is The Two Ways of Life from 1857, a negative montage consisting of some 30 exposures combined into a composition. Rejlander’s oeuvre also includes a series of pictures of poor children and families. Towards the end of his life, Rejlander met Charles Darwin and was commissioned to illustrate his acclaimed book The Expressions of the Emotions in Man and Animals (1872).

 

Oscar Gustave Rejlander. 'The Two Ways of Life' 1857

 

Oscar Gustave Rejlander
The Two Ways of Life
1857
Albumen silver print

 

 

In 1857 Rejlander made his best-known allegorical work, The Two Ways of Life. This was a seamlessly montaged combination print made of thirty-two images in about six weeks. First exhibited at the Manchester Art Treasures Exhibition of 1857, the work shows two youths being offered guidance by a patriarch. Each youth looks toward a section of a stage-like tableaux vivant – one youth is shown the virtuous pleasures and the other the sinful pleasures. (Wikipedia)

 

Carleton E. Watkins. 'Down the Valley, Yosemite' 1861

 

Carleton E. Watkins
Down the Valley, Yosemite
1861
Albumen silver print

 

Carleton E. Watkins. 'Tutueamela, El Capitan, 3000ft, Yosemite' 1861

 

Carleton E. Watkins
Tutueamela, El Capitan, 3000ft, Yosemite
1861
Albumen silver print

 

 

Carleton E. Watkins (1829-1916)

Voyages of discovery, nature and landscapes were popular motifs for the early photographers. The growing tourism increased demand for pictures from exotic places, making this a source of income for publishers of photographic literature. The Ameri­can West was one such region, and some of the photographers who began working there also documented the American Civil War. One of the most prominent of these was Carleton E. Watkins, who had travelled and photographed the Yosemite Valley on several occasions in the first half of the 1860s.

In his large-format photographs, so-called mammoth prints, he captured the massive mountain formations, dramatic waterfalls and gigantic trees. His heavy equipment was carried by some ten mules, and it is almost a miracle, considering the difficult conditions, that so many of his photographs survived.

A definite advancement in the process of creating negatives was made by the Brit Frederick Scott Archers (1813-1857), who discovered how to use glass sheets for the negative instead of paper. Collodion was used to bind the necessary silver salt to the glass, but it could only be exposed while wet, hence the term wet plate process. The glass negatives gave sharp details, and a large number of paper prints could be made from one negative.

 

Julia Margaret Cameron. 'The Mother of Salome' 1870

 

Julia Margaret Cameron
The Mother of Salome
1870
Albumen silver print

 

Julia Margaret Cameron. 'The Angel at the Tomb' 1870

 

Julia Margaret Cameron
The Angel at the Tomb
1870
Albumen silver print

 

 

Julia Margaret Cameron (1815-1879)

In Victorian Britain, a small group of photographers were the very first to attempt to create and formulate art photography. Julia Margaret Cameron, who belonged to this group, left behind a fantastic collection of intimate portraits of her family and large circle of friends. She was an amateur photographer who was active mainly in the 1860s and 1870s.

Her staged pictures, inspired by myths, biblical stories and English literature, have a characteristically expressive soft focus. Cameron’s photographs are reminiscent of the Pre-Raphaelites and renaissance painting. The Moderna Museet collection of Julia Margaret Cameron includes portraits of Charles Darwin, Henry Taylor and Alfred Tennyson, along with staged tableaux of The Angel at the Grave and the melodramatic Maud from one of Tennyson’s most famous poems. Cameron’s last major photo­graphic project in the UK, before she and her family moved to Ceylon, present Sri Lanka, was to illustrate Tennyson’s work Idylls of the King (1874-75).

 

Julia Margaret Cameron. 'Maud "There has Fallen a splendid Tear From the Passion Flower at the Gate"' 1875

 

Julia Margaret Cameron
Maud “There has Fallen a splendid Tear From the Passion Flower at the Gate”
1875
Illustration to Tennyson’s Idylls of the King and Other Poems. Sitter is Mary Ann Hillier
Albumen silver print

 

 

Albumen Silver Print

Silver in albumen on paper 1850 – c. 1900

A paper is brushed with a solution of albumen (egg white) and table salt and is allowed to dry. It is then bathed in silver nitrate and again allowed to dry, this time in darkness. Albumen, salt and silver form an emulsion containing light-sensitive silver salts which are exposed in daylight in direct contact with a negative until the desired image appears (printing-out). Residual light-sensitive silver salts are then removed through fixation, and the picture is washed in water. After 1855, most albumen silver photographs were gold-toned, followed by additional fixation and rinsing. Commercially produced albumen silver paper became available in 1863. Albumen silver prints have a thin paper support and are therefore normally mounted. The surface is usually glossy, and the tone may vary from yellow/red/brown to a violet blue, depending on exposure time and toning. Prints commonly change in tone to yellow/yellow-green in high-keys due to deterioration of the albumen. In magnification characteristic cracks can be seen.

 

Rosalie Sjöman. 'Alma Sjöman' c. 1875

 

Rosalie Sjöman
Alma Sjöman
c. 1875
Albumen silver print, hand coloured

 

 

Rosalie Sjöman (1833-1919)

Rosalie Sjöman was one of many prominent women photographers. She opened a studio in 1864 on Drott-ninggatan 42 in Stockholm, after being widowed with three small children. The photographer Carl Jacob Malmberg had had his studio at this address previously, and there are some indications that Sjöman may have been working for him. Her business prospered, and towards the end of the 1870s Rosalie Sjöman had five female employees, and she seems to have chosen to hire women only. R. Sjöman & Comp. later opened studios on Regeringsgatan 6, and in Kalmar, Halmstad and Vaxholm.

Her oeuvre includes numerous carte-de-visite portraits and larger so-called cabinet cards, with a mixture of classic portraits, various staged scenes, people wear-ing local folk costumes, and mosaics. The expertly hand-tinted photographs are especially eye-catch­ing; several of them portray her daughter Alma Sjöman.

In the 1860s, photography progressed from being an exclusive novelty into a more widespread and popular medium. The popular carte-de-visite were introduced in France in the mid-1850s, but became extremely fashionable when Emperor Napoleon III had his portrait made in the new format (6 x 9 cm). This trend spread rapidly, and portrait studios opened in large cities and smaller towns. This cartomania lasted for a decade, and the market stabilised around the mid-1870s, when the photographic medium entered a calmer phase.

