Posts Tagged ‘MOMA

28
Aug
22

Exhibition: ‘Our Selves: Photographs by Women Artists from Helen Kornblum’ at the Museum of Modern Art (MoMA), New York

Exhibition dates: 16th April – 2nd October 2022

Organised by Roxana Marcoci, The David Dechman Senior Curator of Photography, with Dana Ostrander, Curatorial Assistant, and Caitlin Ryan, Curatorial Assistant, Department of Photography, MoMA

 

 

Lotte Jacobi (American, 1896-1990) 'Head of the Dancer' 1929

 

Lotte Jacobi (American, 1896-1990)
Head of the Dancer Niura Norskaya
1929
Gelatin silver print
7 1/2 × 9 3/8″ (19.1 × 23.8cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

With a focus on people, this is a challenging exhibition that can only scratch the surface of the importance of the photographic work of women artists to the many investigations critical to the promotion of equality and diversity in a complex and male orientated world.

Germaine Krull is always a favourite, as is the work of neutered genius (and my hero), Claude Cahun. Susan Meiselas’s immersive work is also impressive in its “understanding of social, political and global issues and of the potentially complex ethical relationship between photographer and subject”, especially in her early work Carnival Strippers (1972-1975). I also particularly like the sensibility of the Mexican women photographers: sensitive portraits of strong women.

The most cringe worthy photograph that illustrates some of the ills associated with a male-orientated society is Ruth Orkin’s staged but spontaneous photograph, American Girl in Florence, Italy (1951, below) which was “an instant conversation starter about feminism and street harassment long… [and which is] more relevant now than ever for what it truly represents: independence, freedom and self-determination.”

“The photos ran in Cosmopolitan magazine in 1952 in a photo essay, “When You Travel Alone…”, offering tips on “money, men and morals to see you through a gay trip and a safe one.” The article encourages readers to buy ship and train tickets ahead of time. It reminds them to bring their birth certificate and check in with the State Department. The caption on the photo of Craig walking down the street reflects cultural mores of the era.

“Public admiration … shouldn’t fluster you. Ogling the ladies is a popular, harmless and flattering pastime you’ll run into in many foreign countries. The gentlemen are usually louder and more demonstrative than American men, but they mean no harm.”

It’s a far cry from what we tell women these days, but for its time the mere notion of encouraging women to travel alone was progressive. That’s what made the photos so special, Craig says. They offered a rare glimpse of two women – behind and in front of the camera – challenging the era’s gender roles and loving every minute of it.”1

.
Talking of challenging gender roles, I’m rather surprised there aren’t any photographs by Diane Arbus, Cindy Sherman or Francesca Woodman for example, critical women photographers who challenge our orientation towards our selves and the world. Many others could have been included as well. But that is the joy and paradox of collecting: what do you collect and what do you leave out. You have to focus on what you like and what is available.

“Rather than presenting a chronological history of women photographers or a linear account of feminist photography, the exhibition prompts new appraisals and compelling dialogues from a contemporary, intersectional feminist perspective. African-diasporic, queer, and postcolonial / Indigenous artists have brought new mindsets and questions to the canonical narratives of art history. Our Selves will reexamine a host of topics, countering racial and gender invisibility, systemic racial injustice, and colonialism, through a diversity of photographic practices, including portraiture, photojournalism, social documentary, advertising, avant-garde experimentation, and conceptual photography.” (Press release)

Dr Marcus Bunyan

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

 

  1. Emanuella Grinberg. “The real story behind ‘An American Girl in Italy’,” on the CNN website March 30, 2017 [Online] Cited 28/08/2022

 

The Museum of Modern Art announces Our Selves: Photographs by Women Artists from Helen Kornblum, an exhibition that will present 90 photographic works by female artists from the last 100 years, on view from April 16 to October 2, 2022. Drawn exclusively from the Museum’s collection, thanks to a transformative gift of photographs from Helen Kornblum in 2021, the exhibition takes as a starting point the idea that the histories of feminism and photography have been intertwined.

 

 

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

 

Installation views of the exhibition Our Selves: Photographs by Women Artists from Helen Kornblum at the Museum of Modern Art (MoMA), New York

 

 

How have women artists used photography as a tool of resistance? Our Selves: Photographs by Women Artists from Helen Kornblum reframes restrictive notions of womanhood, exploring the connections between photography, feminism, civil rights, Indigenous sovereignty, and queer liberation. “Society consumes both the good girl and the bad girl,” wrote artist Silvia Kolbowski in 1984. “But somewhere between those two polarities, space must be made for criticality.”

Spanning more than 100 years of photography, the works in this exhibition range from Frances Benjamin Johnston’s early documentary photographs of racially segregated education in turn-of-the-century United States, to a contemporary portrait by Chemehuevi artist Cara Romero that celebrates the specificity of Indigenous art forms. A tribute to the generosity of collector Helen Kornblum, Our Selves features women’s contributions to a diversity of practices, including portraiture, photojournalism, social documentary, avant-garde experimentation, advertising, and performance.

As we continue to reckon with equity and diversity, Our Selves invites viewers to meditate on the artist Carrie Mae Weems’s evocative question: “In one way or another, my work endlessly explodes the limits of tradition. I’m determined to find new models to live by. Aren’t you?”

Text from the MoMA website

 

Alma Lavenson (American, 1897-1989) 'Self-Portrait' 1932

 

Alma Lavenson (American, 1897-1989)
Self-Portrait
1932
Gelatin silver print
9 × 11 7/8″ (22.9 × 30.2cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Germaine Krull (Dutch born Germany, 1897-1985) 'The Hands of the Actress Jenny Burnay' c. 1930

 

Germaine Krull (Dutch born Germany, 1897-1985)
The Hands of the Actress Jenny Burnay
c. 1930
Gelatin silver print
6 1/2 × 8 5/8″ (16.5 × 21.9cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Germaine Krull (Dutch born Germany, 1897-1985)

Germaine Krull was a pioneer in the fields of avant-garde photomontage, the photographic book, and photojournalism, and she embraced both commercial and artistic loyalties. Born in Wilda-Poznań, East Prussia, in 1897, Krull lived an extraordinary life lasting nine decades on four continents – she was the prototype of the edgy, sexually liberated Neue Frau (New Woman), considered an icon of modernity and a close cousin of the French garçonne and the American flapper. She had a peripatetic childhood before her family settled in Munich in 1912. She studied photography from 1916 to 1918 at Bayerische Staatslehranstalt für Lichtbildwesen (Instructional and Research Institute for Photography), and in 1919 opened her own portrait studio. Her early engagement with left-wing political activism led to her expulsion from Munich. Then, on a visit to Russia in 1921, she was incarcerated for her counterrevolutionary support of the Free French cause against Hitler. In 1926, she settled in Paris, where she became friends with artists Sonia and Robert Delaunay and intellectuals André Malraux, Jean Cocteau, Colette, and André Gide, who were also subjects of her photographic portraits.

Krull’s artistic breakthrough began in 1928, when she was hired by the nascent VU magazine, the first major French illustrated weekly. Along with photographers André Kertész and Éli Lotar, she developed a new form of reportage rooted in a freedom of expression and closeness to her subjects that resulted in intimate close-ups, all facilitated by her small-format Icarette, a portable, folding bed camera. During this period, she published the portfolio, Metal (Métal) (1928), a collection of 64 pictures of modernist iron giants, including cranes, railways, power generators, the Rotterdam transporter bridge, and the Eiffel Tower, shot in muscular close-ups and from vertiginous angles. Krull participated in the influential Film und Foto, or Fifo, exhibition (1929-1930), which was accompanied by two books, Franz Roh’s and Jan Tschichold’s Foto-Auge (Photo-Eye) and Werner Gräff’s Es kommt der neue Fotograf! (Here Comes the New Photographer!). Fifo marked the emergence of a new critical theory of photography that placed Krull at the forefront of Neues Sehen or Neue Optik (New Vision) photography, a new direction rooted in exploring fully the technical possibilities of the photographic medium through a profusion of unconventional lens-based and darkroom techniques. After the end of World War II, she traveled to Southeast Asia, and then moved to India, where, after a lifetime dedicated to recording some of the major upheavals of the twentieth century, she decided to live as a recluse among Tibetan monks.

Introduction by Roxana Marcoci, Senior Curator, Department of Photography, 2016

 

Ruth Orkin. 'American Girl in Italy' 1951

 

Ruth Orkin (American, 1921-1985)
American Girl in Florence, Italy
1951
Gelatin silver print
8 1/2 × 11 15/16″ (21.6 × 30.3cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Although this photograph appears to be a street scene caught on the fly-an instance of what Henri Cartier-Bresson called the “decisive moment”  – it was actually staged for the camera by Orkin and her model. “The idea for this picture had been in my mind for years, ever since I had been old enough to go through the experience myself,” Orkin later wrote. While traveling alone in Italy, she met the young woman in the photograph at a hotel in Florence and together they set out to reenact scenes from their experiences as lone travellers. “We were having a hilarious time when this corner of the Piazza della Repubblica suddenly loomed on our horizon,” the photographer recalled. “Here was the perfect setting I had been waiting for all these years… And here I was, camera in hand, with the ideal model! All those fellows were positioned perfectly, there was no distracting sun, the background was harmonious, and the intersection was not jammed with traffic, which allowed me to stand in the middle of it for a moment.” The picture, with its eloquent blend of realism and theatricality, was later published in Cosmopolitan magazine as part of the story “Don’t Be Afraid to Travel Alone.”

Text from the Metropolitan Museum of Art website

 

Imogen Cunningham (American, 1883-1976) 'Three Harps' 1935

 

Imogen Cunningham (American, 1883-1976)
Three Harps
1935
Gelatin silver print
9 5/8 × 7 1/2″ (24.4 × 19.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Consuelo Kanaga (American, 1894-1978) 'School Girl, St. Croix' 1963

 

Consuelo Kanaga (American, 1894-1978)
School Girl, St. Croix
1963
Gelatin silver print
12 13/16 × 8 15/16″ (32.5 × 22.7cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Gertrud Arndt (German, 1903–2000) 'Untitled (Masked Self-Portrait, Dessau)' 1930

 

Gertrud Arndt (German, 1903–2000)
Untitled (Masked Self-Portrait, Dessau)
1930
Gelatin silver print
9 × 5 5/8 in. (22.9 × 14.3cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Gertrud Arndt (German, 1903–2000)

Gertrud Arndt (born Gertrud Hantschk in Upper Silicia) set out to become an architect, beginning a three-year apprenticeship in 1919 at the architecture firm of Karl Meinhardt in Erfurt, where her family lived at the time. While there, she began teaching herself photography by taking pictures of buildings in town. She also attended courses in typography, drawing, and art history at the Kunstgewerbeschule (School of design). Encouraged by Meinhardt, a friend of Walter Gropius, Arndt was awarded a scholarship to continue her studies at the Bauhaus in Weimar. Enrolled from 1923 to 1927, Arndt took the Vorkurs (foundation course) from László Moholy-Nagy, who was a chief proponent of the value of experimentation with photography. After her Vorkurs, Georg Muche, leader of the weaving workshop, persuaded her to join his course, which then became the formal focus of her studies. Upon graduation, in March 1927, she married fellow Bauhaus graduate and architect Alfred Arndt. The couple moved to Probstzella in Eastern Germany, where Arndt photographed buildings for her husband’s architecture firm.

In 1929, Hannes Meyer invited Alfred Arndt to teach at the Bauhaus, where Arndt focused her energy on photography, entering her period of greatest activity, featuring portraits of friends, still-lifes, and a series of performative self-portraits, as well as At the Masters’ Houses, which shows the influence of her studies with Moholy-Nagy as well as her keen eye for architecture. After the Bauhaus closed, in 1932, the couple left Dessau and moved back to Probstzella. Three years after the end of World War II the family moved to Darmstadt; Arndt almost completely stopped making photographs.

Introduction by Mitra Abbaspour, Associate Curator, Department of Photography, 2014

 

Claude Cahun (Lucy Schwob) (French, 1894-1954) 'M.R.M (Sex)' c. 1929-1930

 

Claude Cahun (Lucy Schwob) (French, 1894-1954)
M.R.M (Sex)
c. 1929-1930
Gelatin silver print
6 × 4 in. (15.2 × 10.2cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Juliet Jacques: I’m Juliet Jacques. I am a writer and filmmaker based in London. You’re looking at a photomontage by the French artist Claude Cahun, entitled M.R.M (Sex). It’s a photomontage of Cahun’s self-portraits.

Claude Cahun was born in 1894 in France into a family of prominent Jewish intellectuals and began making photomontages in 1912 when she was 18. The works were often exploring Cahun’s own identity in terms of gender and sexuality, but also this sense of a complex and fragmented personhood. Nonbinary pronouns, as we’d understand them now, weren’t officially in existence in the 1920s. Cahun actually wrote “Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.” So, I think either she or they is appropriate.

M.R.M was published as one of the illustrations in Cahun’s book Aveux non Avenus in 1930. Throughout the book you see this playing with the possibilities of gender expression that are kind of funny, sometimes melancholic, but are very emotionally complicated and do really speak to a sense of sometimes being trapped by the confines of gender and sometimes finding these very playful and beautiful ways to break out of it.

Artists and writers, we’re supposed to be dreamers, I think, and people who want to come up with a better world. And of course Cahun’s work is really suggesting different possibilities of free expression.

It’s hard to know how Cahun might have felt about being included in an exhibition of women artists. But, I think Cahun definitely deserves a place within this feminist canon, if not a strictly female one.

Transcript of audio from the MoMA website

 

Claude Cahun (Lucy Schwob) (French, 1894-1954) 'Aveux non avenus' (Disavowals or Cancelled Confessions) 1930

 

Claude Cahun (Lucy Schwob) (French, 1894-1954)
Aveux non avenus (Disavowals or Cancelled Confessions)
1930
Illustrated book with photogravures
Cover (closed) approx. 8 11/16 × 6 11/16″ (22 × 17cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Juliet Jacques: My name is Juliet Jacques.

You’re looking at Claude Cahun’s book Aveux non Avenus, which has been translated variously as “denials” or “disavowals” or “cancelled confessions.”

It’s an autobiographical text that doesn’t just refuse the conventions of memoir, it also really refuses to open up to the reader in a clearly understandable way. It’s this mixture of photography and aphorisms and longer prose-poetic passages. It doesn’t have a formalised narrative. It’s rather just exploring the fragmented and somewhat chaotic nature of their own consciousness and what they are able to access.

I’ve just flipped to page 91. Cahun writes:

“Consciousness. The carver. My enthusiasms, my impulses, my little passions were irksome. … Come on, then. … By a process of elimination, what is necessary about me? … The material is badly cut. I want it to be straightened up. A clumsy snip with the scissors. Bach! Let’s even it up on the other side. … A stain? We’ll cover it up. Let’s trim it again. I no longer exist. Perfect. Now nothing can come between us.”

.
The affinity I felt with Cahun is because I ended up doing a lot of writing that got bracketed as confessional or sort of first-person autobiographical writing. You can get yourself into a situation where you’re constantly expected to give away details about your personal life. And what I have always found really interesting about Cahun is the refusal of that trap, even in the project of putting oneself on the page.

I was always looking for queer and trans writers, and Cahun’s work gave me this gender non-conforming take on art that I thought always should have been there.

Transcript of audio from the MoMA website

 

Hulleah J. Tsinhnahjinnie (Native American (Seminole-Muscogee-Navajo)) 'Vanna Brown, Azteca Style' 1990

 

Hulleah J. Tsinhnahjinnie (Native American (Seminole-Muscogee-Navajo))
Vanna Brown, Azteca Style
1990
Photocollage
15 11/16 × 22 13/16″ (39.9 × 58cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Veronica Passalacqua: My name is Veronica Passalacqua, and I’m a curator at the C.N. Gorman Museum at the University of California Davis. My research focus is upon contemporary Native American art with a specialty in photography. This is a work called Vanna Brown, Azteca Style by the Navajo-Tuskegee artist Hulleah Tsinhnahjinnie.

It’s a hand collage that depicts Tsinhnahjinnie’s friend, dressed in her Azteca dancing regalia within the frame of a Philco television set. It was the beginning of a series of works and videos related to a project called NTV, or Native Television. She wanted to create her own vision of what she’d like to see on television.

Curator, Roxana Marcoci: The photograph makes reference to Wheel of Fortune, a televised game show where contestants guess words and phrases one letter at a time. Vanna White has been the show’s co-host for 40 years.

Veronica Passalacqua: Vanna White was always dressed in these elaborate gowns to show the letters of the enduring game show. She was there really as a symbol of the idealised beauty that television was portraying. Tsinhnahjinnie changes the name from Vanna White to Vanna Brown, addressing the beauty that she sees in her friend. What Tsinhnahjinnie wanted to focus on was this notion that you can create these beautiful images when you have a relationship with the sitter.

I’d like to read you a quote by Tsinhnahjinnie: “No longer is the camera held by an outsider looking in, the camera is held with brown hands opening familiar worlds. We document ourselves with a humanising eye, we create new visions with ease, and we can turn the camera to show how we see you.”

Transcript of audio from the MoMA website

 

Laura Gilpin (American, 1881-1979) 'Navajo Weaver' 1933

 

Laura Gilpin (American, 1881-1979)
Navajo Weaver
1933
Platinum print
13 1/8 × 9 3/8 in. (33.3 × 23.8cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Lola Alvarez Bravo (Mexican, 1907-1993) 'Frida Kahlo' c. 1945

 

Lola Alvarez Bravo (Mexican, 1907-1993)
Frida Kahlo
c. 1945
Gelatin silver print
8 3/8 × 6 1/4″ (21.3 × 15.9 cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Lucia Moholy (British born Prague, 1894-1989) 'Frau Finsler' 1926

 

Lucia Moholy (British born Prague, 1894-1989)
Frau Finsler
1926
Gelatin silver print
7 7/8 × 10″ (20 × 25.4 cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Margaret Bourke-White (American, 1904-1971) 'Woman, Locket, Georgia' 1936

 

Margaret Bourke-White (American, 1904-1971)
Woman, Locket, Georgia
1936
Gelatin silver print
13 × 9 3/4″ (33 × 24.8cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Margrethe Mather (American, 1885-1952) 'Buffie Johnson, Painter' 1933

 

Margrethe Mather (American, 1885-1952)
Buffie Johnson, Painter
1933
Gelatin silver print
3 3/4 × 2 7/8″ (9.5 × 7.3cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Meridel Rubenstein (American, b. 1948) 'Fatman with Edith' 1993

 

Meridel Rubenstein (American, b. 1948)
Fatman with Edith
1993
Palladium print
18 1/2 × 22 1/2″ (47 × 57.2cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Helen Kornblum: I’m Helen Kornblum. If there’s a theme in my collection, I’d say it’s people. My interest in people, meeting people, knowing people, learning about people.

I have felt about my photographs almost like a third child. Each one actually has its own story for me. Where I found them, who led me to them. I’ve just attached myself in different ways to each one.

One, for instance, is Fatman with Edith by Meridel Rubenstein. With this photograph she conflates war with the feminine. She has the inhumanly destructive warhead, the plutonium bomb, called Fatman, dropped on Nagasaki, juxtaposed with a portrait of a woman, Edith Warner, and a nurturing, warm cup of tea.

Curator, Roxana Marcoci: In the early 1940s Robert Oppenheimer, a physicist in charge of The Manhattan Project developed the first atomic bomb.This photograph belongs to a series that explores encounters in New Mexico between indigenous communities and the scientists who created the bomb. These two worlds collided in the home of Edith Warner, who ran a tearoom in Los Alamos.

Helen Kornblum: Oppenheimer knew Edith Warner, who lived near Santa Fe. And when he came to create the bomb at Los Alamos, he asked Edith if he could bring scientists to her home for a place away from the creation of this bomb, and he would come with them for dinner, all during the Manhattan Project.

Roxana Marcoci: By pairing two seemingly dissimilar images, Rubenstein said she hopes “to enlarge the lives of ordinary people, and strip the mythic characters of history down to their ordinariness.”

Transcript of audio from the MoMA website

 

Edith Warner (1893-1951), also known by the nickname “The Woman at Otowi Crossing”, was an American tea room owner in Los Alamos, New Mexico, who is best known for serving various scientists and military officers working at the Los Alamos National Laboratory during the original creation of the atomic bomb as a part of the Manhattan Project. Warner’s influence on the morale and overall attitude of the people there has been noted and written about by various journalists and historians, including several books about her life, a stage play, a photography exhibition, an opera, and a dance.