 

Carl Jacob Malmberg. 'No title' From the series 'Gymnastics' c. 1875

 

Carl Jacob Malmberg
No title
From the series Gymnastics
c. 1875
Albumen silver print

 

 

Carl Jacob Malmberg (1824-1895)

The collection Carl Jacob Malmberg left behind includes most photographic techniques and image types. He is also an example of a photographer’s career development after the first innovative period in the 1840s and up to the 1890s. Malmberg was born in Finland and first studied to be a goldsmith in St Petersburg, where he also learned photography.

He moved to Stockholm, where he opened a studio in 1859 on Drottninggatan 42, and later on Norrtullsgatan 2, and finally on Regeringsgatan 6. Around this period, when cartes-de-visite portraits came into fashion, Malmberg’s practice really took off. On a visit to Finland in 1872, he took a series of photographs at Fiskars iron mill, documenting all the workshops and buildings. A slightly odd portfolio in Malmberg’s collection consists of more than 100 pictures of gymnasts. He had been commissioned by Hjalmar Ling at the Gymnastiska Centralinsti­tutet in Stockholm to take these pictures to illustrate the book Förkortad Öfversikt af allmän Rörelselära (Short Summary of General Exercise Physiology, 1880).

 

David Octavius Hill and Robert Adamson. 'William Etty' 1844/c. 1880

 

David Octavius Hill and Robert Adamson
William Etty
1844/c. 1880
Carbon Print
Reproduction photo: Prallan Allsten/Moderna Museet

 

 

Carbon Print

Charcoal (and colour) pigments and potassium bichromate in gelatin on paper 1864 – c. 1930

An emulsion with pigment and potassium dichromate in gelatin on thin paper is exposed in contact with a negative in daylight. The gelatin is hardened in relation to the amount of light during the exposure. The soaked paper is then turned over and pressed against a new support, coated with insoluble gelatin. The original support comes off in a bath of warm water or may be pulled off, and leaves an image with hardened pigmented gelatin. Any unexposed gelatin can then be washed off. The picture is finally subjected to an alum bath to remove the residual light-sensitive dichromate and to further harden the remaining gelatin. The result is a reversed image. It can be corrected by first reversing the negative or by transferring the image to a new support (Autotype).

Bühler and Höchheimer: A direct process on fabricated papers which were sensitised in alcohol, exposed in contact with a negative and developed in water. Carbon prints have a clear relief character with raised and glossy low-key areas. The tone is usually deep brown or black, but may vary with the choice of pigment. In magnification the emulsion gives a “ragged” impression, especially in high-keys.

 

Carl Curman. 'Waldemarsudde 1888' 1888

 

Carl Curman
Waldemarsudde 1888
1888
Cyanotype

 

 

Carl Curman (1833-1913)

The physician Carl Curman had many interests, and studied both medicine and art as a young man. Eventually, he became a famous balneologist, and initiated the plan for public baths in Stockholm and eventually also the Sturebadet swimming baths.

He built a photographic studio at the Karolinska Institute in the early 1860s, and was a pioneer of medical photography, before being appointed a professor of plastic anatomy at the Royal Acad­emy of Fine Arts in 1869. His lectures have been documented, in pictures showing students gathered around Curman for dissections. These photographic studies of the human anatomy were also used in the emerging field of eugenics – a troubling part of Western history.

Curman was never a professional photographer, but is one of the many practitioners who have made their mark on the history of pho­tography. His more private projects include pictures from Lysekil, where he worked as a balneologist, from Stockholm where he lived, and from various travels abroad, together with his wife Calla Curman, co-founder of the women’s society Nya Idun.

 

 

Moderna Museet, Stockholm

Moderna Museet is ten minutes away from Kungsträdgården, and twenty minutes from T-Centralen or Gamla Stan. Walk past Grand Hotel and Nationalmuseum on Blasieholmen, opposite the Royal Palace. After crossing the bridge to Skeppsholmen, continue up the hill. The entrance to Moderna Museet and Arkitekturmuseet is on the left-hand side.

Opening hours:
Tuesday 10-20
Wednesday-Sunday 10-18
Monday closed

Moderna Museet website

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15
Jan
13

Exhibition: ‘Wolfgang Tillmans’ at Moderna Museet Stockholm

Exhibition dates: 6th October 2012 – 20th January 2013

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In this bumper posting, a big call: in my opinion, the greatest photography based image maker in the world today.

Tillmans challenges the way we think and feel about photography. As Tom Holert in his excellent catalogue essay The Unforeseen notes, Tillmans problematises and reconfigures narration and visualisation, experimenting with a sensory experiential backdrop against and within which the photographs are produced. Modes of perception and the regimes of emotion are inducted into the aesthetics of production and meaning so that, “the pictures communicate with each other in a way that is not bound to the pattern of a closed narrative or any particular line of argument. Instead they create a form of aesthetic and thematic interaction that Tillmans sees as ‘a language of personal associations and “thought-maps.”‘ The mobilisation and reversal of value and meaning are central strategies in Tillmans’ praxis.

In this way Tillmans opens up spaces for research, “in which learning and unlearning, resonance and interference, a new affective solidarity and real experimentation might be possible before the onset of all sorts of methods, all forms of governance, all kinds of discipline and doxa [common belief or popular opinion].

This form of experimentation does not lead to benchmark research results; nothing is ever proved or illustrated, regardless of what is in the images or what they may purport to show. Ever engaging in experiment Tillmans roams through the reality of materials, forms, affects and gives us tangible access to these unportrayble, unreferential realities. Tillmans engages his emotions when he is working, also and specifically when he is photographing people, or plants, machines and cities. Individual emotions separate off from the representation of living beings and objects and form nodes of emotion in the viewer’s mind.”

Through these rhizomic tendencies (a la Delueze and Guittari A Thousand Plateaus) Tillmans images generate emotion and affect, “rhythmically resonating between pictures, from wall to wall, from room to room, from side to side,” so that in each instance, in each publication or exhibition, he can “modify and modulate anew the relations between picture and picture support, representation and presentation, motif and materiality.”

Nothing is ever fixed in linear time. The work is presented as an infinitely variable, spatial and emotional relationship – an orthogonal performativity where the ritual of production and meaning is never fully predetermined at any stage of production and reception.