Text from the Wikipedia website

 

Rosemarie Trockel (German, b. 1952) 'Untitled' 2004

 

Rosemarie Trockel (German, b. 1952)
Untitled
2004
Chromogenic print
20 3/4 × 19″ (52.7 × 48.3 cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Tatiana Parcero (Mexican, b. 1967) 'Interior Cartography #35' 1996

 

Tatiana Parcero (Mexican, b. 1967)
Interior Cartography #35
1996
Chromogenic print and acetate
9 3/8 × 6 3/16 in. (23.8 × 15.7cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Artist, Tatiana Parcero

My name is Tatiana Parcero. I’m from Mexico and I’m a visual artist and a psychologist. The work is called Interior Cartography #35, and belongs to the series of the same name.

Cartography is a science that deals with maps. I am interested in working with the body as a territory, where I can explore different paths at a physical and also in a symbolic level.

I am the one that appears in all the photographs. When I did this specific shot, I wanted to show a moment of introspection and calm. And when you see my hands near my cheeks, I wanted to represent a way to be in touch with myself, not just in a physical way, but in a more spiritual way.

The image superimposed on the face is from the Codex Tudela of the 16th century. The codices are documents that were created by ancient civilisations, like Mayans, Aztecs, that represent the pre-Columbian cultures of Mexico, their amazing universe, and the way that they lived.

When I moved to New York from Mexico, I was feeling a little bit out of place and I wanted to recreate a sense of belonging. The work is a way to connect myself with my country and the ancient cultures that are before me.

I decided to study psychology because I wanted to help people. I wanted to be able to understand emotions and be able to translate personal experiences into images and make them more accessible. It’s important for me to give the viewer several layers so that you can really explore the image and make your own interpretations and reflections. I think art can transform you and take you to a parallel universe. That is where I feel that you can be able to heal and to cure.

Transcript of audio from the MoMA website

 

Lorie Novak (American, b. 1954) 'Self-Portraits' 1987

 

Lorie Novak (American, b. 1954)
Self-Portraits
1987
Chromogenic print
22 1/2 × 18 9/16″ (57.2 × 47.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

The Museum of Modern Art announces Our Selves: Photographs by Women Artists from Helen Kornblum, an exhibition that will present 90 photographic works by female artists from the last 100 years, on view from April 16 to October 2, 2022. Drawn exclusively from the Museum’s collection, thanks to a transformative gift of photographs from Helen Kornblum in 2021, the exhibition takes as a starting point the idea that the histories of feminism and photography have been intertwined. Our Selves: Photographs by Women Artists from Helen Kornblum is organised by Roxana Marcoci, The David Dechman Senior Curator, with Dana Ostrander, Curatorial Assistant, and Caitlin Ryan, Curatorial Assistant, Department of Photography, MoMA.

Rather than presenting a chronological history of women photographers or a linear account of feminist photography, the exhibition prompts new appraisals and compelling dialogues from a contemporary, intersectional feminist perspective. African-diasporic, queer, and postcolonial / Indigenous artists have brought new mindsets and questions to the canonical narratives of art history. Our Selves will reexamine a host of topics, countering racial and gender invisibility, systemic racial injustice, and colonialism, through a diversity of photographic practices, including portraiture, photojournalism, social documentary, advertising, avant-garde experimentation, and conceptual photography. Highlighting both iconic and rare or lesser-known images, the exhibition’s groupings and juxtapositions of modern and contemporary works will encourage unexpected connections in the Museum’s fifth-floor collection galleries, which are typically devoted to art from the 1880s through the 1940s.

Our Selves will open with a wall of self-portraits and portraits of female artists by such modernist photographers as Lola Álvarez Bravo, Gertrud Arndt, Lotte Jacobi, and Lucia Moholy, alongside contemporary practitioners including Tatiana Parcero, Rosemarie Trockel, and Lorie Novak. Inviting viewers to consider the structural relationship between knowledge and power, Frances Benjamin Johnston’s Penmanship Class (1899) – a depiction of racially segregated education at the turn of the 20th century in the United States – will hang near Candida Höfer’s Deutsche Bucherei Leipzig IX (1997) – a part of Höfer’s series documenting library interiors weighted by forms of social inequality and colonial supremacy. Lorna Simpson’s Details (1996), a portfolio of 21 found photographs, signals how both the camera and language can culturally inscribe the body and reinforce racial and gender stereotypes.

Works by Native artists including Cara Romero and Hulleah J. Tsinhnahjinnie, and non-Native practitioners such as Sharon Lockhart and Graciela Iturbide, explore indigeneity and its relationship to colonial history. Photographs by Flor Garduño, Ana Mendieta, Marta María Pérez Bravo, and Mariana Yampolsky attest to the overlapping histories of colonialism, ethnographic practice, and patriarchy in Latin America.

Our Selves is accompanied by a richly illustrated catalogue that features more than 100 colour and black-and-white photographs. A critical essay by curator Roxana Marcoci asks the question, “What is a Feminist Picture?” and a series of 12 focused essays by Dana Ostrander, Caitlin Ryan, and Phil Taylor address a range of themes, from dance to ecology to perception. The catalogue offers both historical context and critical interpretation, exploring the myriad ways in which different photographic practices can be viewed when looking through a feminist lens.

Press release from the MoMA website

 

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Our Selves: Photographs by Women Artists from Helen Kornblum at the Museum of Modern Art (MoMA), New York.

The images below before the next installation image are left to right in the above installation image.

 

Graciela Iturbide (Mexican, b. 1943) 'Mujercita' 1981

 

Graciela Iturbide (Mexican, b. 1943)
Mujercita
1981
Gelatin silver print
10 1/8 × 6 3/4″ (25.7 × 17.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Mariana Yampolsky (Mexican, 1925-2002) 'Mujeres Mazahua' 1989

 

Mariana Yampolsky (Mexican, 1925-2002)
Mujeres Mazahua
1989
Gelatin silver print
13 5/8 × 18 1/2″ (34.6 × 47cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Flor Garduño (Mexican, b. 1957) 'Reina (Queen)' 1989

 

Flor Garduño (Mexican, b. 1957)
Reina (Queen)
1989
Gelatin silver print
12 1/4 × 8 3/4″ (31.1 × 22.2cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Barbara Morgan (American, 1900-1992) 'Corn Stalks Growing' 1945

 

Barbara Morgan (American, 1900-1992)
Corn Stalks Growing
1945
Gelatin silver print
12 3/16 × 9″ (31 × 22.9cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Sonya Noskowiak (American born Germany, 1900-1975) 'Plant Detail' 1931

 

Sonya Noskowiak (American born Germany, 1900-1975)
Plant Detail
1931
Gelatin silver print
9 11/16 × 7 1/2″ (24.6 × 19.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Imogen Cunningham (American, 1883-1976) 'Agave Design I' 1920s

 

Imogen Cunningham (American, 1883-1976)
Agave Design I
1920
Gelatin silver print
12 7/8 × 9 13/16″ (32.7 × 24.9cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Florence Henri (Swiss born United States, 1893-1982) 'Composition Nature Morte' 1931

 

Florence Henri (Swiss born United States, 1893-1982)
Composition Nature Morte
1931
Gelatin silver print
3 3/8 × 4 1/2″ (8.6 × 11.4cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Alma Lavenson (American, 1897-1989) 'Eucalyptus Leaves' 1933

 

Alma Lavenson (American, 1897-1989)
Eucalyptus Leaves
1933
Gelatin silver print
12 × 9″ (30.5 × 22.9cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Ruth Bernhard (American born Germany, 1905-2006) 'Angel Wings' 1943

 

Ruth Bernhard (American born Germany, 1905-2006)
Angel Wings
1943
Gelatin silver print
9 5/8 × 6 1/4″ (24.4 × 15.9cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Nelly (Elli Sougioultzoglou-Seraidari) (Greek born Turkey, 1899-1998) 'Elizaveta "Lila" Nikolska in the Parthenon, Athens, Greece' November 1930

 

Nelly (Elli Sougioultzoglou-Seraidari) (Greek born Turkey, 1899-1998)
Elizaveta “Lila” Nikolska in the Parthenon, Athens, Greece
November 1930
Gelatin silver print
6 × 8 1/2″ (15.2 × 21.6cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Our Selves: Photographs by Women Artists from Helen Kornblum at the Museum of Modern Art (MoMA), New York

The images below before the next installation image are left to right in the above installation image.

 

Laurie Simmons (American, b. 1949) 'Three Red Petit-Fours' 1990

 

Laurie Simmons (American, b. 1949)
Three Red Petit-Fours
1990
Chromogenic print
23 × 35″ (58.4 × 88.9cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Kati Horna (Mexican, 1912-2000) 'Figurines' c. 1933

 

Kati Horna (Mexican, 1912-2000)
Figurines
c. 1933
Gelatin silver print
8 1/2 × 8″ (21.6 × 20.3 cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Dora Maar (French 1907-1997) 'Mannequin in Window' 1935

 

Dora Maar (French 1907-1997)
Mannequin in Window
1935
Gelatin silver print
9 1/2 × 6″ (24.1 × 15.2 cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Inge Morath (Austrian, 1923-2002) 'Siesta of a Lottery Ticket Vendor, Plaza Mayor, Madrid' 1955

 

Inge Morath (Austrian, 1923-2002)
Siesta of a Lottery Ticket Vendor, Plaza Mayor, Madrid
1955
Gelatin silver print
7 3/16 × 4 3/4″ (18.3 × 12.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Ringl + Pit (German) Grete Stern (Argentine born Germany, 1904-1999) Ellen Auerbach (German, 1906-2004) 'Columbus' Egg' 1930

 

Ringl + Pit (German)
Grete Stern (Argentine born Germany, 1904-1999)
Ellen Auerbach (German, 1906-2004)
Columbus’ Egg
1930
Gelatin silver print
8 3/4 × 7 1/2″ (22.2 × 19.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Yva (Else Ernestine Neuländer) (German, 1900-1942) 'Untitled' 1935

 

Yva (Else Ernestine Neuländer) (German, 1900-1942)
Untitled
1935
Gelatin silver print
9 1/16 × 6 11/16″ (23 × 17cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Marie Cosindas (American, 1923-2017) 'Masks, Boston' 1966

 

Marie Cosindas (American, 1923-2017)
Masks, Boston
1966
Dye transfer print
10 × 7″ (25.4 × 17.8cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Kati Horna (Mexican, 1912-2000) 'Man and Candlesticks' c. 1933

 

Kati Horna (Mexican, 1912-2000)
Man and Candlesticks
c. 1933
Gelatin silver print
8 × 7 3/4″ (20.3 × 19.7cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Barbara Probst (German, b. 1964) 'Exposure #78, NYC, Collister and Hubert St.' 2010

 

Barbara Probst (German, b. 1964)
Exposure #78, NYC, Collister and Hubert St.
2010
Two inkjet prints (diptych)
18 3/4 × 28″ (47.6 × 71.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Barbara Probst (German, b. 1964)

Artist, Barbara Probst: I am Barbara Probst. I’m an artist working with photography. I’m born in Munich, in Germany, and I live in New York.

I’m interested in photography as a phenomenon that seemingly and supposedly depicts reality. But maybe it is the subjectivity of the photographer, which determines the image. And not the objectivity of the world.

I get a set of pictures from the same moment. By comparing these pictures, it becomes quite clear that the link between reality and photography is very thin and fragile because every picture from this moment gives a different take of this moment.

None of these images is more true or more false than any others. They are equally truthful. The viewpoints and angles and settings of the cameras and the framing and all these things determine the picture.

It’s not what is in front of the camera that determines the picture. It’s the photographer behind the camera that decides how reality is translated into an image.

Audio of Barbara Probst from the video “Elles X Paris Photo: Barbara Probst.” © Fisheye l’Agence 2021

Transcript of audio from the MoMA website

 

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Our Selves: Photographs by Women Artists from Helen Kornblum at the Museum of Modern Art (MoMA), New York

The images below before the next installation image are left to right in the above installation image.

 

Carrie Mae Weems (American, b. 1953) 'Untitled (Woman and Daughter with Makeup)' 1990

 

Carrie Mae Weems (American, b. 1953)
Untitled (Woman and Daughter with Makeup)
1990
Gelatin silver print
27 3/16 × 27 3/16″ (69.1 × 69.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

“My work endlessly explodes the limits of tradition.”

.
Carrie Mae Weems

 

What does it mean to bear witness to history? The artist Carrie Mae Weems has asked this question for decades through photography, video, performance, installation, and social practice. For Weems, to examine the past is to imagine a different future. “In one way or another, my work endlessly explodes the limits of tradition,” she declared in an interview with her friend, the photographer Dawoud Bey. “I’m determined to find new models to live by. Aren’t you?”1

Weems was trained as both a dancer and a photographer before enrolling in the folklore studies program at the University of California, Berkeley, in the mid-1980s, where she became interested in the observation methods used in the social sciences. In the early 1990s, she began placing herself in her photographic compositions in an “attempt to create in the work the simultaneous feeling of being in it and of it.”2 She has since called this recurring figure an “alter-ego,” “muse,” and “witness to history” who can stand in for both the artist and audience. “I think it’s very important that as a Black woman she’s engaged with the world around her,” Weems has said, “she’s engaged with history, she’s engaged with looking, with being. She’s a guide into circumstances seldom seen.”3

In her 1990 Kitchen Table series – 20 gelatin silver prints and 14 texts on silkscreen panels – Weems uses her own persona to “respond to a number of issues: woman’s subjectivity, woman’s capacity to revel in her body, and the woman’s construction of herself, and her own image.”4 Weems, or rather her protagonist, inhabits the same intimate domestic interior throughout the series. Anchored around a wooden table illuminated by an overhead light, scenes such as Untitled (Man smoking) and Untitled (Woman and Daughter with Makeup) portray the protagonist alongside a rotating cast of characters (friends, children, lovers) and props (posters, books, playing cards, a birdcage). In Untitled (Woman and Daughter with Makeup), for example, the woman sits at the table with a young girl; they gaze into mirrors at their own reflections, applying lipstick in parallel gestures. The photograph shows that gender is a learned performance, at the same time tenderly centering its Black women subjects.

With projects such as From Here I Saw What Happened and I Cried (1995), the act of witnessing is suggested in the first-person title. The J. Paul Getty Museum commissioned the work in 1994, inviting the artist to respond to 19th-century photographs of African American subjects collected by the lawyer Jackie Napoleon Wilson. In 28 chromogenic photographic prints overlaid with text on glass, Weems appropriated images from a variety of sources: Wilson’s collection, museum and university archives, The National Geographic, and the work of photographers like Walker Evans, Robert Frank, and Garry Winogrand. The artist cropped and reformatted these photographs, adding blue and red tints, text, and circular mats resembling a camera lens. Through this reframing, Weems poses a question about power: Who is doing the looking, and for what reasons?

Among the rephotographed images are four daguerreotypes by photographer J. T. Zealy of enslaved men and women – two father-and-daughter pairs, named Renty, Delia, Jack, and Drana – commissioned as racial types by Swiss naturalist Louis Agassiz in 1850. Weems exposes Agassiz’s racist pseudoscience and the violence of the white Anglo-American gaze through the addition of texts that address the subjects: “You became a scientific profile,” “a negroid type,” “an anthropological debate,” “& a photographic subject.” Discussing the daguerreotypes, the artist has described the sitters as agents of resistance and refusal: “In their anthropological way, most of these photographs were meant to strip the subjects of their humanity. But if you look closely, what you see is the evidence of a contest of wills over contested territory, contested terrain – contested by the by the owner of the Black body and the photographer’s attempt to conquer it vis-à-vis the camera.”5

Caitlin Ryan, Curatorial Assistant, Department of Photography, 2021

 

  1. “Carrie Mae Weems by Dawoud Bey,” BOMB, July 1, 2009, https://bombmagazine.org/articles/carrie-mae-weems/
  2. Ibid.
  3. Ibid.
  4. Weems, quoted in Carrie Mae Weems: The Kitchen Table Series (Houston: Contemporary Arts Museum Houston, 1996), 6.
  5. Weems to Deborah Willis, “In Conversation with Carrie Mae Weems,” in To Make Their Own Way in the World: The Enduring Legacy of the Zealy Daguerreotypes, eds. Ilisa Barbash, Molly Rogers, and Deborah Willis (Cambridge, MA: Peabody Museum Press; New York, NY: Aperture, 2020), 397.

 

Curator, Roxana Marcocci: We’re looking at a photograph from Carrie Mae Weems’s larger body of work, the Kitchen Table series.

Artist, Carrie Mae Weems: About 1990, I think, I had been really thinking a lot about what it meant to develop your own voice. And so I made this body of work.

It started as a kind of response to my sense of what needed to happen, what needed to be and these ideas about the sort of spaces of domesticity that have historically belonged to women.

Roxana Marcoci: In this image, Weems applies makeup in front of a mirror while a young girl seated in front of another mirror, puts on lipstick and looks at her own reflection. The two enact beauty in a synchronised performance, through posing, mirroring, and self-empowerment.

Carrie Mae Weems: I made them all in my own kitchen, using a single light source hanging over the kitchen table. It just swung open this door of what I could actually do in my own environment. What I’m suggesting really is that the battle around the family, the battle around monogamy, the battle around polygamy, the social dynamics that happens between men and women, that war gets carried on in that space.

The Kitchen Table series would not be simply a voice for African-American women, but more generally for women.

Audio of Carrie Mae Weems in the Art21 digital series Extended Play, “Carrie Mae Weems / ‘The Kitchen Table Series.'” © Art21, Inc. 2011

Transcript of audio from the MoMA website

 

Cara Romero (Native American (Chemehuevi), b. 1977) 'Wakeah' 2018

 

Cara Romero (Native American (Chemehuevi), b. 1977)
Wakeah
2018
Inkjet print
52 × 44″ (132.1 × 111.8cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Artist, Cara Romero: My name is Cara Romero, and this photograph is called Wakeah.

The inspiration for the First American Girl series was a lifetime of seeing Native American people represented in a dehumanised way. My daughter was born in 2006 and I really wanted her self image to be different. But all of the dolls that depict Native American girls were inaccurate. They lacked the detail. They lacked the love. They lacked the historical accuracy. So the series began with Wakeah.

Wakeah is Wakeah Jhane Myers and she is an incredible artist in her own right. She descends from both the Kiowa and Comanche tribes of Oklahoma. We posed Wakeah in the doll box much like you would find on the store shelves, placing all of her cultural accoutrement around her. She is wearing a traditional Southern Buckskin dress. She has a change of moccasins and her fan that she uses in dance. A lot of people ask me about the suitcase, and this is an inside joke between Native people, many of us carry our regalia in a suitcase as a way to keep it safe.

It took five family members over a year to make her regalia that she wears to compete at the pow wow dance. These contemporary pieces of regalia are really here against all odds. They exist through activism, through resistance.

A lot of what I’m doing is constructing these stories about resisting these ideas of being powerless, of being gone. Instead, I’m constructing a story of power and of knowledge and of presence. I want the viewer to fall in love. I want them to see how much I love the people that I’m working with.

Transcript of audio from the MoMA website

 

Catherine Opie (American, b. 1961) 'Angela Scheirl' 1993

 

Catherine Opie (American, b. 1961)
Angela Scheirl
1993
Silver dye bleach print
19 5/16 × 15″ (49.1 × 38.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Louise Lawler (American, b. 1947) 'Sappho and Patriarch' 1984

 

Louise Lawler (American, b. 1947)
Sappho and Patriarch
1984
Silver dye bleach print
39 3/4 × 27 1/2″ (101 × 69.9cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Our Selves: Photographs by Women Artists from Helen Kornblum at the Museum of Modern Art (MoMA), New York

The images below before the next installation image are left to right in the above installation image.

 

Candida Höfer (German, b. 1944) 'Deutsche Bücherei Leipzig IX' 1997

 

Candida Höfer (German, b. 1944)
Deutsche Bücherei Leipzig IX
1997
C-print
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Sharon Lockhart (American, b. 1964) 'Untitled' 2010

 

Sharon Lockhart (American, b. 1964)
Untitled
2010
Chromogenic print
37 × 49″ (94 × 124.5cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Our Selves: Photographs by Women Artists from Helen Kornblum at the Museum of Modern Art (MoMA), New York

The images below are left to right in the above installation image.

 

Mary Ellen Mark (American, 1940-2015) 'Tiny, Halloween, Seattle' 1983

 

Mary Ellen Mark (American, 1940-2015)
Tiny, Halloween, Seattle
1983
Gelatin silver print
Image: 13 5/16 × 9″ (33.8 × 22.9cm)
Sheet: 14 × 11″ (35.6 × 27.9cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Dorothea Lange (American, 1895-1965) 'Mother and Child, San Joaquin Valley' 1938

 

Dorothea Lange (American, 1895-1965)
Mother and Child, San Joaquin Valley
1938
Gelatin silver print
7 × 9 1/2″ (17.8 × 24.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Anne Noggle (American, 1922-2005) 'Shirley Condit de Gonzales' 1986

 

Anne Noggle (American, 1922-2005)
Shirley Condit de Gonzales
1986
Gelatin silver print
18 1/8 × 13″ (46 × 33cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Nell Dorr (American, 1893-1988) 'Mother and Child' 1940

 

Nell Dorr (American, 1893-1988)
Mother and Child
1940
Gelatin silver print
13 15/16 × 10 13/16″ (35.4 × 27.5cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Susan Meiselas (American, b. 1948) 'Carnival Strippers' book cover 1975

 

Susan Meiselas (American, b. 1948)
Carnival Strippers
1976
New York: Farrar, Straus and Giroux.
The Museum of Modern Art Library, New York

 

Susan Meiselas (American, b. 1948) 'Tentful of marks, Tunbridge, VT' 1974

 

Susan Meiselas (American, b. 1948)
Tentful of Marks, Tunbridge, Vermont
1974, printed c. 2000
Gelatin silver print
7 11/16 × 11 3/4″ (19.5 × 29.9cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Wary of photography’s power to shape our understanding of social, political and global issues and of the potentially complex ethical relationship between photographer and subject, Susan Meiselas has developed an immersive approach through which she gets to know her subjects intimately. Carnival Strippers is among her earliest projects and the first in which she became accepted by the community she was documenting. Over the summers of 1972 to 1975, she followed an itinerant, small-town carnival, photographing the women who performed in the striptease shows. She captured not only their public performances, but also their private lives. To more fully contextualise these images, Meiselas presents them with audio recordings of interviews with the dancers, giving them voice and a measure of control over the way they are presented.

Additional text from “Seeing Through Photographs online course”, Coursera, 2016

 

Susan Meiselas (American, b. 1948)

Artist, Susan Meiselas: My name is Susan Meiselas. I’m a photographer based in New York.

Carnival Strippers is my first real body of work. The idea of projecting a self to attract a male gaze was completely counter to my sense of culture, what I wanted for myself. So I was fascinated by women who were choosing to do that. I just felt, magnetically, I need to know more.

The feminists of that period were perceiving the girl shows as exploitative institutions that should be closed down. I actually was positioned in the place of feeling these voices should be heard. They should self-define as to who they are and what their economic realities are.

Getting to know the women was very much one by one, obviously I’m in the public fairgrounds making this photograph so there are many other people surrounding me. There weren’t many other cameras. I mean, if we were making this picture today, it’s interesting the differences of how many people would have been with cameras, iPhones, etc. So I don’t think she’s performing for me. She’s performing for the public.

The girl show moves around from town to town. My working process was to be somewhere on a weekend, go back to Boston, which at the time was my base, and process the work and bring back the contact sheets and show whoever was there the following weekend, what the pictures were. And they left little initials saying, I like this one, I don’t like that one.

This negotiated or collaborative space with photography really still fascinates me. It’s a kind of offering, it’s a moment in which someone says, I want you to be here with us. The challenge of making that moment, creating that moment, that’s what still intrigues me, I think, and keeps me engaged with photography.

Transcript of audio from the MoMA website

 

Susan Meiselas (American, b. 1948) 'Traditional Indian dance mask from the town of Monimbó, adopted by the rebels during the fight against Somoza to conceal identity, Nicaragua' 1978

 

Susan Meiselas (American, b. 1948)
Traditional mask used in the popular insurrection, Monimbo, Nicaragua
1978
Chromogenic print
23 1/2 × 15 3/4″ (59.7 × 40cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

Traditional Indian dance mask from the town of Monimbó, adopted by the rebels during the fight against Somoza to conceal identity, Nicaragua

 

Susan Meiselas (American, b. 1948) 'A Funeral Procession in Jinotepe for Assassinated Student Leaders. Demonstrators Carry a Photograph of Arlen Siu, an FSLN Guerilla Fighter Killed in the Mountains Three Years Earlier' 1978

 

Susan Meiselas (American, b. 1948)
A Funeral Procession in Jinotepe for Assassinated Student Leaders. Demonstrators Carry a Photograph of Arlen Siu, an FSLN Guerilla Fighter Killed in the Mountains Three Years Earlier
1978
Chromogenic print
15 3/8 × 23 1/4″ (39.1 × 59.1cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

“The camera…gives me both a point of connection and a point of separation.”

.
Susan Meiselas

 

“The camera is an excuse to be someplace you otherwise don’t belong,” said the photographer Susan Meiselas. “It gives me both a point of connection and a point of separation.” Meiselas studied anthropology before turning to teaching and photography, and her photographic work has remained firmly rooted in those early interests.

Beginning in 1972, Meiselas spent three consecutive summers documenting women who performed stripteases as part of itinerant, small-town carnivals throughout New England. She not only photographed them at work and during their down time, but she made audio recordings of interviews she conducted with the dancers (and the men who surrounded them), to add context and give her subjects a voice. Meiselas later reflected, “The feminists of that period were perceiving the girls’ shows as exploitative institutions that should be closed down, and so I actually was positioned in the place of feeling these voices should be heard, they should self-define as to who they are and what their economic realities are.”1 Meiselas travelled with the dancers from town to town, eventually becoming accepted by the community of women. This personal connection comes across in the intimacy of the scenes. Her photo book Carnival Strippers2 was published in 1976, the same year that Meiselas was invited to join the international photographic cooperative Magnum Photos.

Over the last 50 years, Meiselas has remained dedicated to getting to know her subjects, and she maintains relationships with them, sometimes returning to photograph them decades after the initial project. One place she has photographed again and again is Nicaragua, starting with the burgeoning Sandinista revolution. From June 1978 to July 1979, she documented the violent end of the regime of dictator Anastasio Somoza Debayle. In 1990 she returned to the country with her book of photographs made at that time, Nicaragua3, and used it as a tool to track down as many subjects of those photographs as she could: “Now I want to retrace my steps, to go back to the photos I took at the time of the insurrection, and search for the people in them. What brought them to cross my path at the moment they did? What’s happened to them since? What do they think now? What do they remember?”4 She gathered their testimonies and co-directed a film, Pictures from a Revolution 5, that explored the Nicaraguan people’s hardships after the revolution. She went back to Nicaragua yet again in 2004, on the 25th anniversary of Somoza’s overthrow, and worked with local communities to install murals of her photographs on the sites where they were taken.6 It is the job of a photojournalist to bear witness, but Meiselas also considers ways in which she can challenge and confront future communities with the scenes she has witnessed.

In 1997, Meiselas completed a six-year-long project about the photographic history of the Kurds, working to piece together a collective memory of people who faced extreme displacement and destruction. She gathered these memories in a book – Kurdistan: In the Shadow of History7 – an exhibition and an online archive that can still be added to today. Throughout this project Meiselas worked with both forensic and historical anthropologists who added their own specialised context; the innumerable oral accounts from the Kurdish people themselves provide a perspective often left out of history books.

Referring to her early studies in anthropology, Meiselas said, “Those very primary experiences of diversity led me to be more curious about the world, putting me into a certain mode of exploration and openness to difference at a young age.” She has long understood the importance of giving a voice to her often little-known and marginalised subjects, and through her work she draws attention to a wide variety of human rights and social justice issues. Meiselas constantly considers the challenging relationship between photographer and subject, and the relationship of images to memory and history, always looking for new cross-disciplinary and collaborative ways to evolve the medium of documentary storytelling.

Jane Pierce, Carl Jacobs Foundation Research Assistant, Department of Photography

 

  1. The Museum of Modern Art, New York, “Seeing Through Photographs,” YouTube video, 5:03. February 13, 2019 https://youtu.be/HHQwAkPj8Bc
  2. Susan Meiselas, Carnival Strippers (New York: Noonday Press, 1976) and a revised second edition with bonus CD (New York: Steidl, 2003).
  3. Susan Meiselas, Nicaragua (New York: Pantheon Books, 1981).
  4. Susan Meiselas, Alfred Guzzetti and Richard P. Rogers, Pictures from a Revolution, DVD (New York: Kino International Corp., 1991).
  5. Susan Meiselas, Alfred Guzzetti, and Richard P. Rogers, Pictures from a Revolution, DVD (New York: Kino International Corp., 1991).
  6. Susan Meiselas, Alfred Guzzetti, and Pedro Linger Gasiglia, Reframing History, DVD (2004).
  7. Susan Meiselas, Kurdistan: In the Shadow of History (New York: Random House, 1997).

 

Frances Benjamin Johnston (American, 1864-1952) 'Penmanship Class' 1899

 

Frances Benjamin Johnston (American, 1864-1952)
Penmanship Class
1899
Platinum print
7 3/8 × 9 3/8 in. (18.7 × 23.8cm)
The Museum of Modern Art, New York
Gift of Helen Kornblum in honour of Roxana Marcoci

 

 

Frances Benjamin Johnston (American, 1864-1952)

After setting up her own photography studio in 1894, in Washington, D.C., Frances Benjamin Johnston was described by The Washington Times as “the only lady in the business of photography in the city.”1 Considered to be one of the first female press photographers in the United States, she took pictures of news events and architecture and made portraits of political and social leaders for over five decades. From early on, she was conscious of her role as a pioneer for women in photography, telling a reporter in 1893, “It is another pet theory with me that there are great possibilities in photography as a profitable and pleasant occupation for women, and I feel that my success helps to demonstrate this, and it is for this reason that I am glad to have other women know of my work.”2

In 1899, the principal of the Hampton Normal and Agricultural Institute in Virginia commissioned Johnston to take photographs at the school for the 1900 Exposition Universelle in Paris. The Hampton Institute was a preparatory and trade school dedicated to preparing African American and Native American students for professional careers. Johnston took more than 150 photographs and exhibited them in the Exposition Nègres d’Amerique (American Negro Exhibit) pavilion, which was meant to showcase improving race relations in America. The series won the grand prize and was lauded by both the public and the press.

Years later, writer and philanthropist Lincoln Kirstein discovered a leather-bound album of Johnston’s Hampton Institute photographs. He gave the album to The Museum of Modern Art, which reproduced 44 of its original 159 photographs in a book called The Hampton Album, published in 1966. In its preface, Kirstein acknowledged the conflict inherent in Johnston’s images, describing them as conveying the Institute’s goal of assimilating its students into Anglo-American mainstream society according to “the white Victorian ideal as criterion towards which all darker tribes and nations must perforce aspire.”3 The Hampton Institute’s most famous graduate, educator, leader, and presidential advisor Booker T. Washington, advocated for black education and accommodation of segregation policies instead of political pressure against institutionalised racism, a position criticised by anti-segregation activists such as author W. E. B. Du Bois.

Johnston’s pictures neither wholly celebrate nor condemn the Institute’s goals, but rather they reveal the complexities of the school’s value system. This is especially clear in her photographs contrasting pre- and post-Hampton ways of living, including The Old Well and The Improved Well (Three Hampton Grandchildren). In both images, black men pump water for their female family members. The old well system is represented by an aged man, a leaning fence, and a wooden pump that tilts against a desolate sky, while the new well is handled by an energetic young boy in a yard with a neat fence, a thriving tree, and two young girls dressed in starched pinafores. Johnston’s photographs have prompted the attention of artists like Carrie Mae Weems, who has incorporated the Hampton Institute photographs into her own work to explore what Weems described as “the problematic nature of assimilation, identity, and the role of education.”4

Johnston’s photographs of the Hampton Institute were only a part of her long and productive career. Having started out by taking society and political portraits, she later extensively photographed gardens and buildings, hoping to encourage the preservation of architectural structures that were quickly disappearing. Her pictures documenting the changing landscape of early-20th-century America became sources for historians and conservationists and led to her recognition by the American Institute for Architects (AIA). At a time when photography was often thought of as scientific in its straightforwardness, Johnston recognised its expressive power. As she wrote in 1897, “It is wrong to regard photography as purely mechanical. Mechanical it is, up to a certain point, but beyond that there is great scope for individual and artistic expression.”5

Introduction by Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, 2016

 

  1. “Washington Women with Brains and Business,” The Washington Times, April 21, 1895, 9.
  2. Clarence Bloomfield Moore, “Women Experts in Photography,” The Cosmopolitan XIV.5 (March 1893), 586.
  3. Lincoln Kirstein, “Introduction,” in The Hampton Album: 44 photographs by Frances B. Johnston from an album of Hampton Institute (New York: The Museum of Modern Art, 1966), 10.
  4. Quoted in Denise Ramzy and Katherine Fogg, “Interview: Carrie Mae Weems,” Carrie Mae Weems: The Hampton Project (New York: Aperture, 2000), 78.
  5. Frances Benjamin Johnston, “What a Woman Can Do with a Camera,” The Ladies’ Home Journal (September 1897): 6-7.

 

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Our Selves: Photographs by Women Artists from Helen Kornblum' at the Museum of Modern Art (MoMA), New York

 

Installation views of the exhibition Our Selves: Photographs by Women Artists from Helen Kornblum at the Museum of Modern Art (MoMA), New York

 

 

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

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

MoMA website

LIKE ART BLART ON FACEBOOK

Back to top

19
Sep
21

Exhibition: ‘Fotoclubismo: Brazilian Modernist Photography, 1946-1964’ at the Museum of Modern Art (MoMA), New York

Exhibition dates: 8th May – 26th September 2021

Curators: Sarah Hermanson Meister, Curator, with Dana Ostrander, Curatorial Assistant, Robert B. Menschel Department of Photography

 

 

José Yalenti (Brazilian, 1895-1967) 'Angles' ( Angulos) 1951

 

José Yalenti (Brazilian, 1895-1967)
Angles (Angulos)
1951
The Museum of Modern Art, New York
Courtesy Fernanda Feitosa and Heitor Martins

 

 

While we can’t travel around the world physically, it’s fantastic to virtually discover these hidden gems of photographic history – this time “men and women who joined São Paulo’s Foto-Cine Clube Bandeirante (FCCB) [who] bonded over their passion for photography: the club was instrumental to their individual artistic development and their esteemed reputation across a dynamic international circuit of amateur photo salons.”

My favourite photograph in the posting is Marcel Giró’s Light and Power, for its modernist, abstract form and beauty, for the light, and for its intonation… staves of music, birds on the wire.

Marcus

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

 

The Museum of Modern Art announces Fotoclubismo: Brazilian Modernist Photography, 1946-1964, the first museum exhibition of Brazilian modernist photography outside of Brazil. On view May 8 – September 26, 2021, the exhibition will focus on the unforgettable creative achievements of São Paulo’s Foto-Cine Clube Bandeirante, a group of amateur photographers widely heralded in Brazil, but essentially unknown to European and North American audiences. Fotoclubismo is comprised of over 60 photographs drawn generously from MoMA’s collection; together, they bring forward the extraordinary range of achievements of this group, provide valuable insight into the way photographic aesthetics were framed in the 1950s, and afford opportunities to reflect on the significance of amateur status today.

The exhibition is divided into thematic categories: Simplicity, Gertrudes Altschul, Abstractions from Nature, Texture and Shape, Geraldo de Barros, Experimental Processes, Daily Life, and Solitude.

 

 

The exhibition not only showcases the groundbreaking experimental and aesthetic sensibilities of FCCB, but it also invites the viewer to question the status of the amateur photographer.

Meister has positioned Fotoclubismo within the history of contemporary photography. Along with their stylistic merits, FCCB’s photos allow the viewer to reflect on the ways race, gender, and status affect how photography is consumed by the public.

“I’m particularly excited not only because I know that the work is going to resonate with audiences,” she [curator Sarah Meister] said, “but because it’s this wonderful opportunity to think, ‘what else can we do as curators or as museums to reflect and recuperate other elements of our history that have been overlooked and neglected?'” she told Deutsche Welle, Germany’s international broadcaster.

.
Meka Boyle. “MoMA is the First Museum Outside of Brazil to Put the Spotlight on Brazilian Modernist Photography,” on the Art Dealer Street website May 28 2021 [Online] Cited 26/08/2021

 

 

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946-1964 at the Museum of Modern Art (MoMA), New York
Photo: Jonathan Muzikar

 

FCCB members on an excursion to Paquetá Island to visit the Sociedade Fluminense de Fotografia

 

FCCB members on an excursion to Paquetá Island to visit the Sociedade Fluminense de Fotografia. Boletim foto-cine 17 (September 1947): 3. Image and annotations courtesy Rubens Fernandes Junior

 

FCCB members on an excursion to Paquetá Island to visit the Sociedade Fluminense de Fotografia (detail)

 

FCCB members on an excursion to Paquetá Island to visit the Sociedade Fluminense de Fotografia, with some of the women photographers singled out. Boletim foto-cine 17 (September 1947): 3. Image and annotations courtesy Rubens Fernandes Junior

 

 

The men and women who joined São Paulo’s Foto-Cine Clube Bandeirante (FCCB) bonded over their passion for photography: the club was instrumental to their individual artistic development and their esteemed reputation across a dynamic international circuit of amateur photo salons. The works on view in Fotoclubismo: Brazilian Modernist Photography, 1946-1964 highlight the achievements of more than 20 club members with unforgettable prints that traveled extensively along these networks. These are not intimate snapshots of family gatherings intended for the album page (a slightly different twist on the photographic amateur) but works of ambition and originality that had and continue to have a commanding presence on the walls of salons and museums. FCCB members’ success owes much to their distinctive blend of camaraderie and competition, nurtured in part by their frequent excursions.

Beginning in 1946 the FCCB published a small (often monthly or bimonthly) magazine, the Boletim foto-cine, which was given free to members and sold in local photo shops. Its modest scale belied its scope and seriousness: it won special awards for editorial content in the Photographic Society of America’s International Competition in 1949 and 1951. (It should be noted the Boletim was published exclusively in Portuguese, so perhaps the PSA was influenced by the fact that its own members and their writing – in translation – appeared frequently.)

The Boletim played a central role in advertising a social environment that drew people to the club, and also encouraged the competitive atmosphere within it. For many years, the Boletim published each new member’s name, birthday notices, wedding announcements, and snapshots from excursions, openings, and holiday celebrations at the club headquarters (Santa’s annual visit was a recurring feature). These personal touches served as a counter-balance to the equally prominent presence of club rankings: charts and accounts of prizes won and accolades received both domestically and around the world. One might conclude the social niceties were instrumental in fostering an environment in which critical feedback was possible, which in turn contributed to the club’s capacity for creative innovation.

Geraldo de Barros is arguably the best known member of the FCCB. He earned a living at the Banco do Brasil, but his creative spirit was not squelched by his day job. His satirical cartoons are peppered throughout the Boletim. This one betrays the anxiety of those whose work is being judged: three diminutive members, one waving a white flag, are menaced by others wielding a gun, a bomb, and a knife. He experimented with collage, montage, multiple exposures, and other interventions in his photographs, he was a founding member of the Grupo Ruptura, an inventive association of painters, and he later pursued a successful career in furniture design. The Museum of Art of São Paulo held a one-person exhibition of his photo-based work in January 1951, which was so confounding to his fellow FCCB members (some photos were rendered as sculptures on pedestals; all played fearlessly with conventions of representation) that this major accomplishment went unmentioned in the Boletim. Despite occasional moments of misunderstanding, de Barros was a principal force in the presentation of work by FCCB members in the second São Paulo Bienal in 1953-1954, by which time even the club’s leadership had embraced the spirit of innovation de Barros had championed for years.

The excursions were not merely social outings: they were opportunities to learn alongside fellow members in the field, and to attempt to capture the “best” view of a particular subject. In one view of this distinctive building, German Lorca has accentuated the contrast between the corrugated roof and the adjacent shadows; in another, José Yalenti chose to frame the angular structure against the undulating form of a nearby building; in a third (noted in the Boletim as having been submitted to the club’s internal contest), Euclides Machado offered a study of texture, tone, and form. Although the club used “scorecards” to judge the relative strengths of images such as these, many of the attributes being judged were grouped within the category “factor psicológico” (psychological factors), which are surely more challenging to rank objectively. Then and now, it can be useful to acknowledge the ways in which something as invisible and inescapable as taste influences our judgment of a work of art.

Extract from Sarah Meister. “The Ambition and Originality of Fotoclubismo’s Amateur Photographers,” on the MoMA magazine website May 7, 2021 [Online] Cited 25/08/2021.