Read Tom Holert’s excellent catalogue essay The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans which includes information on Jacques Rancière’s concept of “‘aisthesis’ for the way in which very different things have been registered as ‘art’ for the last two hundred years or so. As he points out, “this is not about the ‘reception’ of works of art, but about the sensory experiential backdrop against and within which they come about. These are completely material conditions – places of performance or exhibition, forms of circulation and reproduction – but also modes of perception and the regimes of emotion, the categories that identify them and the patterns of thought that classify and interpret them.'” A thought provoking text (extracts below to accompany the photographs).

Marcus

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Many thankx to the Moderna Museet for allowing me to publish the photographs and the text in the posting. Please click on the photographs for a larger version of the image.

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Installation photographs of various rooms of the exhibition Wolfgang Tillmans at Moderna Museet Stockholm, including Venus transit (2004) and Man pissing on chair (1997). Photographs © Carmen Brunner

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Wolfgang Tillmans. 'Arkadia_I' 1996

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Wolfgang Tillmans
Arkadia_I
1996
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Wolfgang Tillmans. 'New Family' 2001

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Wolfgang Tillmans
New Family
2001
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Wolfgang Tillmans. 'Paper drop (window)' 2006

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Wolfgang Tillmans
Paper drop (window)
2006
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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“Wolfgang Tillmans is one of the leading artists of his generation and is constantly in the public eye, with exhibitions all over the world. The exhibition at Moderna Museet is Tillmans’ first major show in Sweden and brings nearly twenty years of picture-making to a new audience. Moderna Museet is delighted to welcome Wolfgang Tillmans – an artist who has extended the boundaries of photography and redefined the medium of photography as an artform.

Wolfgang Tillmans (b. 1968) first attracted attention at the beginning of the 1990s, with his apparently mundane pictures of subjects taken from his own surroundings. After studying in Britain, he published photographs in prominent publications such as i-D, Spex and Interview. Today, these pictures are considered trendsetting for the young generation of the 1990s, and raise questions about subcultures and sexual identities. By turning everyday situations into almost monumental images, Tillmans very strikingly captured the spirit of the times. It soon became evident that his pictures renegotiate photographic conventions and reflect contemporary currents related to culture and identity. Since then, Tillmans has continued his in-depth investigations, expanding the the realm of photography and redefining the very medium as an artform.

“Wolfgang Tillmans moves freely between images of the club scene in Berlin, political manifestations, and skyscrapers in Hong Kong; all with the same direct tonality. At the same time, all of his pictures explore photography itself – as a medium, but also as a material, convention and process,” says Curator Jo Widoff.

Recently Tillmans’ art has taken a number of different directions, revolving around various issues, everything from still lifes and modern landscapes to his lifelong interest in astronomy and the night sky. He has also taken his in-depth exploration of abstract photography even further. Tillmans’ abstract images are more closley related to the painterly tradition and he researches photography as a self-reflexive medium. Abstract images, such as Freischwimmer and Silver, are made in the darkroom, striking a balance between the deliberate and chance. Since 1995, Tillmans has been working actively and strategically with the exhibition space, so as to reveal the possibilities and limitations of the space in interplay with the photographs. His installations display a bewildering variety of formats and sizes, ways of composing the hanging of the pictures, and contexts. The exhibition at Moderna Museet should thus be seen as a site-specific installation. In recent years, Tillmans has been travelling the world taking photographs with the general title Neue Welt. These pictures relate to the new world of markets and trade, to politics and economics, and to the hypermodern. The title also refers to the new digital camera that Wolfgang used to take these pictures, which captures and documents more detail than we can perceive with the naked eye.

“Wolfgang Tillmans is one of today’s most prominent artists. Despite its visual complexity, his pictorial language is immediately recognizable. He captures the explosive energy in social situations and crosses boundaries between different artforms. He is able to use photographic means to create a kind of abstract painting,” says Museum Director Daniel Birnbaum.”

Press release from the Moderna Museet website

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Wolfgang Tillmans. 'Lux' 2009

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Wolfgang Tillmans
Lux
2009
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Wolfgang Tillmans, 'Iguazu' 2010

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Wolfgang Tillmans
Iguazu
2010
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Wolfgang Tillmans. 'Paper drop (Roma)' 2007

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Wolfgang Tillmans
Paper drop (Roma)
2007
C-type print
30.5 x 40.6 cm
Courtesy the artist and Maureen Paley, London

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Wolfgang Tillmans. 'Freischwimmer 93' 2004

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Wolfgang Tillmans
Freischwimmer 93
2004
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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“The Freischwimmer series – Free Swimmer is the most basic Lifesaving level in Germany and Switzerland – is an excellent example of Tillmans’s more experimental works. On one hand, the huge photographic papers were affixed to the wall with simple adhesive tape or paper clips; on the other, the images eluded all description and eschewed portraiture, landscape, still life or other subject matters he had centred on up to then.

The creative process of Freischwimmer, ongoing to the present, seems to speak to pure photography, divested of any form of intervention either in shooting or in enlargement, or indeed optical devices of any kind. We can almost imagine the artist in front of a large tray with reagents, performing some kind of alchemical ritual at the origin of these vaporous images, images containing a refinement that exceeds any human intention, just pure representations of themselves, of a unique and absolutely unrepeatable process. Of their reality.”

José Manuel Costa. Swimming to Freedom 38 on the The CA2M Centro de Arte Dos de Mayo website

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“The Freischwimmer, which Tillmans started to produce in the early 2000s, form a group or family of images that are not made using a camera lens. As the results of gestural and chemical operations in the dark room, these originals on medium-sized photo paper, which are subsequently scanned and enlarged both as ink-jet prints and as light-jet prints on photo paper, are unrepeatable one-offs. It has been said that these images, which include ensembles such as Peaches, Blushes and Urgency, call to mind microscopically detailed images of biolog­ical processes, hirsute epidermises, highly erogenous zones, and that their aura fills the whole space – above all when they are presented in such large formats as in Warsaw or yet larger still, as in the case of the two monumental Ostgut Freischwimmer (2004) that used to grace the walls of the Panorama Bar at Berghain in Berlin. The Freischwimmer and their kin can be read as diagrams of sexualised atmospheres in private or semi-public spaces, in boudoirs or clubs, as highly non-representational images that both suspend and supplement conventional depic­tions of sex.”

Extract from Tom Holert. The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans. Online catalogue

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Wolfgang Tillmans. 'Nanbei Hu' 2009

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Wolfgang Tillmans
Nanbei Hu
2009
Inkjet print
207 x 138 cm
Courtesy the artist and Maureen Paley, London

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Wolfgang Tillmans. 'Anders pulling splinter from his foot' 2004

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Wolfgang Tillmans
Anders pulling splinter from his foot
2004
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Wolfgang Tillmans. 'Onion' 2010

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Wolfgang Tillmans
Onion
2010
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Wolfgang Tillmans. 'Venus transit' 2004

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Wolfgang Tillmans
Venus transit
2004
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Extracts from Tom Holert. The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans. Online catalogue
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Parallelism – Subjectivism – Objectivism

This all means that the decorative unity of wall and image, which the hanging of the Freischwimmer initially promises, is not only thwarted by the shift in dimensions, the infringement of symmetrical order and the (supposed) discontinuity of abstraction and figuration, and by the fact that the different types of image and their configuration on this wall require the viewer to move around in the space and to continually readjust his or her gaze, bearing in mind that in the corner of one’s eye or following a slight turn of the body more pictures are constantly looming into view, mostly unframed, very small (postcard-sized), very large, hung very low down, but also very high up, portraits and still lifes, gestural abstractions, a close-up of a vagina, a picture of a modern Boy with Thorn, street scenes, an air-conditioning system. It also means that the pictures communicate with each other in a way that is not bound to the pattern of a closed narrative or any particular line of argument. Instead they create a form of aesthetic and thematic interaction that Tillmans sees as ‘a language of personal associations and “thought-maps”‘,1 as ‘. . . a pattern of parallelism as opposed to one linear stream of thought’,2 and which the critic Jan Verwoert has aptly described as a ‘performative experiment’ with the viewer.3

With all their variability and flexibility – underpinned by an invisible rectilinear grid yet fundamentally open in their interconnections – these installations serve Tillmans as reflections of his own way of perceiving the world, as externalizations of his thinking and feeling, and as a chance to fashion a utopian world according to his own ideas and fantasies.4 However, this Romantic subjectivism of self-expression or externalization has to be seen in light of a radical objectivism (Tillmans attaches great importance to this) that specifically draws attention not only to the expressive potential arising from the ageing process, from evidence of wear and other precariousnesses in the materials of photography (paper, camera techniques, chemicals, developing equipment etc.) but also to the remarkable resistance and persistence of these same materials.

Amongst the phenomena that inform this objectivism there are those instances of loss of control that can arise during the mechanical production processes of analogue photography or from coding errors, glitches, in digital images. Temporality, finity, brevity come into play here – a certain melancholy that activates rather than paralyses.

Over the years Tillmans has constantly found new ways to explore, to interpret and to stage this dialectic of intention and contingency. His repertoire and means of aesthetic production have multiplied. And this expansion has not been without consequences for the presentation of his work. Tillmans himself feels that the character of his installations has changed since 2006/07, in other words, when different versions of a solo exhibition of his work toured to three museums in the United States. It was during this exhibition tour that Tillmans started to see the benefit of placing greater weight on individual groups of works in the various rooms of larger exhibitions. In so doing he gave visitors the chance to engage in a different kind of concentration, without the pressure of constantly having to deal with the ‘full spectrum’ (Tillmans) of his oeuvre.5

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Wolfgang Tillmans. 'Heptathlon' 2009

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Wolfgang Tillmans
Heptathlon
2009
Inkjet print
208.5 x 138 cm
Courtesy the artist and Maureen Paley, London

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Wolfgang Tillmans. 'Headlight (a)' 2012

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Wolfgang Tillmans
Headlight (a)
2012
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Wolfgang Tillmans. 'Ushuaia Lupine (a)' 2010

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Wolfgang Tillmans
Ushuaia Lupine (a)
2010
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Value Theory, Value Praxis

… The visitor to an exhibition of the work of Wolfgang Tillmans in the year 2012, in this case the author of these lines, arrives in expectation of a particular, clearly defined type of art and image experience. A sense (however fragmentary) of the artist’s past exhibitions and publications is always present in any encounter with his work. And this includes the need to see the ‘abstract pictures’ in the context of an oeuvre where realistic and abstract elements have never intentionally been separated from each other. On the contrary, abstraction is always co-present with figurative and representational elements. There is no contradiction between forms and matter free of meaning – that is to say, visual moments that on the face of it neither represent nor illustrate anything – and Tillmans’ photographs of people, animals, objects and landscapes; in fact there is an unbroken connection, a continuum. This applies both to individual images as much as to the internal, dynamic relationalism of his oeuvre as a whole. And it also applies to each individual, concrete manifestation of multiplicity, as in the case of the installation in the first room of the exhibition in Warsaw.

Both aesthetic theory and the institution of art itself provide decisive grounds for discussing photography and visual art in such a way that images are not solely considered in terms of documentary functions or ornamental aspects nor are they reduced to the question as to whether their contents are stage-managed or authentic, but that attention is paid instead to the material nature of the pictures and objects in the space, to their sculptural qualities. Having decided early on against a career as a commercial photographer and in favour of a life in art, there was no need for Tillmans to seek to justify the interest he had already felt in his youth in a non-hierarchical, queer approach to various forms and genres in the visual arts. For the young Wolfgang Tillmans the cover artwork for a New Order LP, a portrait of Barbara Klemm (in-house photographer at the Frankfurter Allgemeine Zeitung), or a screenprint collage of Robert Rauschenberg in Kunstsammlung Nordrhein-Westfalen were all ‘equally important’ images’.7 The mobilisation and reversal of value and meaning are central strategies in his praxis. He questions the ‘language of importance’8 in photography and alters valencies of the visual by, for instance – in a ‘transformation of value’9 – producing C-prints from the supposedly impoverished or inadequate visuality of old black-and-white copies or wrongly developed images and thus raising them to the status of museum art. However much he may set store by refinement and precision, he avoids conventional forms of presentation, that is to say, ‘the signifiers that give immediate value to something, such as the picture frame’.10

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Wolfgang Tillmans. 'Tukan' 2010