 

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

 

Installation views of the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946-1964 at the Museum of Modern Art (MoMA), New York showing in the bottom image the sections Daily Life and German Lorca with third right bottom, German Lorca’s Every Day Scenes (1949, below); at second right, German Lorca’s Rascality (Malandragem) (1949, below) and at right, Lorca’s Apartments (Apartamentos) (1950-1951, below)
Photos: Jonathan Muzikar

 

German Lorca (Brazilian, 1922-2021) 'Everyday Scenes' (Cenas quotidianas) 1949

 

German Lorca (Brazilian, 1922-2021)
Everyday Scenes (Cenas quotidianas)
1949
Gelatin silver print
11 × 15″ (27.9 × 38.1cm)
The Museum of Modern Art, New York
Committee on Photography Fund
© 2021 German Lorca

 

German Lorca (Brazilian, 1922-2021) 'Rascality (Malandragem)' 1949

 

German Lorca (Brazilian, 1922-2021)
Rascality (Malandragem)
1949
Gelatin silver print
10 3/4 × 12 3/4″ (27.3 × 32.4cm)
The Museum of Modern Art, New York
Acquired through the generosity of Richard O. Rieger
© 2021 German Lorca

 

German Lorca (Brazilian, 1922-2021) 'Apartments (Apartamentos)' 1950-51

 

German Lorca (Brazilian, 1922-2021)
Apartments (Apartamentos)
1950-1951
Gelatin silver print
15 1/16 × 10 1/8″ (38.3 × 25.7cm)
The Museum of Modern Art, New York
Acquired through the generosity of Ernesto Poma through the Latin American and Caribbean Fund
© 2021 German Lorca

 

German Lorca (Brazilian, 1922-2021) 'White Roofs' (Telhados brancos) 1951

 

German Lorca (Brazilian, 1922-2021)
White Roofs (Telhados brancos)
1951
Gelatin silver print
The Museum of Modern Art, New York
Courtesy Fernanda Feitosa and Heitor Martins
© 2021 German Lorca

 

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946-1964 at the Museum of Modern Art (MoMA), New York showing the work of German Lorca with at fourth from right, Congonhas Airport (1961, below); at third from right Open Window (1951); at second from right, Eating an Apple (1953); and at right, Solarized Portrait (c. 1953)
Photo: Jonathan Muzikar

 

German Lorca (Brazilian, 1922-2021) 'Congonhas Airport, São Paulo' 1961

 

German Lorca (Brazilian, 1922-2021)
Congonhas Airport, São Paulo
1961
Gelatin silver print
10 1/2 × 15″ (26.7 × 38.1cm)
The Museum of Modern Art, New York
Gift of the artist
© 2021 German Lorca

 

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946-1964 at the Museum of Modern Art (MoMA), New York showing Geraldo de Barros’ photographs – at top left, Untitled (1948-1950, below); at bottom left, Abstraction (1949, below); at second left, Geraldo de Barros’ Self-Portrait (Autorretrato) (c. 1949, below); and at fourth left, Fotoforma (c. 1949)
Photo: Jonathan Muzikar

 

Geraldo de Barros (Brazilian, 1923-1998) 'Untitled' 1948-50

 

Geraldo de Barros (Brazilian, 1923-1998)
Untitled
1948-1950
Gelatin silver print
9 × 14 15/16″ (22.8 × 37.9cm)
The Museum of Modern Art, New York
Latin American and Caribbean Fund through gift of Agnes Gund
© 2021 Luciana Brito Galeria

 

Geraldo de Barros (Brazilian, 1923-1998) 'Abstraction' (Abstração) 1949

 

Geraldo de Barros (Brazilian, 1923-1998)
Abstraction (Abstração)
1949
Gelatin silver print
10 3/4 × 14 3/4″ (27.3 × 37.5cm)
The Museum of Modern Art, New York
Latin American and Caribbean Fund
© 2021 Luciana Brito Galeria

 

Geraldo de Barros (Brazilian, 1923-1998) 'Self-Portrait' (Autorretrato) c. 1949

 

Geraldo de Barros (Brazilian, 1923-1998)
Self-Portrait (Autorretrato)
c. 1949
Gelatin silver print
15 7/16 × 11 1/2″ (39.2 × 29.2cm)
The Museum of Modern Art, New York
Christie Calder Salomon Fund
© 2021 Luciana Brito Galeria

 

Geraldo de Barros (Brazilian, 1923-1998) 'Fotoforma' 1952-53

 

Geraldo de Barros (Brazilian, 1923-1998)
Fotoforma
1952-1953
Gelatin silver print
11 13/16 × 15 1/8 in. (30 × 38.4cm)
The Museum of Modern Art, New York
Acquired through the generosity of John and Lisa Pritzker
© 2020 Arquivo Geraldo de Barros. Courtesy Luciana Brito Galeria

 

Geraldo de Barros (Brazilian, 1923-1998) 'Fotoforma' c. 1949

 

Geraldo de Barros (Brazilian, 1923-1998)
Fotoforma
c. 1949
Gelatin silver print
14 13/16 × 10 11/16″ (37.7 × 27.2cm)
The Museum of Modern Art, New York
Latin American and Caribbean Fund
© 2021 Luciana Brito Galeria

 

 

Geraldo de Barros (Brazilian, 1923-1998)

Geraldo de Barros (February 27, 1923 – April 17, 1998) was a Brazilian painter and photographer who also worked in engraving, graphic arts, and industrial design. He was a leader of the concrete art movement in Brazil, co-founding Grupo Ruptura and was known for his trailblazing work in experimental abstract photography and modernism. According to The Guardian, De Barros was “one of the most influential Brazilian artists of the 20th century.” De Barros is best known for his Fotoformas (1946-1952), a series of photographs that used multiple exposures, rotated images, and abstracted forms to capture a phenomenological experience of Brazil’s exponential urbanisation in the mid-twentieth century.

Text from the Wikipedia website

 

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

 

Installation views of the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946-1964 at the Museum of Modern Art (MoMA), New York showing the section Abstractions from Nature showing at middle top, Thomaz Farkas’s Rushing Water Number 2 (c. 1945, below); beneath that his Rushing Water Number 1 (c. 1945); at bottom left of the group Dulce Carneiro’s Oneiric (Onírica) (c. 1958); and at centre right, three sand photographs by José Yalenti (see below)
Photos: Jonathan Muzikar

 

Abstractions from Nature

Thomaz Farkas (Brazilian, born Hungary. 1924-2011) 'Rushing Water Number 2' c. 1945

 

Thomaz Farkas (Brazilian, born Hungary. 1924-2011)
Rushing Water Number 2
c. 1945
Gelatin silver print
11 7/8 × 15 3/4″ (30.2 × 40cm)
The Museum of Modern Art, New York
Gift of the artist
© 2021 Thomaz Farkas Estate

 

José Yalenti (Brazilian, 1895-1967) 'Sand' (Areia) c. 1950

 

José Yalenti (Brazilian, 1895-1967)
Sand (Areia)
c. 1950
Gelatin silver print
11 7/8 × 15 3/4″ (30.1 × 40cm)
The Museum of Modern Art, New York
Committee on Photography Fund
© 2021 José Yalenti

 

José Yalenti (Brazilian, 1895-1967) 'Sand' (Areia) c. 1950

 

José Yalenti (Brazilian, 1895-1967)
Sand (Areia)
c. 1950
Gelatin silver print
11 1/8 × 15 3/8″ (28.3 × 39cm)
The Museum of Modern Art, New York
Committee on Photography Fund
© 2021 José Yalenti

 

José Yalenti (Brazilian, 1895-1967) 'Sand' (Areia) c. 1950

 

José Yalenti (Brazilian, 1895-1967)
Sand (Areia)
c. 1950
Gelatin silver print
15 3/4 × 11 7/8″ (40 × 30.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund
© 2021 José Yalenti

 

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

 

Installation views of the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946-1964 at the Museum of Modern Art (MoMA), New York showing the sections Daily Life, German Lorca and Solitude with in the bottom image at bottom right, Ademar Manarini’s Untitled [Várzea do Carmo housing complex, São Paulo] (c. 1951, below)
Photos: Jonathan Muzikar

 

Ademar Manarini (Brazilian, 1920-1989) 'Untitled [Várzea do Carmo housing complex, São Paulo]' c. 1951

 

Ademar Manarini (Brazilian, 1920-1989)
Untitled [Várzea do Carmo housing complex, São Paulo]
c. 1951
Gelatin silver print
11 11/16 × 14 9/16″ (29.7 × 37cm)
The Museum of Modern Art, New York
Acquired through the generosity of Richard O. Rieger
© 2021 Estate of Ademar Manarini

 

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946-1964 at the Museum of Modern Art (MoMA), New York showing Marcel Giró’s photograph Light and Power (c. 1950, below)
Photo: Jonathan Muzikar

 

Marcel Giró (Spanish, 1912-2011) 'Light and Power' (Luz e Força) c. 1950

 

Marcel Giró (Spanish, 1912-2011)
Light and Power (Luz e Força)
c. 1950
Gelatin silver print
13 1/16 × 20 3/16″ (33.1 × 51.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of Richard O. Rieger
© 2021 Estate of Marcel Giró

 

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946-1964 at the Museum of Modern Art (MoMA), New York showing the sections Texture and Shape and Geraldo de Barros, with at third from left top, Maria Helena Valente da Cruz’s The Broken Glass (O vidro partido)
(c. 1952, below); at fourth from left top, Palmira Puig-Giró’s Untitled (c. 1960, below); at bottom left Marcel Giró’s Texture 2 (c. 1950, below); and at bottom centre, his Composition (Composição) (c. 1953)
Photo: Jonathan Muzikar

 

Texture and Shape

Maria Helena Valente da Cruz (Portuguese, b. 1927) 'The Broken Glass' (O vidro partido) c. 1952

 

Maria Helena Valente da Cruz (Portuguese, b. 1927)
The Broken Glass (O vidro partido)
c. 1952
Gelatin silver print
11 7/8 × 11 1/2 in. (30.2 × 29.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of Donna Redel
© 2020 Estate of Maria Helena Valente da Cruz

 

Palmira Puig-Giró (Spanish, 1912-197) 'Untitled' c. 1960

 

Palmira Puig-Giró (Spanish, 1912-197)
Untitled
c. 1960
Gelatin silver print
15 3/8 × 11 1/16 in. (39.1 × 28.1cm)
The Museum of Modern Art, New York
Agnes Rindge Claflin Fund
© 2020 Estate of Palmira Puig-Giró

 

Marcel Giró (Spanish, 1912-2011) 'Texture 2' (Textura 2) c. 1950

 

Marcel Giró (Spanish, 1912-2011)
Texture 2 (Textura 2)
c. 1950
Gelatin silver print
12 1/8 × 15 3/4″ (30.8 × 40cm)
The Museum of Modern Art, New York
Committee on Photography Fund
© 2021 Estate of Marcel Giró

 

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

 

Installation views of the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946-1964 at the Museum of Modern Art (MoMA), New York showing the sections Simplicity and Gertrude Altschul, with at top left, Thomaz Farkas’ Ministry of Education (Ministério da Educação) [Rio de Janeiro] (c. 1945, below); and at right, Gertrudes Altschul’s Lines and Tones (Linhas e Tons) (c. 1953, below)
Photos: Jonathan Muzikar

 

Thomaz Farkas (Brazilian, born Hungary. 1924-2011) 'Ministry of Education (Ministério da Educação) [Rio de Janeiro]' c. 1945

 

Thomaz Farkas (Brazilian, born Hungary. 1924-2011)
Ministry of Education (Ministério da Educação) [Rio de Janeiro]
c. 1945
Gelatin silver print
12 13/16 × 11 3/4 in. (32.6 × 29.9cm)
The Museum of Modern Art, New York
Gift of the artist

 

Gertrude Altschul

Gertrudes Altschul (Brazilian born Germany, 1904-1962) 'Lines and Tones' (Linhas e Tons) c. 1953

 

Gertrudes Altschul (Brazilian born Germany, 1904-1962)
Lines and Tones (Linhas e Tons)
c. 1953
Gelatin silver print
14 7/8 x 11″ (37.8 x 27.9cm)
The Museum of Modern Art, New York
Acquired through the generosity of Amie Rath Nuttall

 

 

Gertrudes Altschul was born in Germany in 1904 and, like many Jews in the 1930s, she was forced to leave the country under the threat of Nazism rise. Thus, in 1939, together with her husband Leon Altschul, she went into exile in Brazil and settled in the city of São Paulo, at the end of that year. She and her husband ran a business selling handmade decorative flowers for hats in São Paulo, Brazil.

See more Gertrudes Altschul photographs on the Isabel Amado Fotografia website.

 

A little over a year after joining the Foto Cine Clube Bandeirante (FCCB), an amateur camera club in São Paulo, Gertrude Altschul had already secured a spot for her work on the cover of its monthly bulletin. By September of 1953, her photograph Linhas e Tons (Lines and Tones) [above] was circulated to hundreds of fellow practitioners throughout Brazil. Lines and Tones reveals the urbanisation and precipitous vertical growth taking place in downtown São Paulo at midcentury; Altschul’s simple title strips away local context and persuades us to experience the image through its soaring curves and lines. This ability to reduce complex objects to their most elemental and visually striking forms would become a hallmark of her work.1

By the time Altschul joined the FCCB, the organisation had already been in operation for 13 years. During that time it succeeded in nurturing a passion for photography across a wide network of Paulistas (São Paulo residents), many of whom were recent European emigrés working as lawyers, doctors, accountants, or entrepreneurs. Altschul’s background was no different: after fleeing Nazi persecution in Germany, she settled in Brazil in 1939. With her husband, she ran a business making handmade decorative flowers for women’s hats and blouses. Her interest in botanical motifs found its way into her photographic work, resulting in dozens of lush vegetal prints.

Though Altschul belonged to a small contingent of women artists within the FCCB, her experimental ambitions rivaled those of her male peers. She photographed a diverse range of subjects, from urban landscapes to natural forms to still lifes. The resulting prints were routinely reproduced in the club’s monthly bulletin, mailed out for consideration by salons, and chosen for display in exhibitions. Between 1956 and 1962, Altschul was encouraged to submit Filigrana (Filigree) to no fewer than 18 different national and international salons, receiving an impressive eight acceptances.2 Despite its worldwide circulation, this photograph portrayed a thoroughly Brazilian subject: a papaya leaf, delicately transcribed into lattice-like veins.

Altschul fell ill in the late 1950s and, starting in 1957, her participation in the club waned. Following her death in 1962, the FCCB bulletin featured Filigree alongside her obituary, where it was praised as one of the first successful works of her brief but distinguished career.3

Dana Ostrander, Curatorial Assistant, Department of Photography, 2020

 

  1. The supporting research for this biography was provided by Abigail Lapin Dardashti, former Museum Research Consortium Fellow. For more, see Abigail Lapin Dardashti, “Gertrudes Altschul and Modernist Photography at the Foto Cine Clube Bandeirante,” on Medium, MoMA: Features and perspectives on art and culture, The Museum of Modern Art, June 7, 2017.
  2. Paula Kupfer, “Gertrudes Altschul: An Adopted Brazilian Photographer in São Paulo,” on post: notes on art in a global context, The Museum of Modern Art, May 2, 2018
  3. Ibid.

 

 

 

In Black and White: Photography, Race, and the Modern Impulse in Brazil at Midcentury

Live stream of the keynote panel from In Black and White: Photography, Race, and the Modern Impulse in Brazil at Midcentury (May 2, 2017, The Museum of Modern Art).

Join us for a conversation on Brazilian modernist photography, its relationship to race, and its place within a dynamic international network of images and ideas, moderated by Edward Sullivan, Institute of Fine Arts, New York University.

Guest speakers: Helouise Costa, Museu de Arte Contemporânea, Universidade de São Paulo Roberto Conduru, Rio de Janeiro State University Heloísa Espada, Instituto Moreira Salles, São Paulo Sarah Hermanson Meister, The Museum of Modern Art

 

Installation view of the exhibition 'Fotoclubismo: Brazilian Modernist Photography, 1946-1964' at the Museum of Modern Art (MoMA), New York

 

Installation view of the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946-1964 at the Museum of Modern Art (MoMA), New York showing the section Gertrude Altschul with at centre left Untitled (c. 1955, below); at centre right, Untitled (c. 1955, below); at fourth right her Filigree, (Filigrana) (1953, below); and at top right, Untitled (c. 1955, below)

 

Gertrudes Altschul (Brazilian born Germany, 1904-1962) 'Untitled' c. 1955

 

Gertrudes Altschul (Brazilian born Germany, 1904-1962)
Untitled
c. 1955
Gelatin silver print
10 13/16 × 15 1/4″ (27.5 × 38.7cm)
The Museum of Modern Art, New York
Acquired through the generosity of David Dechman and Michel Mercure
© 2021 Estate of Gertrudes Altschul

 

 

Like almost every member of Sáo Paulo’s famed Foto Cine Clube Bandeirante (FCCB), Altschul was an amateur, meaning she pursued photographic activity without any professional affiliation or ambition. She began attending workshops with the FCCB in the late 1940s and became a member in 1952. There are no written records of her creative intent, leaving only the visual evidence of her achievement: experimentations with process and form, and inventive compositions discovered within everyday life. These large-scale prints were made for the active circuit of contemporary salons and exhibitions that traveled throughout Brazil and internationally in this period.

Gallery label from Making Space: Women Artists and Postwar Abstraction, April 19 – August 13, 2017.

 

Gertrudes Altschul (Brazilian born Germany, 1904-1962) 'Untitled' c. 1955

 

Gertrudes Altschul (Brazilian born Germany, 1904-1962)
Untitled
c. 1955
Gelatin silver print
15 1/16 × 11 1/2″ (38.3 × 29.2cm)
The Museum of Modern Art, New York
John Szarkowski Fund
© 2021 Estate of Gertrudes Altschul

 

Gertrudes Altschul (Brazilian born Germany, 1904-1962) 'Filigree' (Filigrana) 1953

 

Gertrudes Altschul (Brazilian born Germany, 1904-1962)
Filigree, (Filigrana)
1953
Gelatin silver print
13 5/8 × 11 5/8″ (34.6 × 29.5cm)
The Museum of Modern Art, New York
Acquired through the generosity of Amie Rath Nuttall
© 2021 Estate of Gertrudes Altschul

 

Gertrudes Altschul (Brazilian born Germany, 1904-1962) 'Untitled' c. 1955

 

Gertrudes Altschul (Brazilian born Germany, 1904-1962)
Untitled
c. 1955
Gelatin silver print
11 13/16 × 15 1/2″ (30 × 39.4 cm)
The Museum of Modern Art, New York
John Szarkowski Fund
© 2021 Estate of Gertrudes Altschul

 

 

Fotoclubismo explores the unforgettable creative achievements of São Paulo’s Foto-Cine Clube Bandeirante (FCCB), a group of amateur photographers whose ambitious and innovative works embodied the abundant originality of postwar Brazilian culture. Although their work was heralded around the world in the 1950s, it subsequently faded from view. This is the first museum exhibition to present this fascinating moment in photography’s history to audiences outside of Brazil.

Photography was a hobby for most FCCB members: on weekdays, group members – many of whom were women – went to their jobs as businessmen, accountants, journalists, engineers, biologists, and bankers. On weekends, they often traveled to photograph together. They were nonetheless quite serious about their artistic ambition, not unlike millions of people on Instagram today. Their pictures assumed many forms – from inventive experiments to distillations from everyday life – and their attentiveness to abstraction evolved in dialogue with leading critical thinkers and peers in design, painting, and film.

More than 60 photographs, drawn almost exclusively from MoMA’s collection, demonstrate the group’s extraordinary range. Their absence from international histories of the medium provide a valuable opportunity to reflect on the biases that led to these exclusions, and invite us to reflect on the status of the amateur today. Organised by Sarah Hermanson Meister, Curator, with Dana Ostrander, Curatorial Assistant, Robert B. Menschel Department of Photography.

 

Introduction

The members of São Paulo’s Foto-Cine Clube Bandeirante (FCCB), established in 1939, were doctors and lawyers, civil servants and businessmen, accountants and students. Though they pursued photography as a hobby, their work attests to the seriousness and skill with which they approached the medium. Their innovations were advanced by camaraderie as well as a competitive spirit: submissions to monthly internal contests were judged publicly, with points awarded accordingly. This installation is structured in constellations based on the themes of these contests, punctuated by focused presentations of the work of three key figures.

Bandeirante alludes to a colonial-era group of explorers and fortune hunters based in the São Paulo region, whom the FCCB celebrated for their pioneering spirit, overlooking their role in the enslavement of Indigenous people and the expansion of territory under Portuguese control. Though its identity was thus firmly anchored in the local, the club was an integral part of a dynamic international network of amateurs: the FCCB was widely heralded and its members’ work awarded prizes in salons on six continents. The club’s position in the Global South, and a bias against the amateur and its association with pictorial clichés, begin to explain its absence from international histories of the medium.

The dates that bracket this exhibition correspond to artistic and political realities in Brazil: the FCCB first published its monthly magazine (the Boletim foto-cine) in 1946, the year a new constitution restored democracy following a repressive regime. On the other end, 1964 marked the beginning of a brutal dictatorship, which contributed to the closing of an extraordinarily fertile chapter for photography in Brazil – one that has been, until now, largely overlooked beyond the country’s borders.