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Wolfgang Tillmans
Tukan
2010
Inkjet print on paper, clips

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Wolfgang Tillmans. 'Photocopy' 1994

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Wolfgang Tillmans
Photocopy
1994
© Wolfgang Tillmans, Courtesy Galerie Daniel Buchholz, Köln

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Conditions: Subject – Work – Mediation

If we take the line proposed by the philosopher Jacques Rancière, then the ‘aesthetic regime’ of the modern era, which – following the introduction of a modern concept of art and aesthetics – abandoned the regulatory aesthetic canon of the classical age in the nineteenth century, is distinguished by the fact that under its auspices the traditional hierarchies separating the high from the popular branches of narration and visualisation were problematised and reconfigured in such a way that a new politics of aesthetics and a ‘distribution of the sensible’ in the name of art ensued. Rancière has recently proposed the term ‘aisthesis’ for the way in which very different things have been registered as ‘art’ for the last two hundred years or so. As he points out, this is not about the ‘reception’ of works of art, but about the sensory experiential backdrop against and within which they come about. ‘These are completely material conditions – places of performance or exhibition, forms of circulation and reproduction – but also modes of perception and the regimes of emotion, the categories that identify them and the patterns of thought that classify and interpret them.’12

In order to understand why the work of Wolfgang Tillmans – so seemingly casual, so heterogeneous and so wide-ranging – is not only extremely successful, but has, for over twenty years, been intelligible and influential both within and outside the field of art, with the result that by now his praxis seems like a universal, subtly normative style of perception and image-making, it is essential to consider the ‘conditions’ alluded to by Rancière. For these are fundamental to the specific visibility and speakability of this oeuvre and to its legitimacy as art…

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The Production of the New

Tillmans thus also makes his contribution to an answer to the question posed by the philosopher John Rajchman (in response to Gilles Deleuze and Michel Foucault and their deliberations on the production of the new and on the creative act in present-day, control-obsessed societies). Rajchman asked how, in and with the arts and their institutions, spaces for open searches and researches could be devised, in which learning and unlearning, resonance and interference, a new affective solidarity and real experimentation might be possible before the onset of all sorts of methods, all forms of governance, all kinds of discipline and doxa.18

This form of experimentation does not lead to benchmark research results; nothing is ever proved or illustrated, regardless of what is in the images or what they may purport to show. Ever engaging in experiment Tillmans roams through the reality of materials, forms, affects and gives us tangible access to these unportrayble, unreferential realities. Tillmans engages his emotions when he is working, also and specifically when he is photographing people, or plants, machines and cities. Individual emotions separate off from the representation of living beings and objects and form nodes of emotion in the viewer’s mind. ‘Artists are presenters of affects, the inventors and creators of affects’, as Gilles Deleuze and Félix Guattari put it in What is Philosophy?, ‘they draw us into the compound’.19 And indeed Tillmans’ laboratories are places where emotion and affect are generated and presented, rhythmically resonating between pictures, from wall to wall, from room to room, from side to side. The dog asleep on the stones, its breathing body warmed by the sun (in the video Cuma, 2011), Susanne’s lowered gaze (in Susanne, No Bra, 2006), with the line of her hair encircling her head like an incomplete figure of eight, but also the disturbed, interrupted, lurking monochromaticism of the Lighter and Silver works – they all open up the longer you look at them, the longer you are with them, to a perceiving in terms of forces and affects. They alert us to the fact that all images are fabricated…

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Wolfgang Tillmans. 'Alex Lutz back' 1992

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Wolfgang Tillmans
Alex Lutz back
1992
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Wolfgang Tillmans. 'Smokin Jo' 1995

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Wolfgang Tillmans
Smokin Jo
1995
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

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Wolfgang Tillmans. 'Lutz & Alex sitting in the trees' 1992

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Wolfgang Tillmans
Lutz & Alex sitting in the trees
1992
Inkjet print on paper, clips
208 × 138 cm

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Assimilating Photography into the Paradox

By virtue of the portability and variability of his works, with every print, with every exhibition, with every publication Tillmans can modify and modulate anew the relations between picture and picture support, representation and presentation, motif and materiality. In the two decades that have elapsed since his entry into the art business his praxis has continuously expanded. From the outset photography was his springboard for both integrative and eccentric acts. And even though this oeuvre may create the impression that the medium of photography knows no limits, photography – as discourse, as technique, as history, as convention – has remained the constant point of reference for all of Tillmans’ complex operations. It could also be said that he is immensely faithful to his chosen medium, although – or precisely because – that medium is not always recognisable as such. To quote an older essay on photography and painting by Richard Hamilton (whom Tillmans once photographed), his work is about ‘assimilating photography into the domain of paradox, incorporating it into the philosophical contradictions of art….’30 Since Tillmans’ experiments with a laser copier in the 1980s, he has produced hundreds of images that may be beholden to the etymology of photography (light drawing) but that also constantly undermine or overuse the social and epistemological functions of photography as a means to depict reality, as proof, as an aide mémoire, as documentation or as a form of aesthetic expression. The discourse on photography, with all its ‘post-photographic’ exaggerations, the debate on the status of the photographic image – none of these have been concluded; on the contrary, Tillmans is continuously advancing them on his own terms. His praxis forms the backdrop for experimentation and adventures in perception that are closely intertwined with the past and the present of photography and theories of photography; yet the specific logic of this oeuvre creates a realm of its own in which archive and presentation interlock in such a way that photography still plays an important part as historic and discursive formation, but the problems and paradoxes of fine art have now taken over the key functions.

The contagious impact of the epistemological problems of art has opened up new options for the medium of photography, new contexts of reception. And in this connection it is apparent, as Julie Ault has put it, that ‘Tillmans enacts his right to complex mediation’.31 In other words, photography provides a means for him to engage with a whole range of interactions with the viewer. In his eyes and hands photography becomes a realm of potential, where a never-ending series of constellations and juxtapositions of materialities, dimensions and motifs of the ‘unforeseen’ can come about. Photography thus regains a dimension of experimentation, an openness that is not constrained by aesthetic formats and technical formatting but that does arise from a precise knowledge and understanding of the history of the medium.”