Text from the MoMA website

 

Julio Agostinelli. 'Circus' (Circense) 1951

 

Julio Agostinelli (Brazilian, b. 1919)
Circus (Circense)
1951
Gelatin silver print
11 7/16 × 15″ (29 × 38.1cm)
The Museum of Modern Art, New York
Acquired through the generosity of Richard O. Rieger
© 2020 Estate of Julio Agostinelli

 

 

The Museum of Modern Art opened Fotoclubismo: Brazilian Modernist Photography, 1946-1964, the first museum exhibition of Brazilian modernist photography outside of Brazil. On view May 8 – September 26, 2021, the exhibition focuses on the unforgettable creative achievements of São Paulo’s Foto-Cine Clube Bandeirante, a group of amateur photographers widely heralded in Brazil, but essentially unknown to European and North American audiences. Fotoclubismo is comprised of over 60 photographs drawn generously from MoMA’s collection; together, they bring forward the extraordinary range of achievements of this group, provide valuable insight into the way photographic aesthetics were framed in the 1950s, and afford opportunities to reflect on the significance of amateur status today. The exhibition is organised by Sarah Meister, Curator, with Dana Ostrander, Curatorial Assistant, Department of Photography.

The vast majority of Foto-Cine Clube Bandeirante members were amateurs, meaning they pursued photographic activity without any professional motive or affiliation. The club’s longtime president, Eduardo Salvatore, earned his living as a lawyer, and the list of professions on the membership cards includes businessmen, accountants, journalists, engineers, biologists, and bankers. While photography was an activity pursued outside their day jobs, FCCB members were nonetheless quite serious about their artistic ambition, as evidenced by the striking innovation of their photographs. Works such as Geraldo de Barros’s Fotoforma, São Paulo (1952-1953), Thomaz Farkas’s Ministry of Education and Health, Rio (c. 1945), or Gertrudes Altschul’s Filigree (Filigrana) (c. 1952), for example, represent a few of their radical experimentations with process and form and underscore the discovery of imaginative compositions within everyday life. FCCB members responded to the abundant originality of contemporary Brazilian architects, and their attentiveness to the fertility of abstraction as a creative strategy emerged alongside peers in design, painting, and literature. Considering these works together provides a compelling context through which to explore the complex status of the amateur, evolving biases of taste or judgment, and local dynamics of race and gender.

Beyond creating photographs, a critical aspect of the club’s activity was their monthly Concursos Internos (internal contests) and Seminarios, in which photographs were submitted for peer review and discussed in public and private forums.

As with most amateur photo clubs around the world, the FCCB fostered a collegial environment that tolerated a wide range of artistic approaches. Yet it was also a competitive one, where critical judgment and artistic ambition were central to the club’s identity (and contributed to the enduring quality of the work). The annual salon they hosted and Boletim, a monthly magazine published by the FCCB, both demonstrate the breadth of activity pursued under the aegis of the club and highlighted the club’s achievements to the international circuit of salons in which they participated, including Otto Steinert and his fellow “Subjective” photographers in Germany, the Groupe des XV in Paris, La Ventana in Mexico City, and the Carpeta de los Diez in Buenos Aires.

Fotoclubismo has been installed along two intertwined, complementary threads within the galleries: monographic and thematic. Of the display’s three sections, each is anchored by a focused monographic presentation of an individual member: Geraldo De Barros, German Lorca, and Gertrudes Altschul. These sections begin and end with thematic groupings that suggest the breadth of the photographic community active in São Paulo at that time and offer additional context for the individual achievements. Each theme is derived from the monthly Concursos Internos held at the FCCB, which prompted members to respond to a certain theme, often awarding the winner with full-page reproductions and cover features. Two paintings from the Patricia Phelps de Cisneros gift and a generous selection of the FCCB’s monthly Boletim, recently acquired by the Museum Library, will expand the context for the photographs on view.

The exhibition is accompanied by a richly illustrated catalogue with 140 plates from the Museum Collection and a number of important public and private collections in São Paulo, presenting Brazilian modernist photography to an international audience for the first time. The book situates these achievements within the broader contemporary art scene in Brazil as well as within a dynamic network of photographers around the world, and offering fresh insight into the status of the amateur in the postwar era.

Press release from the MoMA website

 

José Medeiros (Brazilian, 1921-1990) 'Pedra da Gávea, Morro Dois Irmãos and the Beaches Ipanema and Leblon, Rio de Janeiro' 1952

 

José Medeiros (Brazilian, 1921-1990)
Pedra da Gávea, Morro Dois Irmãos and the Beaches Ipanema and Leblon, Rio de Janeiro
1952
Gelatin silver photograph
Courtesy Instituto Moreira Salles Collection

 

André Carneiro (Brazilian, 1922-2014) 'Rails' (Trilhos) 1951

 

André Carneiro (Brazilian, 1922-2014)
Rails (Trilhos)
1951
Gelatin silver print
11 5/8 × 15 9/16 in. (29.6 × 39.6cm)
The Museum of Modern Art, New York
Acquired through the generosity of José Olympio da Veiga Pereira through the Latin American and Caribbean Fund
© 2020 Estate of André Carneiro

 

Aldo Augusto de Souza Lima (Brazilian, 1920-1971) 'Vertigo' (Vertigem) 1949

 

Aldo Augusto de Souza Lima (Brazilian, 1920-1971)
Vertigo (Vertigem)
1949
Gelatin silver print
11 × 14 3/4 in. (28 × 37.5cm)
The Museum of Modern Art, New York
Acquired through the generosity of James and Ysabella Gara in honor of Donald H. Elliott
© 2020 Estate of Aldo Augusto de Souza Lima

 

Roberto Yoshida. 'Skyscrapers' (Arranha-céus) 1959

 

Roberto Yoshida
Skyscrapers (Arranha-céus)
1959
Gelatin silver print
14 9/16 × 11 9/16 in. (37 × 29.3cm)
Collection Fernanda Feitosa and Heitor Martins
© 2020 Estate of Roberto Yoshida
Reproduction of the photographic collection by Hélio Martins

 

 

Boletim was pivotal for showcasing FCCB’s progress and attracting new members. The club held monthly photo competitions and listed the winners in each issue. The magazine fostered a healthy competition between members and provided an incentive to capture the “best view.”

Each issue there were internal competitions where photos were judged by visual qualities as well as psychological factors. Editors would list the winners’ names along with birthday announcements, weddings, and group photos. Recording the names of the members served as a way for FCCB to seal their place in history lest the world forgot.

And for a while, the world did forget.

It wasn’t until years after the club closed their doors that Helouise Costa, professor at University of São Paulo and curator of Museum of Contemporary Art, discovered FCCB in the eighties after applying for a grant at University of São Paulo meant to encourage academics to explore Brazilian photography.

Soon into her research, Costa came across works by members of FCCB and quickly realised that the group was the most influential photo collective in its time in both scope and skill.

Costa studied the club’s magazine and reached out to all the names listed in the pages. What she discovered was an entirely forgotten archive of some of the most influential mid century Brazilian photography. Costa was the first person to look at many of these prints in decades: many former members had been sitting on these negatives since the 50’s.

This discovery catapulted FCCB into national fame, although it wasn’t until another twenty plus years before the club’s legacy started to make a buzz internationally.

Meka Boyle. “MoMA is the First Museum Outside of Brazil to Put the Spotlight on Brazilian Modernist Photography,” on the Art Dealer Street website May 28 2021 [Online] Cited 26/08/2021

 

Cover of the exhibition catalogue 'Fotoclubismo: Brazilian Modernist Photography and the Foto-Cine Clube Bandeirante, 1946-1964', published by The Museum of Modern Art, New York, 2021

 

Cover of the exhibition catalogue Fotoclubismo: Brazilian Modernist Photography and the Foto-Cine Clube Bandeirante, 1946-1964, published by The Museum of Modern Art, New York, 2021.

 

 

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

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

MoMA website

LIKE ART BLART ON FACEBOOK

Back to top

14
Feb
21

Exhibition: Gordon Parks and “The Atmosphere of Crime” at the Museum of Modern Art (MoMA), New York

Collection 1940s-1970s, Room 409
From ‘New art from wall to wall’ ongoing

 

 

Gordon Parks (American, 1912-2006) 'Shooting Victim in Cook County Morgue, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Shooting Victim in Cook County Morgue, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

 

As you can imagine, with the tragic situation of the ongoing COVID-19 pandemic around the world at the moment, there are few photography exhibitions on view.

This selection of images comes from the collection 1940s-1970s at the Museum of Modern Art (MoMA) in an ongoing display. Please note that not all Gordon Parks photographs shown here are on display, but I include them to give the viewer an overview, a greater understanding of the breadth of photographs included in Parks’ cinematic photo-essay.

Can you imagine the fortitude of this man: “born into poverty and segregation in Fort Scott, Kansas, in 1912. An itinerant labourer, he worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself and becoming a photographer. He evolved into a modern-day Renaissance man, finding success as a film director, writer and composer.” “The first Black member of the Farm Security Administration’s storied photo corps; the first Black photographer for the U.S. Office of War Information; the first Black photographer for Vogue; the first Black staff photographer at the weekly magazine Life; and, years later, the first Black filmmaker to direct a motion picture (Shaft) for a major Hollywood studio.” As a photographer he learnt his craft shooting dresses for department stores, taking portraits of society women in Chicago, and studying “the Depression-era images of photographers like Dorothea Lange”. Before joining them as a member of the FSA.

This body of work is remarkable for its non-judgemental gaze, a felt response to a subject which was an assignment for LIFE magazine: an objective reporter with a subjective heart as Parks proclaimed, one who had a certain kind of empathy, “expressing things for people who can’t speak for themselves… the underdogs… in that way I speak for myself.” Park’s photographic strategy was to use colour (rare and expensive in those days), and to close in on detail. Rarely if at all are there any mid to long shots in the photo-essay, placing the photograph in a particular location, the exception being the Untitled street scene under the Chicago “L” (short for “elevated”) rapid transit system and the night-time shot of an illuminated Alcatraz Island – remote, forbidding, isolated.

Photographed with candour – using low depth of field, silhouette, chiaroscuro, natural light, low light, night photography, no blur, little flash and challenging perspective, aesthetically a mixture of Dorothea Lange, Weegee and the colour images of Saul Leiter – other intimate images in the series create an “atmosphere” of everyday life on the streets and in the prisons, capturing how the disenfranchised, the desperate and the destitute are controlled and processed by force. “Parks coaxed his camera to record reality so vividly and compellingly that it would allow Life’s readers to see the complexity of these chronically oversimplified situations.” In Raiding Detectives, Chicago, Illinois (1957) we see two detectives of Italian descent raiding a dingy run-down tenement, busting the door open unannounced, guns drawn. In the photograph underneath in the posting, taken inside the oh so red room with floral curtains, one of the detectives questions a black suspect smoking a cigarette, while on the table covered with newspapers sits a burning candle probably providing the only illumination. Cowering in the shadows is a black women, almost unnoticed until you really look at the photograph. This is what abject poverty looks like. In another photograph, Untitled, New York, New York (1957), black and white men emerge from a police van – about the only time black and white men would have sat together in the segregated society of the time (other than being in prison). Can you imagine the atmosphere inside the paddy wagon, the looks, the conversation or lack of it?

Parks’ beautiful photographs, for they are that, include challenging depictions of death, drug use and nonchalantly displayed items such as guns and knuckledusters. Violence and the outcomes of it are an ever present theme in Parks’ documentation of the policing and criminalisation of marginalised people and communities. The photographs are frequently heartbreaking, such as the scars on the legs of a Black American; or devastating, such as the photograph Knifing Victim I (1957). Park’s compresses the space of the action, attacking the nitty gritty of the mise en scène but with no rush to judgement, just telling it how it is. As Sebastian Smee so eloquently observes, “If all of this were mere history – a series of episodes confined to the past – it would be one thing. But Parks’s photographs are alive to the many ways in which crime in the 1950s was a continuation of this legacy [of slavery, of lynching]. Sixty years after he took these photographs, it’s difficult to deny the conclusion that today’s crime-related inequities, from mass incarceration to police brutality, are likewise an extension of this racist legacy.”

And so it goes, both for the marginalised in America and for Indigenous Australians. “According to the U.S. Bureau of Justice Statistics (BJS) in 2018 Black males accounted for 34% of the total male prison population, white males 29%, and Hispanic males 24%” (Wikipedia) while the percentage of US population that is black is 14%. “As of September 2019, Aboriginal and Torres Strait Islander prisoners represented 28% of the total adult prisoner population, while accounting for 3.3% of the general population.” (Wikipedia)

Dr Marcus Bunyan

.
Many thankx to MoMA for allowing me to publish the photographs in posting. Please click on the photographs for a larger version of the image. All photographs are used for the purposes of education and research under fair use conditions.

 

 

In 1957, Life staff photographer Gordon Parks traversed New York, Chicago, Los Angeles, and San Francisco capturing crime scenes, police precincts, and prisons for “The Atmosphere of Crime,” as his photo essay was titled when it appeared in the magazine. Rather than identify or label “the criminal,” Parks – a fierce advocate for civil rights and a firm believer in photography as a catalyst for change – documented the policing and criminalisation of marginalised people and communities.

Here, Parks’s series is presented in relation to a long history of picturing criminality. In the nineteenth century, mug shots relied on photography’s supposed objectivity as the basis of their value for identification and surveillance. In the twentieth, more sensational images of victims, raids, and arrests circulated in newspapers and tabloids. In contrast, Parks urges us to look beyond individual people and events, to consider the forces of state and police power that are inextricable from any history of crime – a lesson as essential now as ever.

Text from the MoMA website

 

 

“I’m an objective reporter with a subjective heart,” proclaimed Gordon Parks. “I can’t help but have a certain kind of empathy… It’s more or less expressing things for people who can’t speak for themselves… the underdogs… in that way I speak for myself.” For over half a century, from the 1940s to the 2000s, Gordon Parks captured American life with his powerful photographs. After getting his first camera at the age of 25, he used this “weapon of choice” to attack issues including racism, poverty, urban life, and injustice. He became the first African American staff photographer at Life magazine – an immensely influential platform in the golden age of photo-illustrated magazines that not only allowed his art to be seen by many but also brought a critical, nuanced and, importantly, a Black perspective to the stories and depictions that he shared. For a 1957 assignment, he crisscrossed the streets of New York, Chicago, Los Angeles, and San Francisco, producing vivid colour images addressing the perceived rise in crime in the US. This series, “The Atmosphere of Crime,” challenged stereotypical images of delinquency, drug use, and corruption.

.
Text from the Gordon Parks Foundation website

 

“I don’t know that there is any one thing called “the Black experience,” but the way ‘Life magazine’ used Gordon Parks’ photographs for me actually reinscribed some of those notions of Black pathology, such as a story about a gang member (who was actually a pretty normal young man) or extreme poverty and social disenfranchisement. Parks was a much more complex photographer than that, as we came to fully know after his death, but that’s how we came to know him through ‘Life magazine’.”

.
Dawoud Bey quoted in Gail O’Neill. “Q&A: How Dawoud Bey uses photography to amplify his voice in the world,” on the ‘ARTS ATL’ website November 6, 2020 [Online] Cited 01/03/2021

 

 

 

Sarah Meister, curator in the Department of Photography, looks at images from Gordon Parks’s 1957 photo essay “The Atmosphere of Crime” (1957) and is moved by the power (and, sadly, continued relevance) of his ability to confront “the great social evils of his time” with an “incredible artistic sensibility.”

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

 

Closing in on a known criminal on Chicago’s South Side, police in a scout car check tensely by radio with headquarters. City lights rainbow the storm-splattered windshield as the car approaches the hideout.

Text from LIFE magazine, September 9, 1957, p. 46.

 

Gordon Parks (American, 1912-2006) 'Raiding Detectives, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Raiding Detectives, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Drug Search, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Drug Search, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Drug Search, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Drug Search, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
13 3/4 × 21″ (35 × 53.3cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957 (detail)

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois (detail)
1957
Pigmented inkjet print, printed 2019
13 3/4 × 21″ (35 × 53.3cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Narcotics Addict, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Narcotics Addict, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, New York, New York' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, New York, New York
1957
Pigmented inkjet print, printed 2019
13 3/4 × 21″ (35 × 53.3cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled' 1957

 

Gordon Parks (American, 1912-2006)
Untitled
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'San Quentin, California' 1957

 

Gordon Parks (American, 1912-2006)
San Quentin, California
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled (Alcatraz Island), San Francisco, California' 1957

 

Gordon Parks (American, 1912-2006)
Untitled (Alcatraz Island), San Francisco, California
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

 

Gordon Parks: The Atmosphere of Crime 1957

Gordon Parks’ ethically complex depictions of crime in New York, Chicago, San Francisco, and Los Angeles, with previously unseen photographs.

When Life magazine asked Gordon Parks to illustrate a recurring series of articles on crime in the United States in 1957, he had already been a staff photographer for nearly a decade, the first African American to hold this position. Parks embarked on a six-week journey that took him and a reporter to the streets of New York, Chicago, San Francisco, and Los Angeles.

Unlike much of his prior work, the images made were in colour. The resulting eight-page photo-essay The Atmosphere of Crime was noteworthy not only for its bold aesthetic sophistication but also for how it challenged stereotypes about criminality then pervasive in the mainstream media. They provided a richly hued, cinematic portrayal of a largely hidden world: that of violence, police work and incarceration, seen with empathy and candour.

Parks rejected clichés of delinquency, drug use, and corruption, opting for a more nuanced view that reflected the social and economic factors tied to criminal behaviour and afforded a rare window into the working lives of those charged with preventing and prosecuting it. Transcending the romanticism of the gangster film, the suspense of the crime caper and the racially biased depictions of criminality then prevalent in American popular culture, Parks coaxed his camera to record reality so vividly and compellingly that it would allow Life‘s readers to see the complexity of these chronically oversimplified situations. The Atmosphere of Crime, 1957 includes an expansive selection of never-before-published photographs from Parks’ original reportage.

Anonymous. “Gordon Parks: The Atmosphere of Crime 1957,” on the Exibart Street website [Online] Cited 07/02/2021

 

Gordon Parks (American, 1912-2006) 'Crime Suspect with Gun, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Crime Suspect with Gun, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Police Raid, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Police Raid, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled' 1957

 

Gordon Parks (American, 1912-2006)
Untitled
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, New York, New York' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, New York, New York
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, New York, New York' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, New York, New York
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled' 1957

 

Gordon Parks (American, 1912-2006)
Untitled
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Checking In Suspect, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Checking In Suspect, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Detectives Grilling a Suspect, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Detectives Grilling a Suspect, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Fingerprinting Addicts for Forging Prescription, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Fingerprinting Addicts for Forging Prescription, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled' 1957

 

Gordon Parks (American, 1912-2006)
Untitled
1957
Pigmented inkjet print, printed 2019
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Cops Bring In Knifing Victim, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Cops Bring In Knifing Victim, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
21 × 13 3/4″ (53.3 × 35cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

 

A sidewalk puddle reflects a common tragedy. A police van drives up to a Chicago hospital’s emergency door with a knifing victim. Tired attendants, once compassionate, sit idly by.

Text from LIFE magazine, September 9, 1957

 

Gordon Parks (American, 1912-2006) 'Police Bring in Victim, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Police Bring in Victim, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, New York, New York' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, New York, New York
1957
Pigmented inkjet print, printed 2019
21 × 13 3/4″ (53.3 × 35cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, New York, New York' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, New York, New York
1957
Pigmented inkjet print, printed 2019
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

 

A prowl car halts in a New York street, a youth comes nervously to its side. “You clean?” the cop asks. “We’re watching you.”

Text from “The Atmosphere of Crime” photographed for LIFE by Gordon Parks. LIFE magazine, September 9, 1957, p. 50.

 

Gordon Parks (American, 1912-2006) 'Knifing Victim I, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Knifing Victim I, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Morgue Photos of Dope Peddler Killed by Cops, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Morgue Photos of Dope Peddler Killed by Cops, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, San Quentin, California' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, San Quentin, California [Pre-execution report]
1957
Pigmented inkjet print, printed 2019
17 15/16 × 11 7/8″ (45.6 × 30.1cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print
16 × 20″ (40.6 × 50.8 cm)
Gift of The Gordon Parks Foundation

 

 

The left hand of a man who knows the ropes nonchalantly dangles a cigaret through the bars of a Chicago prison. But the man’s right hand, grasping the bars below, betrays him: he is frustrated and locked in.