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Extracts from Tom Holert. The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans. Online catalogue

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Footnotes from extracts

  • 1. “Peter Halley in Conversation with Wolfgang Tillmans”, in Jan Verwoert, Peter Halley and Midori Matsui, Wolfgang Tillmans (London: Phaidon, 2002), 8-33 at 29
  • 2. Steve Slocombe, “Wolfgang Tillmans – The All-Seeing Eye”, in Flash Art, vol. 32, no. 209, November–Decem- ber 1999, 92-95 at 95
  • 3. Jan Verwoert, “Survey: Picture Possible Lives: The Work of Wolfgang Tillmans”, in Verwoert et. al., Wolfgang Tillmans, 36-89 at 72
  • 4. See Slocombe, “Wolfgang Tillmans – The All-Seeing Eye” (see note 2), 95
  • 5. See Julia Peyton-Jones and Hans Ulrich Obrist, “Interview with Wolfgang Tillmans”, in Wolfgang Tillmans (London: Serpentine Gallery/Koenig Books, 2010), 21-27 at 24
  • 7. Wolfgang Tillmans, email of 12 May 2012.
  • 8. Julie Ault, “Das Thema lautet Ausstellen Installations as Possibility in the Practice of Wolfgang Tillmans”, in Wolfgang Tillmans. Lighter (Stuttgart/Berlin: Hatje Cantz/SMB), Nationalgalerie Staatliche Museen zu Berlin, 2008, 27
  • 9. See Hans Ulrich Obrist, Wolfgang Tillmans (Cologne: Verlag der Buchhandlung Walther König, 2007 = The Conversation Series, 6), 41
  • 10. Gil Blank, “The Portraiture of Wolfgang Tillmans”, in Influence, 2, autumn 2004, 110-21 at 117
  • 12. Jacques Rancière, Aisthesis. Scènes du régime esthétique de l’art (Paris: Galilée, 2011), 10
  • 18. Zepke (ed.), Deleuze, Guattari and the Production of the New (London: Continuum, 2008), 80-90 at 89
  • 19. See Deleuze and Guattari, What Is Philosophy?, trans. Hugh Tomlinson and Graham Burchell (New York: Columbia University Press, 1994), 175
  • 30. Richard Hamilton, “Photography and Painting”, in Studio International, vol. 177, no. 909, March 1969, 120-25 at 125
  • 31. Julie Ault, “The Subject Is Exhibition” (see note 8), 15

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Moderna Museet, Stockholm

Moderna Museet is ten minutes away from Kungsträdgården, and twenty minutes from T-Centralen or Gamla Stan. Walk past Grand Hotel and Nationalmuseum on Blasieholmen, opposite the Royal Palace. After crossing the bridge to Skeppsholmen, continue up the hill. The entrance to Moderna Museet and Arkitekturmuseet is on the left-hand side.

Opening hours:
Tuesday 10-20
Wednesday-Sunday 10-18
Monday closed

Moderna Museet website

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06
Sep
12

Exhibition: ‘Irving Penn: Diverse Worlds’ at Moderna Museet Malmö, Sweden

Exhibition dates: 16th June 2012 – 9th September 2012

 

Many thankx to the Moderna Museet Malmö for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

 

Irving Penn
Balenciaga Little Great Coat (Lisa Fonssagrives-Penn), Paris, 1950
1950
© Copyright by The Irving Penn Foundation

 

 

Irving Penn
Ingmar Bergman (1 of 4), Stockholm, 1964
1964
© Copyright by The Irving Penn Foundation.

 

 

“For the first time in the Öresund region, a rich selection of Irving Penn’s photographs from some of his most famous serial photography are being presented. His innovative fashion features, portraits and still-lifes made Irving Penn one of the leading photographers of our time. Spanning more than 60 years, his career is characterised by a cool, minimalist approach to the medium. With a selection of nearly 90 works and samples from his assignments for numerous publications, the exhibition at Moderna Museet Malmö covers a broad spectrum of Irving Penn’s oeuvre.

Irving Penn (1917-2009) is regarded as one of the leading photographers of our time. He was active in both the commercial and artistic fields. In 1985, he won the prestigious Hasselblad Award. In his terse serial works, Irving Penn developed a style that is distinguished by its sharpness, detail, meticulousness and minimalist imagery. The exhibition Diverse Worlds presents photographs from his most famous series and spans more than half a century. Most of these works were donated to Moderna Museet in 1995 by Penn himself, in memory of his wife, Swedish-born Lisa Fonssagrives-Penn.

Diverse Worlds is a broad resumé of Irving Penn’s oeuvre, revealing clearly the consistent style that is characteristic of his photographs. His output is typically imbued with an inquisitive eye and attention to detail, whatever the subject matter. A discussion of the commercial-artistic dichotomy seems rather pointless in the case of Irving Penn, who balanced constantly between the two, allowing one to benefit the other. His experience and background as a painter, for instance, came in handy when he was commissioned by established fashion houses to create their advertisements for publications such as Vogue – a magazine Penn worked for throughout most of his career.

In post-war New York, many cultural celebrities visited Irving Penn’s studio. The turmoil that prevailed after the Second World War was illustrated by portraying these ostensibly immortal icons trapped in a narrow corner. Penn has also related how this corner was created in his studio to counteract his own feelings of inferiority in relation to the celebs he portrayed. The less famed were also captured by Irving Penn’s camera, including small tradesmen in London and Paris, and members of Hell’s Angels in San Francisco. Life’s transience is distinctly visualised in many of the still-lifes Penn made in his career – often commissioned by fashion houses but also as part of his own projects.

Despite the variation in these pictorial series, Irving Penn’s oeuvre, and the presentation in Diverse Worlds, reveals a consistent curiosity and desire, and a wish to depict the divergent subjects in the same sensitive and detailed way. He achieved this by placing them all in the same setting. Different image worlds meet and are literally constructed in the same neutral space – Irving Penn’s studio.”

Press release from the Moderna Museet Malmö website

 

 

Irving Penn
Fishmonger, London, 1950
1950
© by Condé Nast Publications Ltd.

 

 

Irving Penn
Cat Woman, New Guinea, 1970
1970
© Copyright by The Irving Penn Foundation

 

 

Irving Penn
Frozen Foods with String Beans, New York, 1977
1977
© Copyright by The Irving Penn.

 

 

Moderna Museet Malmö
Gasverksgatan 22 in Malmö

Moderna Museet Malmö is located in the city centre of Malmö. Ten minutes walk from the Central station, five minutes walk from Gustav Adolfs torg and Stortorget.