Text from LIFE magazine, September 9, 1957

 

 

MoMA acquires historic Gordon Parks series The Atmosphere of Crime

The photographs will go on view in the New York museum’s permanent collection galleries in May, along with a selection of works by other artists and a clip from the classic 1971 film Shaft

The Museum of Modern Art (MoMA) in New York has acquired a full set of photographs by Gordon Parks from The Atmosphere of Crime series, a photographic essay examining crime in America he created on assignment with Life magazine in 1957. Along with 55 modern colour inkjet prints created from Parks’s transparencies, selected and bought in consultation with the Gordon Parks Foundation, the foundation has gifted a vintage gelatin silver print that matches a work already in MoMA’s collection, given by the photographer in 1993. Around 15 pieces from the series will go on view in a dedicated gallery on the fourth floor in May, along with an excerpt from his classic 1971 film Shaft and works by other artists from the collection, as part of the next reinstallation of the permanent galleries.

The acquisition comes through years of conversations with the Gordon Parks Foundation, which has been organising in-depth exhibitions of the photographer’s work at major museums since his death in 2006. “When Sarah Meister [MoMA’s curator of photography] and I began speaking a few years ago about how the museum could make a major acquisition, it was about what body of work would really have the most impact to what’s going on in the current world,” says Peter Kunhardt, Jr, the foundation’s executive director. “And we both felt that The Atmosphere of Crime was so relevant, not only because so much hasn’t changed today in our criminal justice system and with police brutality and violence, but also because the work is in colour.”

Colour photography was prohibitively expensive to produce outside of commercial projects at the time Parks first shot the series, Meister explains, and only a selection of images from the series were printed in colour in Life. “The transparencies that Gordon Parks made have been held back for a number of years for the right institution to thoughtfully put together an exhibition and book,” Kunhardt adds. The catalogue, published by Steidl with essays by Meister, Bryan Stevenson, the founder of the Equal Justice Initiative, and the art historian Nicole Fleetwood, who also wrote Marking Time: Art in the Age of Mass Incarceration, includes all the images from the acquisition.

Extract from Helen Stoilas. “MoMA acquires historic Gordon Parks series The Atmosphere of Crime,” on The Art Newspaper website 11 February 2020 [Online] Cited 07/02/2021

 

Installation view of the Collection 1940s-1970s, Room 409: 'Gordon Parks and "The Atmosphere of Crime"' at the Museum of Modern Art (MoMA), New York

Installation view of the Collection 1940s-1970s, Room 409: 'Gordon Parks and "The Atmosphere of Crime"' at the Museum of Modern Art (MoMA), New York

Installation view of the Collection 1940s-1970s, Room 409: 'Gordon Parks and "The Atmosphere of Crime"' at the Museum of Modern Art (MoMA), New York

Installation view of the Collection 1940s-1970s, Room 409: 'Gordon Parks and "The Atmosphere of Crime"' at the Museum of Modern Art (MoMA), New York

Installation view of the Collection 1940s-1970s, Room 409: 'Gordon Parks and "The Atmosphere of Crime"' at the Museum of Modern Art (MoMA), New York

Installation view of the Collection 1940s-1970s, Room 409: 'Gordon Parks and "The Atmosphere of Crime"' at the Museum of Modern Art (MoMA), New York

 

Installation views of the Collection 1940s-1970s, Room 409: Gordon Parks and “The Atmosphere of Crime” at the Museum of Modern Art (MoMA), New York

 

 

None of these images is crude or cliched. A few, it’s true, are brutally direct, in the spirit of Robert Lowell (“Yet why not say what happened?”) or Walker Evans (“If the thing is there, why there it is.”). But others are oddly – and arrestingly – tentative. They’re optically blurred, obscured by visual impediments, as if filtered through the artist’s melancholy, his pity, his black-of-night bewilderment. Looking at them, you feel that something others might rush to – judgment, sentencing, finality – has been deliberately withheld. …

The presence of the word “atmosphere” in the title is apt. It captures both the cumulative impact of the imagery and the complexity of crime’s causes and effects. Park’s use of blur, his unexpected vantage points and his embrace of pooling darkness all elevate his feeling for complication and suffering over the usual simplistic story lines that crowd to the subject of crime. …

Between 1880 and 1950, lynchings were committed in open defiance of the law, terrorising a Black population that proceeded to escape to the ghettos of the North in massive numbers.

If all of this were mere history – a series of episodes confined to the past – it would be one thing. But Parks’s photographs are alive to the many ways in which crime in the 1950s was a continuation of this legacy. Sixty years after he took these photographs, it’s difficult to deny the conclusion that today’s crime-related inequities, from mass incarceration to police brutality, are likewise an extension of this racist legacy.

Big-city street crime has been in steady decline for three decades now. And yet the complexities and inequities of American crime still hinge on race and are still crudely narrated in the media.

Extract from Sebastian Smee. “With his camera, Gordon Parks humanized the Black people others saw as simply criminals,” on The Washington Post website August 5, 2020 [Online] Cited 07/02/2021

 

LIFE magazine, September 9, 1957

 

LIFE magazine, September 9, 1957 front cover

 

Robert Wallace. "Crime in the U.S." LIFE magazine, September 9, 1957, pp. 46-47.

 

Robert Wallace. “Crime in the U.S.” LIFE magazine, September 9, 1957, pp. 46-47. Photograph by Gordon Parks.

 

LIFE magazine 'Crime in the U.S.'

Robert Wallace. "Crime in the U.S." LIFE magazine, September 9, 1957

 

Robert Wallace. “Crime in the U.S.” LIFE magazine, September 9, 1957. Photographs by Gordon Parks.

 

 

Robert Wallace. “Crime in the U.S.” LIFE magazine, September 9, 1957, pp. 68-69.

 

 

“BANDIT’S ROOST” in New York’s Mulberry Street in 1890s housed Italians who, like most economically exploited immigrant groups, had a high incidence of crime. As Sellin explains, this dropped as they prospered.

Unattributed photograph by Jacob Riis (see below).

 

Jacob Riis (Danish-American, 1849-1914) 'Bandit's Roost at 59½ Mulberry Street' 1888

 

Jacob Riis (American, born Denmark 1849-1914)
Bandit’s Roost at 59½ Mulberry Street
1888
From How the Other Half Lives

 

This image is Bandit’s Roost at 59½ Mulberry Street, considered the most crime-ridden, dangerous part of New York City.

 

 

Jacob August Riis (1849-1914) was a Danish-American social reformer, “muckraking” journalist and social documentary photographer. He contributed significantly to the cause of urban reform in America at the turn of the twentieth century. He is known for using his photographic and journalistic talents to help the impoverished in New York City; those impoverished New Yorkers were the subject of most of his prolific writings and photography. He endorsed the implementation of “model tenements” in New York with the help of humanitarian Lawrence Veiller. Additionally, as one of the most famous proponents of the newly practicable casual photography, he is considered one of the fathers of photography due to his very early adoption of flash in photography.

While living in New York, Riis experienced poverty and became a police reporter writing about the quality of life in the slums. He attempted to alleviate the bad living conditions of poor people by exposing their living conditions to the middle and upper classes. …

 

Photography

Bandit’s Roost (1888) by Jacob Riis, from How the Other Half Lives. This image is Bandit’s Roost at 59½ Mulberry Street, considered the most crime-ridden, dangerous part of New York City. Riis had for some time been wondering how to show the squalor of which he wrote more vividly than his words could express. He tried sketching, but was incompetent at this. Camera lenses of the 1880s were slow as was the emulsion of photographic plates; photography thus did not seem to be of any use for reporting about conditions of life in dark interiors. In early 1887, however, Riis was startled to read that “a way had been discovered to take pictures by flashlight. The darkest corner might be photographed that way.” The German innovation, by Adolf Miethe and Johannes Gaedicke, flash powder was a mixture of magnesium with potassium chlorate and some antimony sulfide for added stability; the powder was used in a pistol-like device that fired cartridges. This was the introduction of flash photography.

Recognising the potential of the flash, Riis informed a friend, Dr. John Nagle, chief of the Bureau of Vital Statistics in the City Health Department who was also a keen amateur photographer. Nagle found two more photographer friends, Henry Piffard and Richard Hoe Lawrence, and the four of them began to photograph the slums. Their first report was published in the New York newspaper The Sun on February 12, 1888; it was an unsigned article by Riis which described its author as “an energetic gentleman, who combines in his person, though not in practice, the two dignities of deacon in a Long Island church and a police reporter in New York”. The “pictures of Gotham’s crime and misery by night and day” are described as “a foundation for a lecture called ‘The Other Half: How It Lives and Dies in New York.’ to give at church and Sunday school exhibitions, and the like.” The article was illustrated by twelve line drawings based on the photographs.

Riis and his photographers were among the first Americans to use flash photography. Pistol lamps were dangerous and looked threatening, and would soon be replaced by another method for which Riis lit magnesium powder on a frying pan. The process involved removing the lens cap, igniting the flash powder and replacing the lens cap; the time taken to ignite the flash powder sometimes allowed a visible image blurring created by the flash.

Riis’s first team soon tired of the late hours, and Riis had to find other help. Both his assistants were lazy and one was dishonest, selling plates for which Riis had paid. Riis sued him in court successfully. Nagle suggested that Riis should become self-sufficient, so in January 1888 Riis paid $25 for a 4×5 box camera, plate holders, a tripod and equipment for developing and printing. He took the equipment to the potter’s field cemetery on Hart Island to practice, making two exposures. The result was seriously overexposed but successful.

For three years, Riis combined his own photographs with others commissioned of professionals, donations by amateurs and purchased lantern slides, all of which formed the basis for his photographic archive.

Because of the nighttime work, he was able to photograph the worst elements of the New York slums, the dark streets, tenement apartments, and “stale-beer” dives, and documented the hardships faced by the poor and criminal, especially in the vicinity of notorious Mulberry Street. …

 

Social attitudes

Riis’s concern for the poor and destitute often caused people to assume he disliked the rich. However, Riis showed no sign of discomfort among the affluent, often asking them for their support. Although seldom involved with party politics, Riis was sufficiently disgusted by the corruption of Tammany Hall to change from being an endorser of the Democratic Party to endorse the Republican Party. The period just before the Spanish-American War was difficult for Riis. He was approached by liberals who suspected that protests of alleged Spanish mistreatment of the Cubans was merely a ruse intended to provide a pretext for US expansionism; perhaps to avoid offending his friend Roosevelt, Riis refused the offer of good payment to investigate this and made nationalist statements.

Riis emphatically supported the spread of wealth to lower classes through improved social programs and philanthropy, but his personal opinion of the natural causes for poor immigrants’ situations tended to display the trappings of a racist ideology. Several chapters of How the Other Half Lives, for example, open with Riis’ observations of the economic and social situations of different ethnic and racial groups via indictments of their perceived natural flaws; often prejudices that may well have been informed by scientific racism.

 

Criticism

Riis’s sincerity for social reform has seldom been questioned, but critics have questioned his right to interfere with the lives and choices of others. His audience comprised middle-class reformers, and critics say that he had no love for the traditional lifestyles of the people he portrayed. Stange (1989) argues that Riis “recoiled from workers and working-class culture” and appealed primarily to the anxieties and fears of his middle-class audience. Swienty (2008) says, “Riis was quite impatient with most of his fellow immigrants; he was quick to judge and condemn those who failed to assimilate, and he did not refrain from expressing his contempt.” Gurock (1981) says Riis was insensitive to the needs and fears of East European Jewish immigrants who flooded into New York at this time.

Libertarian economist Thomas Sowell (2001) argues that immigrants during Riis’s time were typically willing to live in cramped, unpleasant circumstances as a deliberate short-term strategy that allowed them to save more than half their earnings to help family members come to America, with every intention of relocating to more comfortable lodgings eventually. Many tenement renters physically resisted the well-intentioned relocation efforts of reformers like Riis, states Sowell, because other lodgings were too costly to allow for the high rate of savings possible in the tenements. Moreover, according to Sowell, Riis’s own personal experiences were the rule rather than the exception during his era: like most immigrants and low-income persons, he lived in the tenements only temporarily before gradually earning more income and relocating to different lodgings.

Riis’s depictions of various ethnic groups can be harsh. In Riis’s books, according to some historians, “The Jews are nervous and inquisitive, the Orientals are sinister, the Italians are unsanitary.”

Riis was also criticised for his depiction of African Americans. He was said to portray them as falsely happy with their lives in the “slums” of New York City. This criticism didn’t come until much later after Riis had died. His writing was overlooked because his photography was so revolutionary in his early books.

Text from the Wikipedia website

 

 

“The Atmosphere of Crime” photographed for LIFE by Gordon Parks. LIFE magazine, September 9, 1957, p. 50.

 

Gordon Parks' photo essay 'The Atmosphere of Crime' in 'Life Magazine', September 9, 1957

 

Gordon Parks’ photo essay “The Atmosphere of Crime” in Life Magazine, September 9, 1957, pp. 58-59.

 

 

Because this year marks the 50th anniversary of his groundbreaking 1971 film, “Shaft”; because two fine shows of his pioneering photojournalism are on view at the Jack Shainman galleries in Chelsea; because a suite from his influential 1957 series, “The Atmosphere of Crime,” is a highlight of “In and Around Harlem,” on view at the Museum of Modern Art; and because, somehow, despite the long shadow cast by a man widely considered the preeminent Black American photographer of the 20th century, he is too little known, the time seems right to revisit some elements of the remarkable life, style and undimmed relevance of Gordon Parks.

 

Last born of 15 children, he made a career of firsts

Born Gordon Roger Alexander Buchanan Parks in Fort Scott, Kansas, on Nov. 30, 1912, he attended segregated schools where he was prohibited from playing sports and was advised not to aim for college because higher education was pointless for people destined to be porters and maids.

Once, he was beaten up for walking with a light-skinned cousin. Once, he was tossed into the Marmaton River by three white boys fully aware that he could not swim. Once, he was thrown out of a brother-in-law’s house where he was sent to live after his mother’s death. This was in St. Paul, at Christmas. He rode a trolley all night to keep warm.

 

The road to fame had plenty of detours

At various points in his early years, Parks played the piano in a brothel, was a janitor in a flophouse and was a dining car waiter on the cross-country railroad. He survived these travails to become, following a route that was anything but direct, the first Black member of the Farm Security Administration’s storied photo corps; the first Black photographer for the U.S. Office of War Information; the first Black photographer for Vogue; the first Black staff photographer at the weekly magazine Life; and, years later, the first Black filmmaker to direct a motion picture for a major Hollywood studio. By the standards of a Jim Crow era, Parks’ perseverance rose to the level of the biblical.

 

He got his break shooting dresses

As passengers have done everywhere and always, those on the North Coast Limited between Chicago and Seattle tossed their onboard reading when they were done. Parks scavenged the well-thumbed magazines and, taking them home, discovered both the Depression-era images of photographers like Dorothea Lange and the exotic spheres depicted in Vogue.

He bought his first camera at a pawnshop in Seattle in 1937 and taught himself how to use it. Returning to the Minneapolis area where he had lived for a time, he scouted work shooting for local department stores. All except one rebuffed him.

This, as it happened, was Frank Murphy, the most fashionable boutique in the city, a shop with a running fountain, a resident parrot and a clientele that ran to women from the Pillsbury, Ordway and Dayton dynasties and who relied on the buyers there to supply them with things like “telephone dresses,” for those who considered it unseemly to take calls in dishabille.

By legend, it was the owner’s wife, Madeleine, who insisted that her husband hire the fledgling photographer despite his inexperience, for reasons never made clear. The bet paid off, though, since the images Parks produced promptly resulted in more work, a local exhibition and a telephone call from Marva Louis, then the wife of the world heavyweight boxing champion, Joe Louis, who encouraged him to relocate to Chicago, where he began taking portraits of society women. It was a career transit compressed in a sequence of events so implausible as to seem cinematic. Yet, for Parks, it was just a beginning.

“From the start, Parks knew how to make a beautiful picture,” photography critic Vince Aletti said. And it is true that, long after Parks established his reputation with unflinching photographic series on the civil rights movement, Harlem gangs, the Black Panthers, Malcolm X and the Nation of Islam, he continued to move easily between photojournalism and the fashion work for which he maintained a lifelong regard – and which, along with his access to elements of Black life largely invisible to white readers, was among the reasons he was hired in the first place by Life.

© 2021 The New York Times Company

 

Unknown photographer. 'Untitled (Pages from an album of mugshots)' 1870s-80s

 

Unknown photographer
Untitled (Pages from an album of mugshots)
1870s-80s
Albumen silver prints
Each 9 1/8 × 4 7/16″ (23.2 × 11.2cm)

 

Times Wide World Photos. "Ms. Ruth Snyder as She Looks Today" April 1927

 

Times Wide World Photos
“Ms. Ruth Snyder as She Looks Today”
April 1927
Gelatin silver print
9 7/8 × 7 1/2″ (25.1 × 19.1cm)
The New York Times Collection
© 2021 Times Wide World Photos

 

 

Ruth Brown Snyder (March 27, 1895 – January 12, 1928) was an American murderer. Her execution in the electric chair at New York’s Sing Sing Prison in 1928 for the murder of her husband, Albert Snyder, was recorded in a well-publicised photograph.

 

Associated Press. "Mob Foiled in Attempted Lynching" 1934

 

Associated Press
“Mob Foiled in Attempted Lynching”
1934
Gelatin silver print
6 1/2 × 8 3/8″ (16.5 × 21.3cm)
The New York Times Collection
© 2021 Associated Press

 

Weegee (Arthur Fellig) (American, 1899-1968) 'Charles Sodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces' 1942

 

Weegee (Arthur Fellig) (American, 1899-1968)
Charles Sodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces
1942
Gelatin silver print
10 5/16 × 13 3/16″ (26.2 × 33.5cm)
The Family of Man Fund
© 2021 Weegee/ICP/Getty Images

 

Associated Press, Roger Higgins. 'Ethel and Julius Rosenberg on Their Way to Jail in New York' March 29, 1951

 

Associated Press, Roger Higgins
Ethel and Julius Rosenberg on Their Way to Jail in New York
March 29, 1951
Gelatin silver print
6 1/2 × 8 7/16″ (16.5 × 21.4cm)
The New York Times Collection
© 2021 Associated Press

 

 

Julius Rosenberg and Ethel Rosenberg were American citizens who were convicted of spying on behalf of the Soviet Union. The couple was accused of providing top-secret information about radar, sonar, jet propulsion engines, and valuable nuclear weapon designs; at that time the United States was the only country in the world with nuclear weapons. Convicted of espionage in 1951, they were executed by the federal government of the United States in 1953 in the Sing Sing correctional facility in Ossining, New York, becoming the first American civilians to be executed for such charges and the first to suffer that penalty during peacetime.

Other convicted co-conspirators were sentenced to prison, including Ethel’s brother, David Greenglass (who had made a plea agreement), Harry Gold, and Morton Sobell. Klaus Fuchs, a German scientist working in Los Alamos, was convicted in the United Kingdom.

For decades, the Rosenbergs’ sons (Michael and Robert Meeropol) and many other defenders maintained that Julius and Ethel were innocent of spying on their country and were victims of Cold War paranoia. After the fall of the Soviet Union, much information concerning them was declassified, including a trove of decoded Soviet cables (code-name: Venona), which detailed Julius’s role as a courier and recruiter for the Soviets. Ethel’s role was as an accessory who helped recruit her brother David into the spy ring and she worked in a secretarial manner typing up documents for her husband that were given to the Soviets. In 2008, the National Archives of the United States published most of the grand jury testimony related to the prosecution of the Rosenbergs.

Text from the Wikipedia website

 

Dorothea Lange (American, 1895-1965) 'Black Maria, Oakland' 1957

 

Dorothea Lange (American, 1895-1965)
Black Maria, Oakland
1957
Gelatin silver print
10 15/16 × 9 13/16″ (27.9 × 24.9cm)
Gift of the artist

 

Meyer Liebowitz (American, 1906-1976) / The New York Times. 'Umberto (Albert) Anastasia Shot to Death in Barber's Chair' October 25, 1957

 

Meyer Liebowitz (American, 1906-1976) / The New York Times
Umberto (Albert) Anastasia Shot to Death in Barber’s Chair
October 25, 1957
Gelatin silver print
7 5/8 × 8 7/16″ (19.4 × 21.4cm)
The New York Times Collection
© 2021 The New York Times

 

 

Umberto “Albert” Anastasia (1902-1957) was an Italian-American mobster, hitman, and crime boss. One of the founders of the modern American Mafia and a co-founder and later boss of the Murder, Inc. criminal collective, Anastasia eventually rose to the position of boss in what became the modern Gambino crime family. He was also in control of the New York waterfront for most of his criminal career, including the dockworker unions. He was murdered on October 25, 1957, on the orders of Vito Genovese and Carlo Gambino; Gambino subsequently became boss of the family.