Opening hours:
Tuesday, Thursday – Sunday 11-18
Wednesday 11-21
Mondays closed

Moderna Museet Malmö website

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15
Apr
12

Exhibition: ‘Ladies and Gentlemen: The Camera as a Mirror’ at the Moderna Museet, Malmö, Sweden

Exhibition dates: 18th February 2012 – 22nd April 2012

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

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Cindy Sherman
Untitled Film Still #56
1980
© Cindy Sherman. Courtesy of the Artist and Metro Pictures

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Samuel Fosso
Sans titre. De la série Années 70
1970-1980
© Samuel Fosso, Courtesy JM Patras/Paris

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Robert Mapplethorpe
Patti Smith
1979
© Robert Mapplethorpe Foundation

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Robert Mapplethorpe
Self Portrait
1980
© Robert Mapplethorpe Foundation

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Seydou Keïta
Untitled #419
1950-1952
© Seydou Keïta / SKPEAC

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Seydou Keïta
Untitled #420
1950-1952
© Seydou Keïta / SKPEAC

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“This spring we will be showing more than forty photographs from the period 1950-90 taken by leading artists such as Andy Warhol, Cindy Sherman, Robert Mapplethorpe, Samuel Fosso, Tracey Moffatt, and Elina Brotherus. The exhibition focuses on the art of portrait photography and how the artist in his or her studio creates images that depict people not just as they actually are, but also as they would like to appear.

Moderna Museet’s collection of photography is among the foremost in Europe, it includes some of the most prominent figures in the history of photography. Andy Warhol, Cindy Sherman, and Robert Mapplethorpe are all big names in photography, artists whose work often revolves around concepts of identity, sexuality, and performativity. The photography studio is a place for masquerades and manipulations, a stage where various identities and roles can be tested. It therefore problematizes the idea that a portrait is meant to convey some truth about the subject’s inner life. How do we distinguish a staged scene from reality? Is it even possible to make such a distinction? How free are we to form our own identity? If it’s a matter of choosing a role, what roles are available to us?

Andy Warhol’s Polaroid pictures, whose title, Ladies and Gentlemen, has also provided the name for the exhibition, are examples of his interest in – or rather his obsession with – celebrities. From industrial magnates to movie stars, from rock musicians to the “superstar” friends who hung out around the Factory, his fabled studio. In the world of pop art and popular culture, surface is everything. Robert Mapplethorpe’s photographs are instead classically composed – stylized and aesthetically formed. In the controlled environment and lighting of the photo studio, he strives not for realism but for beauty. Here role-play becomes a part of the picture’s constructed character.

In Cindy Sherman’s suite of images called Untitled Film Stills (1977-80), she plays with film clichés. The scenes and characters in her photographs seem familiar, but in fact it’s always Sherman herself we see in the leading role. Using the camera as a mirror, she takes on and explores various roles. It’s a game of trying on identities that is familiar to teenagers in particular the world over, a game we play in an attempt to find ourselves, or rather to construct an individual identity. One of the many ways in which Sherman’s pictures have been interpreted is as a feminist critique of the limited number of roles available to women.

This exhibition also presents several works by Seydou Keïta, Malick Sidibé, and Samuel Fosso, studio photographers who work primarily with portrait photography. Keïta’s studio was next-door to a movie theater in Bamako, the capitol city of Mali. Sidibé takes pictures not just in his studio but also at weddings and other parties. His photographs from Bamako in the 1960s reflect the great hope that came with liberation from French colonial power. Fosso opened his studio in Bangui, in the Central African Republic, when he was still a teenager. He is best known for a series of self-portraits in which he dons a variety of outfits to assume different roles.”

Press release from the Moderna Museet website

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Elina Brotherus
Honeymoon (detail)
1997
© Elina Brotherus

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Francesco Vezzoli
Portrait of H.R.H The Princess of Hanover (Before & After Salvador Dalí)
2009
© Francesco Vezzoli/BUS 2012

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Andy Warhol
Gianni Agnelli
1972
© Andy Warhol/BUS 2012

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Andy Warhol
John Chamberlain and Lorraine
1978
© Andy Warhol/BUS2012

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Andy Warhol
Ladies and Gentlemen (Wilhelmina Ross)
1974
© Andy Warhol/BUS 2012

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Moderna Museet Malmö
Gasverksgatan 22 in Malmö

Moderna Museet Malmö is located in the city centre of Malmö. Ten minutes walk from the Central station, five minutes walk from Gustav Adolfs torg and Stortorget.

Opening hours:
Tuesday, Thursday – Sunday 11-18
Wednesday 11-21
Mondays closed

Moderna Museet Malmö website

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24
Jul
11

Exhibition: ‘Another Story’ at Moderna Museet, Stockholm

Exhibition dates: February 2011 – end of the year

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A bumper posting from an exhibition highlighting a collection of over 100,000 photographs – how lucky are they! Many thankx to the Moderna Museet for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Another Story: Possessed by the Camera

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Annika von Hausswolff
‘I Am the Runway of Your Thoughts’
2008
© Annika von Hausswolff

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Andreas Gursky
‘Bibliothek’
1999
© Andreas Gursky/BUS 2011

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Candida Höfer
‘The Louvre in Paris X 2005 – the caryatid hall’
2005
© Candida Höfer/BUS 2011

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Thomas Ruff
‘Häuser Nummer 9’
1989
© Thomas Ruff/BUS 2011

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Cindy Sherman
‘Untitled’
2008
© Courtesy of the Artist and Metro Pictures

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“In 2011, Moderna Museet’s new directors, Daniel Birnbaum and Ann-Sofi Noring, will launch a new presentation of the collection. Another Story gives a fresh angle on art history, based on works from the Moderna Museet collection. We will start by focusing on photography, which will gradually be given a more prominent position, only to fill the entire exhibition of the permanent collection this autumn.

If you want an art collection to develop and stay alive, it can’t remain static. You need to present it in new ways and look at it from new angles. That may sound obvious, but it is not that common. In 2011, Moderna Museet will take a radical step, with Another Story. Photography from the Moderna Museet Collection. This is possibly the most extreme re-hanging of the collection undertaken in the history of the museum.