Anastasia was one of the most ruthless and feared organised crime figures in American history; his reputation earned him the nicknames “The One-Man Army”, “Mad Hatter” and “Lord High Executioner”. …

 

Assassination

On the morning of October 25, 1957, Anastasia entered the barber shop of the Park Sheraton Hotel, at 56th Street and 7th Avenue in Midtown Manhattan. Anastasia’s driver parked the car in an underground garage and then took a walk outside, leaving him unprotected. As Anastasia relaxed in the barber’s chair, two men – scarves covering their faces – rushed in, shoved the barber out of the way, and fired at Anastasia. After the first volley of bullets, Anastasia reportedly lunged at his killers. However, the stunned Anastasia had actually attacked the gunmen’s reflections in the wall mirror of the barber shop. The gunmen continued firing until Anastasia finally fell dead on the floor.

The Anastasia homicide generated a tremendous amount of public interest and sparked a high-profile police investigation. Per The New York Times journalist and Five Families author Selwyn Raab, “The vivid image of a helpless victim swathed in white towels was stamped in the public memory”. However, no one was charged in the case. Speculation on who killed Anastasia has centred on Profaci crime family mobster Joe Gallo, the Patriarca crime family of Providence, Rhode Island, and certain drug dealers within the Gambino family. Initially, the NYPD concluded that Anastasia’s homicide had been arranged by Genovese and Gambino and that it was carried out by a crew led by Gallo. At one point, Gallo boasted to an associate of his part in the hit, “You can just call the five of us the barbershop quintet”. Elsewhere, Genovese had traditionally strong ties to Patriarca boss Raymond L. S. Patriarca.

Anastasia’s funeral service was conducted at a Brooklyn funeral home; the Roman Catholic Diocese of Brooklyn had refused to sanction a church burial. Anastasia was interred in Green-Wood Cemetery in Greenwood Heights, Brooklyn, attended by a handful of friends and relatives. It is marked “Anastasio”. In 1958, his family emigrated to Canada, and changed the name to “Anisio”.

Text from the Wikipedia website

 

Danny Lyon (American, b. 1942) 'Dominoes, Walls Unit, Texas' 1967-69

 

Danny Lyon (American, b. 1942)
Dominoes, Walls Unit, Texas
1967-1969
Gelatin silver print
11 × 14″ (28 × 35.6cm)
Gift of Mr. and Mrs. James Hunter
© 2021 Danny Lyon

 

John Hubbard / Black Star Publishing Company. "Kennedy Car off Bridge to Chappaquiddick Island, Massachusetts" July 19, 1969

 

John Hubbard / Black Star Publishing Company
“Kennedy Car off Bridge to Chappaquiddick Island, Massachusetts”
July 19, 1969
Gelatin silver print
6 13/16 × 9 15/16″ (17.3 × 25.2cm)
The New York Times Collection
© 2021 John Hubbard/Black Star Publishing Co.

 

 

The Chappaquiddick incident (popularly known as Chappaquiddick) was a single-vehicle car crash that occurred on Chappaquiddick Island in Massachusetts some time around midnight between Friday, July 18, and Saturday, July 19, 1969. The crash was caused by Senator Edward M. (Ted) Kennedy’s negligence and resulted in the death of his 28-year-old passenger Mary Jo Kopechne, who was trapped inside the vehicle.

Kennedy left a party on Chappaquiddick at 11:15 p.m. Friday, with Kopechne. He maintained his intent was to immediately take Kopechne to a ferry landing and return to Edgartown, but that he accidentally made a wrong turn onto a dirt road leading to a one-lane bridge. After his car skidded off the bridge into Poucha Pond, Kennedy swam free, and maintained he tried to rescue Kopechne from the submerged car, but he could not. Kopechne’s death could have happened any time between about 11:30 p.m. Friday and 1 a.m. Saturday, as an off-duty deputy sheriff maintained he saw a car matching Kennedy’s at 12:40 a.m. Kennedy left the scene and did not report the crash to police until after 10 a.m. Saturday. Meanwhile, a diver recovered Kopechne’s body from Kennedy’s car shortly before 9 a.m. Saturday.

At a July 25, 1969, court hearing, Kennedy pled guilty to a charge of leaving the scene of an accident and received a two-month suspended jail sentence. In a televised statement that same evening, he said his conduct immediately after the crash “made no sense to me at all”, and that he regarded his failure to report the crash immediately as “indefensible”. A January 5, 1970, judicial inquest concluded Kennedy and Kopechne did not intend to take the ferry, and that Kennedy intentionally turned toward the bridge, operating his vehicle negligently, if not recklessly, at too high a rate of speed for the hazard which the bridge posed in the dark. The judge stopped short of recommending charges, and a grand jury convened on April 6, 1970, returning no indictments. On May 27, 1970, a Registry of Motor Vehicles hearing resulted in Kennedy’s driver’s license being suspended for a total of sixteen months after the crash.

The Chappaquiddick incident became national news that influenced Kennedy’s decision not to run for President in 1972 and 1976, and it was said to have undermined his chances of ever becoming President. Kennedy ultimately decided to enter the 1980 Democratic Party presidential primaries, but earned only 37.6% of the vote and lost the nomination to incumbent President Jimmy Carter.

Text from the Wikipedia website

 

Leonard Freed (American, 1929-2006) 'New York: Woman killed by her boyfriend at her place of employment' 1972

 

Leonard Freed (American, 1929-2006)
New York: Woman killed by her boyfriend at her place of employment
1972
Gelatin silver print
15 5/8 × 23 9/16″ (39.7 × 59.8cm)
Acquired through the generosity of Thomas L. Kempner, Jr.
© 2021 Leonard Freed/Magnum Photos

 

 

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

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

MoMA website

LIKE ART BLART ON FACEBOOK

Back to top

20
May
18

Exhibition: ‘Stephen Shore’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 19th November, 2017 – 28th May, 2018

Stephen Shore is organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, MoMA.

 

 

Stephen Shore (American, b. 1947) 'West 9th Avenue, Amarillo, Texas, October 2, 1974'

 

Stephen Shore (American, b. 1947)
West 9th Avenue, Amarillo, Texas, October 2, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

 

The truth in the detail of day-to-day life

1970s colour photography is the key period in the work of Stephen Shore. These classical, formal colour photographs capture “mundane aspects of American popular culture in straightforward, unglamorous images.” They are what made him famous. They are, historically, conceptually and emotionally, his most effective means of communication as an artist.

American Surfaces and Uncommon Places made Shore “one of the most prominent figures of the American New Color movement,” showing colour just as colour.

I know that is a strange thing to say, but Shore was showing the world in a different light… and he was using an aesthetic based on the straight forward use of colour. Colour is just there, part of the form of the image. Of course there are insightful subjective judgements about what to photograph in American surburbia, but this subjectivity and the use of colour within it is subsumed into the song that Shore was composing. It all comes back to music. Here’s a Mozart tune, this is his aesthetic, for eternity.

I remember seeing two vintage Stephen Shore chromogenic colour prints from 1976 where the colours were still true and had not faded in the exhibition American Dreams: 20th century photography from George Eastman House at Bendigo Art Gallery. This was incredible experience – seeing vintage prints from one of the masters of colour photography; noticing that they are not full of contrast like a lot of today’s colour photographs – more like a subtle Panavision or Technicolor film from the early 1960s. Rich, subtle, beautiful hues with the photograph containing this amazing presence, projected through the construction of the image and the physicality of the print.

Shore has a fantastic eye and his colour photographs are beautifully resolved. The subjectivity is not pushed, because his song was in tune, and he just sang it. Like his contemporaries, Wiliam EgglestonRichard Misrach and Joel Meyerwitz, there are some artists who just know how to play the tune.

Dr Marcus Bunyan

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

 

Stephen Shore encompasses the entirety of the artist’s work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. One of the most significant photographers of our time, Stephen Shore (American, b. 1947) has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, switching from cheap automatic cameras to large-format cameras in the 1970s, pioneering the use of colour before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing, and social media.

The artist’s first survey in New York to include his entire career, this exhibition will both allow for a fuller understanding of Shore’s work, and demonstrate his singular vision – defined by an interest in daily life, a taste for serial and often systematic approaches, a strong intellectual underpinning, a restrained style, sly humour, and visual casualness – and uncompromising pursuit of photography’s possibilities.

 

 

 

Stephen Shore | MoMA LIVE

Join us for a conversation with MoMA Chief Curator of Photography Quentin Bajac and artist Stephen Shore on the opening of the exhibition, “Stephen Shore,” moderated by MoMA Senior Deputy Director of Curatorial Affairs, Peter Reed.

One of the most significant photographers of our time, Stephen Shore has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, and this exhibition encompasses the entirety of the artist’s work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms.

 

Stephen Shore (American, b. 1947) 'New York, New York' 1964

 

Stephen Shore (American, b. 1947)
New York, New York
1964
Gelatin silver print
9 1/8 × 13 1/2 in. (23.2 × 34.3cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) '1:35 a.m., in Chinatown Restaurant, New York, New York' 1965-67

 

Stephen Shore (American, b. 1947)
1:35 a.m., in Chinatown Restaurant, New York, New York
1965-67
Gelatin silver print, printed c. 1995
9 × 13 1/2 in. (22.9 × 34.3cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Kanab, Utah, June 1972'

 

Stephen Shore (American, b. 1947)
Kanab, Utah, June 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8 in. (7.8 × 11.7cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Amarillo, Texas, July 1972'

 

Stephen Shore (American, b. 1947)
Amarillo, Texas, July 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8 in. (7.8 × 11.7cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Washington, D.C., November 1972'

 

Stephen Shore (American, b. 1947)
Washington, D.C., November 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8 in. (7.8 × 11.7cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Second Street, Ashland, Wisconsin, July 9, 1973'

 

Stephen Shore (American, b. 1947)
Second Street, Ashland, Wisconsin, July 9, 1973
1973. Chromogenic colour print, printed 2017
17 × 21 3/4 in. (43.2 × 55.2cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'U.S. 97, South of Klamath Falls, Oregon, July 21, 1973'

 

Stephen Shore (American, b. 1947)
U.S. 97, South of Klamath Falls, Oregon, July 21, 1973
1973
Chromogenic colour print, printed 2002
17 3/4 x 21 15/16 in. (45.1 x 55.7cm)
The Museum of Modern Art, New York. The Photography Council Fund
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Breakfast, Trail's End Restaurant, Kanab, Utah, August 10, 1973'

 

Stephen Shore (American, b. 1947)
Breakfast, Trail’s End Restaurant, Kanab, Utah, August 10, 1973
1973
Chromogenic colour print
16 7/8 × 21 1/4 in. (42.8 × 54cm)
The Museum of Modern Art, New York. Purchase
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'West Third Street, Parkersburg, West Virginia, May 16, 1974'

 

Stephen Shore (American, b. 1947)
West Third Street, Parkersburg, West Virginia, May 16, 1974
1974
Chromogenic colour print
8 × 10 1/2 in. (20.3 × 26.7cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Lookout Hotel, Ogunquit, Maine, July 16, 1974'

 

Stephen Shore (American, b. 1947)
Lookout Hotel, Ogunquit, Maine, July 16, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

 

The Museum of Modern Art presents the most comprehensive exhibition ever organised of photographer Stephen Shore’s work, on view from November 19, 2017, until May 28, 2018. The exhibition tracks the artist’s work chronologically, from the gelatin silver prints he made as a teenager to his current work with digital platforms. Stephen Shore establishes the artist’s full oeuvre in the context of his time – from his days at Andy Warhol’s Factory through the rise of American colour photography and the transition to large-scale digital photography – and argues for his singular vision and uncompromising pursuit of photography’s possibilities. The exhibition will include hundreds of photographic works along with additional materials including books, ephemera, and objects. Stephen Shore is organised by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, MoMA.

Born in 1947, Shore spearheaded the New Color Photography movement in the United States in the 1970s, and became a major catalyst in the renewal of documentary photography in the late 1990s, both in the US and Europe, blending the tradition of American photographers such as Walker Evans with influences from various artistic movements, including Pop, Conceptualism, and even Photo-Realism. Shore’s images seem to achieve perfect neutrality, in both subject matter and approach. His approach cannot be reduced to a style but is best summed up with a few principles from which he has seldom deviated: the search for maximum clarity, the absence of retouching and reframing, and respect for natural light. Above all, he exercises discipline, limiting his shots as much as possible – one shot of a subject, and very little editing afterward.

Shore started developing negatives from his parents when he was only six, received his first camera when he was nine, and sold prints to Edward Steichen, then director of MoMA’s Department of Photography, at the age of 14. In the early 1960s Shore became interested in film, both narrative and experimental, and he showed his short film Elevator in 1965 at the Film-Makers’ Cinematheque, where he first met Andy Warhol. That spring, he dropped out of high school and started photographing at Warhol’s studio, The Factory, initially on an almost daily basis, then more sporadically, until 1967. Elevator has been restored by conservators and will be screened in the exhibition for the first time since the 1960s.

In 1969, Shore used serial black-and-white projects to deconstruct the medium and rebuild it on a more detached, intellectual foundation. In these works, many shot in Amarillo, Texas, with his friend Michael Marsh as his main model, Shore was striving to free himself from certain photographic conventions: the concept of photography as the art of creating isolated and “significant” images, and the related cult of the “decisive moment”; perfect framing; and the expressive subjectivity of the photographer. The principle of multiplicity prevails in Shore’s work of that period – series, suites, and sequences that resist all narrative temptation. In their attempt to eliminate subjectivity, these series are related to a number of Conceptual photographic works by other artists of the same period.

In November 1971 Shore curated an exhibition called All the Meat You Can Eat at the 98 Greene Street Loft. Embracing a century of photography, the show was composed largely of found images collected by Shore and two friends, Weston Naef, then a curator at The Metropolitan Museum of Art, and Michael Marsh. It also included images by Shore, such as shots taken with a Mick-a-Matic camera and colour photos that would serve as the basis for the postcards in his series Greetings from Amarillo, “Tall in Texas.” Stephen Shore will include a reconstructed version of this display, using material from Shore’s archives – some that was originally in the exhibition and some that has been selected by Shore for this installation.

In the early 1970s Shore turned to colour photography, a format that at that time was still largely overlooked by art photographers. In March 1972, he started taking snapshots of his daily life, embarking in June and July of the same year on a road trip to the southern US. For two months he photographed his everyday life in an almost systematic way – unremarkable buildings, main streets, highway intersections, hotel rooms, television screens, people’s faces, toilet seats, unmade beds, a variety of ornamental details, plates of food, shop windows, inscriptions, and commercial signs. In September and October 1972, images from the series were shown at Light Gallery in New York under the title American Surfaces. The MoMA display of this work echoes that initial presentation, in which the small Kodacolor prints were attached directly to the wall, unframed, in a grid of three rows.

Begun in 1973 and completed almost 10 years later, Shore’s next project, Uncommon Places, inhabits the same world and deals with the same themes as American Surfaces. Yet because of Shore’s move from a handheld 35mm camera to a large-format one, Uncommon Places features fewer details and close-ups and a more detached approach. Appearing in the context of accelerated change in the national landscape, especially in areas of suburban sprawl, it betrays a more contemplative reading of individual images. Before being published as a book in 1982, the series was exhibited both in the US and abroad, especially in Germany, making Shore one of the most prominent figures of the American New Color movement. Though he is best known for his large-format work of this period, Shore was at the same time experimenting with other photographic formats. The exhibition will include a selection of stereo images he made in 1974 that were never published, and have not been exhibited since 1975.

While working on what would become Uncommon Places, Shore began to accept photographic commissions, not only for editorial work but also for institutions and companies. If some of these commissions seem quite distant from Uncommon Places, most of them still show some affinity with the series in their attention to architecture and exploration of “Americanness.” He took photographs focusing on contemporary vernacular architecture that the architects Robert Venturi and Denise Scott Brown used in their 1976 exhibition Signs of Life: Symbols in the American City. This exhibition will feature some of the original, gridded transparencies from Signs of Life that incorporate images by Shore and other photographers, not seen since 1976. Finally, some commissions he did for magazines alternate between urban landscapes, portraits, and architectural details in a direct extension of Uncommon Places. Shore would include a number of commissioned photographs in his personal body of work, showing how porous the borders were between the two groups of images, and Stephen Shore will include examples both of the photographs in context in books and periodicals, and of others that were not subsequently published.

Starting in the late 1970s, Shore gradually abandoned urban and suburban areas and turned to the natural landscape, a subject he would concentrate on almost exclusively during the next decade. These included the landscapes of Montana (1982-83), where he settled with his wife in 1980, Texas (1983-88), and the Hudson Valley (1984-86), where he moved in 1982, but also more international locations: the Highlands of Scotland (1988); Yucatán, in Mexico (1990); and finally the Po Valley, with a series in Luzzara, Italy (1993). This period corresponds also to a reduced public visibility of his photographic work, marked by fewer exhibitions, publications, and commissions.

In the early 2000s Shore began experimenting with digital tools and technologies that had only recently become available. Between 2003 and 2010, he made dozens of print-on-demand books, which were each printed in limited editions of 20 copies, making them similar to artist’s books. But the ease of production, speed of execution, democratic nature of the technique used, and modesty of the finished product are in direct line with the snapshots of American Surfaces and the immediacy of Polaroid images. In the choice of subjects and approaches, the series of books seems both literally and figuratively to be a mini-version of Shore’s entire oeuvre, blending and reworking the themes that have always been important to him – an exhaustive exploration of a particular subject or place, a penchant for the vernacular, an interest in sequence, a tendency toward autobiography, a search for a kind of immediacy, and a dry sense of humour – while still retaining its autonomy and specificity. A few years later he created Winslow, Arizona in a single day in 2013. The precise temporal duration of the series – one day from sunrise to sunset – links it to some of Shore’s print-on-demand books, but it takes on a new performance-based dimension. Over 180 of the pictures Shore took that day were presented, unedited and in the order in which they were shot, in a slide show, projected on a drive-in screen in Barstow, California, a few days after he took them.

In 1996 and 1997 Shore, who had always been fascinated by archaeology, undertook photographic projects around excavation sites in Israel and Italy, shooting solely in black and white. Within the archaeological remains of these vanished cities, Shore was especially interested in the human dimension, both domestic and secular, seen in bones, pottery, and vestiges of dwellings and shops. Then, between September of 2009 and the spring of 2011, Shore returned to the region five times, photographing throughout the entire territory from north to south, or From Galilee to the Negev, as he titled the book he published of a selection of his photographs in Israel and the West Bank. As indicated by the title and structure of the book, with chapters organised geographically, the project was guided by a topographical exploration. It mixes various temporalities – which are echoed by the diversity of the images – bringing together the “short term” of people and events with and the “long term” of the landscape and planet.

The photographs Shore took in Ukraine in the summer of 2012 and the fall of 2013 have as their subject the country’s Jewish community, specifically survivors of the Holocaust who are assisted today by the Survivor Mitzvah Project. Following three years of photographing primarily in Israel, the series provided Shore with the opportunity to continue working with subjects related to his Jewish roots. In a break from his norm, Shore structured the Ukraine series around the human figure. Survivors in Ukraine, the book of photographs he published in 2015, provides accounts of 22 survivors, all more than 80 years old, through a wide range of images: close-ups, busts, and full-length portraits; fragmentary portraits of hands, arms, and legs; views of dwellings and interiors; and still-life details of meals, belongings, and memorials to departed family members.

In the summer of 2014 Shore decided to devote most of his photographic activity to Instagram, where he posts images almost every day. While he continues to take on commissions, the bulk of his personal production over the past three years has been through the social networking app; he considers this output his current “work.” With Instagram Shore has reestablished a rapid, instantaneous practice, one that requires him to be on constant alert. It also presents a new, dual aesthetic challenge for Shore in the square format and the small size of the image. These constraints encourage a simplification of the picture, making it more a “notation” than a constructed image. Tablets will be stationed within a gallery of the exhibition, allowing viewers to scroll through Shore’s Instagram feed, which will feature new images as Shore continues to post them.