There is a growing interest in photography today, as proven by the panoply of exhibitions, fairs and festivals throughout the world. And this is hardly surprising. Nowadays, practically everyone is a photographer, at the very least snapping pictures with the camera built into most mobiles.

Moderna Museet’s collection of photography, ranging from 1840 to the present day, is one of the finest in Europe, featuring many of the most prominent names in photo history and comprising more than 100,000 photographs. The collection provides a historic background to the art of photography, and now we are sharing this with all our visitors. Moreover, several magnificent private donations have recently enriched the collection with works by famous artists practising in the field of photography.

Moderna Museet has one of Europe’s finest collections of photography, ranging from 1840 to the present day. Many of the most famous names in photographic history are represented, and the collection comprises more than 100,000 works. The re-hanging of the permanent collection exhibition will be done in three stages. In February, we will open the first part, Another Story: Possessed by the Camera, which presents contemporary photography-based art. Just before summer, we open Another Story: See the World!, presenting the period 1920-1980. This autumn, finally, we look at the early days of photography. Another Story: Written in Light presents the pioneers of photography from 1840 to the first three decades of the 20th century. In autumn 2011 and for the rest of the year, the entire permanent collection exhibition will consist of photography and photo-based art.”

Text from the Moderna Museet website

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Another Story: See the World!

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Aleksandr Rodtjenko
‘Sjukov-masten, radiomast i Moskva’
1929
© Aleksandr Rodtjenko

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August Sander
‘Die elegante Frau – Sekrutärin beine WDR’
1927/ca.1975
© August Sander/BUS 2011

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Christer Strömholm
‘Barcelona’
1959
© Christer Strömholm/Bildverksamheten Strömholm

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Christer Strömholm
‘Hiroshima’
1963/1981
© Christer Strömholm/Bildverksamheten Strömholm

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Irving Penn
Frozen Foods with String Beans, New York, 1977′
1977
© Irving Penn Foundation

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Irving Penn
‘Mouth (for L’Oréal), New York, 1986’
1986
© Irving Penn Foundation

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Another Story: Written in Light

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Julia Margaret Cameron
‘The Mountain Nymph, Sweet Liberty’
1866
© Julia Margaret Cameron

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Moderna Museet, Stockholm

Moderna Museet is ten minutes away from Kungsträdgården, and twenty minutes from T-Centralen or Gamla Stan. Walk past Grand Hotel and Nationalmuseum on Blasieholmen, opposite the Royal Palace. After crossing the bridge to Skeppsholmen, continue up the hill. The entrance to Moderna Museet and Arkitekturmuseet is on the left-hand side.

Opening hours:
Tuesday 10-20
Wednesday-Sunday 10-18
Monday closed

Moderna Museet website

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17
May
11

Exhibition: ‘Jeanloup Sieff’ at Moderna Museet, Stockholm

Exhibition dates: 19th February – 22nd May 2011

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

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Jeanloup Sieff
Ballet, Paris Opera, 1960
1960
© The Estate of Jeanloup Sieff, Paris

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Jeanloup Sieff
Carolyn Carlson, Paris, 1974
1974
© The Estate of Jeanloup Sieff, Paris

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Jeanloup Sieff
Yves Saint Laurent, Paris, 1971
1971
© The Estate of Jeanloup Sieff, Paris

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“The French photographer Jeanloup Sieff (1933 – 2000) is a legend in fashion photography and one of the most prominent photographers of his generation. Opening on 19 February, Moderna Museet in Stockholm presents the first Nordic solo exhibition of Jeanloup Sieff.

Jeanloup Sieff began photographing in the early 1950s, as a contemporary of Helmut Newton and David Bailey, belonging to the generation succeeding Irving Penn. In the course of a long career, his photography spanned from fashion, advertising and portraits to reportage and landscapes. His images are often sensual and elegant, and in the 1960s he was much in demand as a fashion photographer, especially in the USA, where he lived for some years in New York. As a respected fashion photographer, Sieff had assignments for magazines such as Elle, Harper’s Bazaar, Vogue, Esquire, Glamour and Jardin des Modes. Sieff also engaged in commercial photography, including promotion campaigns for Chanel and Revlon and the first Yves Saint Laurent fragrance.

“In his fashion and advertising photographs the models are characteristically close to the pictorial surface, an effect achieved by using a wide-angle lens. His working method was based on physical and emotional closeness. This lack of distance makes his images exciting and visually interesting,” says Anna Tellgren, curator.

In the course of his career, Jeanloup Sieff took several now classic portraits of prominent fashion icons, including Yves Saint Laurent, Karl Lagerfeld and Jane Birkin. French cultural celebrities such as François Truffaut, Catherine Deneuve and Serge Gainsbourg have also been portrayed by Sieff. Several of these portraits will be featured in the exhibition at Moderna Museet. Jeanloup Sieff was deeply fascinated by dance, another of his frequent subjects. He got to know Rudolf Nureyev just after he had defected to the West, and collaborated with the American dancer and choreographer Carolyn Carlson. The exhibition at Moderna Museet presents a selection of 53 pictures from Sieff’s photographic oeuvre, with an emphasis on his dance photography.”

“He was interested in the dancers as artists, and the actual struggle during rehearsal to get their bodies to perform more or less impossible movements. His dance photographs are fascinating because they really convey the smell of sweat and the shuffling sound of dance shoes, which is exactly what he was after,” Anna Tellgren, the curator of the exhibition, commented.”

Text from the Moderna Museet website

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Jeanloup Sieff
Opéra de Paris, 1988
1988
© The Estate of Jeanloup Sieff, Paris

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Jeanloup Sieff
Judy, New York, 1965
1965
© The Estate of Jeanloup Sieff, Paris

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Jeanloup Sieff
Harper’s Bazaar, Hollywood, 1962
1962
© The Estate of Jeanloup Sieff, Paris

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Moderna Museet, Stockholm

Moderna Museet is ten minutes away from Kungsträdgården, and twenty minutes from T-Centralen or Gamla Stan. Walk past Grand Hotel and Nationalmuseum on Blasieholmen, opposite the Royal Palace. After crossing the bridge to Skeppsholmen, continue up the hill. The entrance to Moderna Museet and Arkitekturmuseet is on the left-hand side.

Opening hours:
Tuesday 10-20
Wednesday-Sunday 10-18
Monday closed

Moderna Museet website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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