Press release from MoMA

 

Stephen Shore (American, b. 1947) 'Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975'

 

Stephen Shore (American, b. 1947)
Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975
1975
Chromogenic colour print, printed 2013
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of Thomas and Susan Dunn
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'U.S. 93, Wikieup, Arizona, December 14, 1976'

 

Stephen Shore (American, b. 1947)
U.S. 93, Wikieup, Arizona, December 14, 1976
1976
Chromogenic colour print, printed 2013
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of Thomas and Susan Dunn
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Giverny, France, 1977'

 

Stephen Shore (American, b. 1947)
Giverny, France, 1977
1977
Chromogenic colour print
7 11/16 x 9 5/8 in. (19.5 x 24.5cm)
The Museum of Modern Art, New York
Gift of the Estate of Lila Acheson Wallace
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Graig Nettles, Fort Lauderdale, Florida, March 1, 1978'

 

Stephen Shore (American, b. 1947)
Graig Nettles, Fort Lauderdale, Florida, March 1, 1978
1978
Chromogenic colour print
7 11/16 x 9 11/16 in. (19.5 x 24.6cm)
The Museum of Modern Art, New York
Acquired with matching funds from Blanchette Hooker Rockefeller and the National Endowment for the Arts, 1978
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Merced River, Yosemite National Park, California, August 13, 1979'

 

Stephen Shore (American, b. 1947)
Merced River, Yosemite National Park, California, August 13, 1979
1979
Chromogenic colour print, printed 2013
35 7/8 x 44 15/16 in. (91.2 x 114.2cm)
The Museum of Modern Art, New York. Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Gallatin County, Montana, August 2, 1983'

 

Stephen Shore (American, b. 1947)
Gallatin County, Montana, August 2, 1983
1983
Chromogenic colour print, printed 2017
36 × 45 in. (91.4 × 114.3cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'County of Sutherland, Scotland, 1988'

 

Stephen Shore (American, b. 1947)
County of Sutherland, Scotland, 1988
1988
Chromogenic colour print
35 1/2 × 45 1/2 in. (90.2 × 115.6cm)
The Museum of Modern Art, New York
Gift of Susan and Arthur Fleischer, Jr.
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Sderot, Israel, September 14, 2009'

 

Stephen Shore (American, b. 1947)
Sderot, Israel, September 14, 2009
2009. Chromogenic colour print
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Peqi'in, Israel, September 22, 2009'

 

Stephen Shore (American, b. 1947)
Peqi’in, Israel, September 22, 2009
2009. Chromogenic colour print
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Uman, Cherkaska Province, Ukraine, July 22, 2012'

 

Stephen Shore (American, b. 1947)
Uman, Cherkaska Province, Ukraine, July 22, 2012
2012
Chromogenic colour print, printed 2017
16 × 20 in. (40.6 × 50.8cm)
Courtesy the artist
© 2017 Stephen Shore

 

 

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

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

MoMA website

LIKE ART BLART ON FACEBOOK

Back to top

08
Sep
17

Exhibition: ‘Louise Lawler: WHY PICTURES NOW’ at the Museum of Modern Art (MoMA), New York

Exhibition dates: 30th April – 30th July 2017

The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor

 

 

Louise Lawler. 'Pollyanna (adjusted to fit) distorted for the times' 2007/2008/2012

 

Louise Lawler (American, b. 1947)
Pollyanna (adjusted to fit) distorted for the times
2007/2008/2012
As adjusted for the MoMA exhibition WHY PICTURES NOW, 2017
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

Louise Lawler. 'Pollyanna (adjusted to fit)' 2007/2008/2012

 

Louise Lawler (American, b. 1947)
Pollyanna (adjusted to fit)
2007/2008/2012
As adjusted for the MoMA exhibition WHY PICTURES NOW, 2017
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

Louise Lawler. 'Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit), distorted for the times' 1995/2010

 

Louise Lawler (American, b. 1947)
Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit), distorted for the times
1995/2010
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

 

(Note on reproducing Lawler’s Adjusted to Fit works: Each time these images are reproduced, they should be stretched to the space given to the reproduction. The original file (un-stretched) is the origin point for anything that is then adjusted by the photo editor.)

 

Louise Lawler. 'Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit)' 1995/2010

 

Louise Lawler (American, b. 1947)
Produced in 1988, Purchased in 1989; Produced in 1989, Purchased in 1993 (adjusted to fit), distorted for the times
1995/2010
Dimensions variable
Courtesy the artist and Metro Pictures
© 2017 Louise Lawler

 

 

I missed the closing date for this exhibition due to the ongoing problems with my hand. However, I believe it is valuable to post these images because Louise Lawler is an always provocative, thoughtful and interesting artist. She shines a light or, more possibly, pokes a big stick at patriarchal systems of value in art – turning perceived points of view, ways of seeing, and “the cultural circumstances that support art’s production, circulation, and presentation” on their head.

“… behind Ms. Lawler’s shape-shifting works lies a poetic intelligence, a political sharpness and an understanding of the artwork as a form of value, but also as a source and an object of love.” Well said.

Lawler possesses a unique understanding of the forms of culture embodied within images and also an intimate knowledge of the archetypal forms buried deep within their bones. Is the pattern immanent in the paper (the cosmos), or is the paper a blank slate to be written on by the creator?

Distorted, restaged, reframed and re-presented for the times…

Dr Marcus Bunyan

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

#art #moma #museumofmodernart #museum #modernart #nyc #education #artist #photography #womenartists #femaleartists #louiselawler #whypicturesnow

 

Louise Lawler: WHY PICTURES NOW is the first major survey in New York of the artist Louise Lawler (American, b. 1947), spanning the 40-year creative output of one of the most influential artists working in the fields of image production and institutional critique. The exhibition takes its title from one of Lawler’s most iconic works, Why Pictures Now (1982), a black-and-white photograph showing a matchbook propped up in an ashtray. Reminiscent of an advertising photograph or a film noir still, it asks the viewer to consider why the work takes the form of a picture, and why the artist is making pictures now. Lawler came of age as part of the Pictures Generation, a loosely knit, highly independent group of artists named for an influential exhibition, Pictures, organised in 1977 by art historian Douglas Crimp at Artists Space in New York. These artists used photography and appropriation-driven strategies to examine the functions and codes of representation. Lawler’s signature style was established in the late 1970s and early 1980s, when she began taking pictures of other artists’ works displayed in collectors’ homes, museums, storage spaces, and auction houses to question the value, meaning, and use of art.

WHY PICTURES NOW is organised by Roxana Marcoci, Senior Curator, with Kelly Sidley, Curatorial Assistant, Department of Photography.

 

 

“Ms. Lawler and Roxana Marcoci, the exhibition’s curator, have devised something quite different: an open, airy survey with lots of room for roaming, some chairs for sitting and two conjoined, markedly different halves focusing on Ms. Lawler’s activities with pictures and then words. The first half is dominated by photographs in various shapes and guises, including mural-size images. The second, which seems almost empty at first, contains two large vitrines of ephemera that show off Ms. Lawler’s gifts for graphic design and for language, with displays of everything from matchbook covers and napkins to exhibition announcements and art books that she photo-edited. …

Ms. Lawler’s images have multiple lives, exposing the ceaseless flexibility of photographs. Constantly recycled, they go from framed and portable to paperweights to the wall-covering murals of her “adjusted to fit” series. In the show’s first half, four “adjusted” photos cover immense, staggered walls, looming like ocean liners sliding out of their docks. Their monumentality thrills but also chides the art world for its embrace of spectacle and the overblown. …

It is hard to know if these words [“Why Pictures Now”] proclaim the power, or the worthlessness, of pictures. Probably both. Either way, behind Ms. Lawler’s shape-shifting works lies a poetic intelligence, a political sharpness and an understanding of the artwork as a form of value, but also as a source and an object of love.”

.
Roberta Smith. “Louise Lawler’s Stealth Aesthetic (and Muted Aura),” on the New York Times website May 11, 2017 [Online] Cited 29/12/2021

 

 

 

 

Louise Lawler: WHY PICTURES NOW | MoMA LIVE

Join us for a conversation with MoMA director Glenn Lowry and curator Roxana Marcoci on the opening of the exhibition, Louise Lawler: WHY PICTURES NOW. The first New York museum survey of the work of American artist Louise Lawler, this exhibition is an exploration of her creative output, which has inspired fellow artists and cultural thinkers alike for the past four decades.

Among the most intriguing aspects of Lawler’s working process is her continuous re-presentation, reframing, or restaging in the present, a strategy through which she revisits her own images by transferring them to different formats – from photographs to paperweights, tracings, and works she calls “adjusted to fit” (images stretched or expanded to fit the location of their display). Lawler’s critical strategies of reformatting existing content not only suggest the idea that pictures can have more than one life, but underpin the intentional, relational character of her farsighted art.

 

 

 

Louise Lawler | HOW TO SEE the artist with MoMA curator Roxana Marcoci

Can the exact same image have a completely different meaning if its title or medium is changed? Explore the work of one of today’s most influential female artists, Louise Lawler, in the new exhibition Louise Lawler: WHY PICTURES NOW.

MoMA curator Roxana Marcoci gives us a tour of the exhibition that charts Lawler’s continuous re-presentation, reframing, or restaging of the present, a strategy through which Lawler revisits her own images by transferring them to different formats – from photographs to paperweights, tracings, and works she calls “adjusted to fit” (images stretched or expanded to fit the location of their display).

 

 

 

Louise Lawler’s Birdcalls at MoMA

You’re not hearing things. For the duration of the Louise Lawler exhibition, a stroll through our Abby Aldrich Rockefeller Sculpture Garden places you squarely in the middle of Birdcalls, the artist’s defiant, humorous critique of the art world’s captivation with male artists. Find out what exhibition inspired Lawler’s sole sound piece with MoMA curator Roxana Marcoci.

 

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

Installation view of 'Louise Lawler: WHY PICTURES NOW' at The Museum of Modern Art

 

Installation views of Louise Lawler: WHY PICTURES NOW
© 2017 The Museum of Modern Art
Photos: Martin Seck

 

 

Lawler’s study of art in its commercial context will be complemented by the display of a work by a younger artist that highlights a different kind of economy. The sculpture New York State Unified Court System (top photo), by artist Cameron Rowland, included in the artist’s knockout exhibition at Artists Space this winter, takes the form of four oak benches used in courtrooms and built using prison labour.

Brian Boucher. “MoMA Plans a Giant Louise Lawler Retrospective for 2017,” on the Artnet website June 23, 2016 [Online] Cited 29/12/2021

 

Louise Lawler. 'Why Pictures Now' 1981

 

Louise Lawler (American, b. 1947)
Why Pictures Now
1981
Gelatin silver print
3 x 6” (7.6 x 15.2cm)
The Museum of Modern Art, New York
Acquired with support from Nathalie and Jean-Daniel Cohen in honour of Roxana Marcoci
© 2016 Louise Lawler

 

Louise Lawler. 'Why Pictures Now (traced)' 1981/2013

 

Louise Lawler (American, b. 1947)
Why Pictures Now (traced)
1981/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. '(Roy Lichtenstein and Other Artists) Black' 1982

 

Louise Lawler (American, b. 1947)
(Roy Lichtenstein and Other Artists) Black
1982
Silver dye bleach print
28 ½ x 37 ¼” (72.4 x 94.6cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. '(Andy Warhol and Other Artists) Tulip' 1982

 

Louise Lawler (American, b. 1947)
(Andy Warhol and Other Artists) Tulip
1982
Silver dye bleach print
38 ½ x 60 ½” (97.8 x 153.7cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Monogram' 1984

 

Louise Lawler (American, b. 1947)
Monogram
1984
Silver dye bleach print
39 1/2 × 28″ (100.3 × 71.1cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

 

“Swimming among the show’s images are words and wordplay that can have a few layers. One of Ms. Lawler’s better-known photographs shows Jasper Johns’s creamy “White Flag” (1955) hanging above a bed with an equally creamy monogrammed satin spread. The image is sensibly titled “Monogram,” all the more fittingly since “Monogram” is also the title of one of Robert Rauschenberg’s combines from the 1950s, when he and Mr. Johns were lovers.

Roberta Smith. “Louise Lawler’s Stealth Aesthetic (and Muted Aura),” on the New York Times website May 11, 2017 [Online] Cited 29/12/2021

 

Louise Lawler. 'Untitled, 1950-51' 1987

 

Louise Lawler (American, b. 1947)
Untitled, 1950-51
1987
Silver dye bleach print
29 3/8 × 39 1/4″ (74.6 × 99.7cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Does Andy Warhol Make You Cry?' 1988

 

Louise Lawler (American, b. 1947)
Does Andy Warhol Make You Cry?
1988
Silver dye bleach print with text on Plexiglass wall label
Image (shown): 27 ¼ x 39” (69.2 x 99.1cm)
Label: 4 3/8 x 6 3/8 in. (11.1 x 16.2 cm)
The Museum of Modern Art, New York
Gift of Gabriella de Ferrari in honour of Karen Davidson
© 2016 Louise Lawler

 

 

“Lawler’s suspicion of the image is nothing new. In WHY PICTURES NOW, her career survey currently on view at the Museum of Modern Art, the Pictures Generation artist is again and again engaged in taking the familiar – a famous work of art, different forms of banal ephemera – and making it abnormal through clever subversion. There is a timid jostling of her male peers, a slight nudge off the pedestal of reverence, which is evident in much of her work and makes it eminently appealing – even if some of its institutional critique is diminished under the museum’s glow of prestige. But what is often obscured in Lawler’s work is the way that it’s not only questioning the apparatus of making and displaying art, but also its reception – the formalised way that we, the spectators, are looking.”

.
Craig Hubert. “Louise Lawler Screens a Movie with No Images,” on the Hyperallergic website May 5, 2017 [Online] Cited 29/12/2021

 

 

The Museum of Modern Art announces Louise Lawler: WHY PICTURES NOW, the first major survey in New York of the artist Louise Lawler (American, b. 1947). Spanning the 40-year creative output of one of the most influential artists working in the fields of image production and institutional critique, the exhibition will be on view from April 30 to July 30, 2017, in The Joan and Preston Robert Tisch Exhibition Gallery, sixth floor, along with one sound work, Birdcalls (1972-81), which will be installed in The Abby Aldrich Rockefeller Sculpture Garden. The exhibition takes its title from one of Lawler’s most iconic works, Why Pictures Now (1982), a black-and-white photograph showing a matchbook propped up in an ashtray. Reminiscent of an advertising photograph or a film noir still, it asks the viewer to consider why the work takes the form of a picture, and why the artist is making pictures at this moment. Lawler came of age as part of the Pictures Generation, a loosely knit, highly independent group of artists named for an influential exhibition, Pictures, organised in 1977 by art historian Douglas Crimp at Artists Space in New York. These artists used photography and appropriation-driven strategies to examine the functions and codes of representation. Lawler’s signature style was established in the late 1970s and early 1980s, when she began taking pictures of other artists’ works displayed in collectors’ homes, museums, storage spaces, and auction houses to question the value, meaning, and use of art. WHY PICTURES NOW is organised by Roxana Marcoci, Senior Curator, with Kelly Sidley, Curatorial Assistant, Department of Photography.

Lawler’s work offers a defiant, witty, and sustained feminist analysis of the strategies that inform art’s production and reception. In 1971, she was invited to assist several artists for independent curator Willoughby Sharp’s Pier 18, an exhibition that featured 27 male artists on an abandoned pier on the Hudson River. While walking home after leaving the pier one evening, Lawler began to mimic birdlike sounds in order to ward off any unwanted interactions, chanting “Willoughby! Willoughby!” This parody evolved into Birdcalls, a seven-minute audio piece in which Lawler squawks, chirps, and twitters the names of famous male artists, from Vito Acconci to Lawrence Weiner – an astute critique of the name recognition enjoyed by her male contemporaries. Birdcalls thematises Lawler’s strategy of resistance to the authoritative and the patronymic proper name. This work will be played throughout the course of the exhibition, in MoMA’s Abby Aldrich Rockefeller Sculpture Garden.

An intriguing aspect of Lawler’s practice is her process of continuous re-presentation, reframing, or restaging in the present: she revisits her own work by transferring her images to different formats, from a photograph to a tracing, and to works that she calls “adjusted to fit.” The “tracings” are large-format black-and-white line versions of her photographs that eliminate colour and detail, functioning instead as “ghosts” of the originals. “Adjusted to fit” images are stretched or expanded to fit the location of their display, not only suggesting the idea that pictures can have more than one life, but also underpinning the intentional, relational character of Lawler’s farsighted art.

The exhibition consists of a sequence of mural-scale, “adjusted to fit” images set in dynamic relation to non-linear groupings of photographs – of collectors’ homes, auction houses, and museum installations – distinctive of Lawler’s conceptual exercises. Additionally, a deceptively empty gallery presents black-and-white tracings of Lawler’s photographs that have been printed on vinyl and mounted directly on the wall. A display of the artist’s ephemera from the 1970s to today highlights the feminist and performative undercurrents of her art. Lawler’s long history of artistic collaborations, with Sherrie Levine, Allan McCollum, Andrea Fraser, Felix Gonzalez-Torres, Christopher d’Arcangelo, Peter Nadin, and Lawrence Weiner, among others, come full circle in the ephemera on display. Furthermore, on the platform outside the gallery space, two “adjusted to fit” images are shown together with Cameron Rowland’s work New York State Unified Court System. Comprised of four oak courtroom benches, it was included in Rowland’s exhibition 91020000, presented at Artists Space in 2016. Lawler and Rowland share an interest in examining the imbalances of exploitative economies, the use value and exchange value of art, the politics of space, and the interplay of power between human relations and larger institutional structures, including markets, museums, prisons, and governments. Additionally, Andrea Fraser will perform her work May I Help You? in the exhibition space. In foregrounding her work’s relationship to the economies of collaboration and exchange, Lawler shifts focus from the individual picture to the broader history of art. Her careful attention to artistic contexts, modes of presentation, and viewers’ receptions generates witty, affective situations that contribute to institutional transformation.

Press release from MoMA

 

Louise Lawler. 'Untitled (Salon Hodler)' 1992

 

Louise Lawler (American, b. 1947)
Untitled (Salon Hodler)
1992
Paperweight (silver dye bleach print, crystal, felt) with text on wall
Paperweight: 2″ (5.1cm) high, 3 1/2″ (8.9cm) diam.
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Salon Hodler (traced)' 1992/1993/2013

 

Louise Lawler (American, b. 1947)
Salon Hodler (traced)
1992/1993/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Sentimental' 1999/2000

 

Louise Lawler (American, b. 1947)
Sentimental
1999/2000
Silver dye bleach print
40 3/4 x 46 3/4 inches (103.5 x 118.7cm)
The Museum of Modern Art, New York
Promised gift of Glenn and Amanda Fuhrman
© 2016 Louise Lawler

 

Louise Lawler. 'WAR IS TERROR' 2001/2003

 

Louise Lawler (American, b. 1947)
WAR IS TERROR
2001/2003
Silver dye bleach print
30 × 25 3/4″ (76.2 × 65.4cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Nude' 2002/2003

 

Louise Lawler (American, b. 1947)
Nude
2002/2003
Silver dye bleach print
59 1/2 × 47 1/2 inches (151.1 × 120.7cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'White Gloves' 2002/2004

 

Louise Lawler (American, b. 1947)
White Gloves
2002/2004
Silver dye bleach print
29 × 27 1/2 inches (73.7 × 69.9cm)
Courtesy the artist and Metro Pictures, New York
© 2017 Louise Lawler

 

Louise Lawler. 'Life After 1945 (Faces)' 2006/2007

 

Louise Lawler (American, b. 1947)
Life After 1945 (Faces)
2006/2007
Silver dye bleach print
40 x 33 1/4 inches (101.6 x 84.5cm)
The Museum of Modern Art, New York
Promised gift of Glenn and Amanda Fuhrman
© 2016 Louise Lawler

 

Louise Lawler. 'Triangle (adjusted to fit)' 2008/2009/2011

 

Louise Lawler (American, b. 1947)
Triangle (adjusted to fit)
2008/2009/2011
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'No Drones' 2010/2011

 

Louise Lawler (American, b. 1947)
No Drones
2010/2011
Chromogenic colour print
29 1/4 x 19 3/4 inches (74.3 x 50.2cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Marie +270' 2010/2012

 

Louise Lawler (American, b. 1947)
Marie +270
2010/2012
Chromogenic colour print
59 x 45 1/2 inches (149.9 x 115.6cm)
The Museum of Modern Art, New York
Promised gift of Ricki Gail Conway
© 2016 Louise Lawler

 

Louise Lawler. 'Pollock and Tureen (traced)' 1984/2013

 

Louise Lawler (American, b. 1947)
Pollock and Tureen (traced)
1984/2013
Dimensions variable
The Museum of Modern Art, New York
The Abby Aldrich Rockefeller Endowment
© 2016 Louise Lawler

 

 

One of her most famous images, “Pollock and Tureen” (1984), shows a fragment of a painting by Jackson Pollock above an antique soup tureen. In the photograph, the colour relationships are clear, offering insight into the choices of the collectors who “arranged” (a favourite word of Lawler’s) the scene. The work is about class, capitalism, and domesticity, not to mention reality and fiction. But when all the site-specific context is removed [in the tracing] … all we’re left with is contemplating the original Lawler artwork’s role in art history and the market.

In Benjamin Buchloh’s essay for Lawler’s retrospective last year at the Museum Ludwig, one of his most cogent points is about the nature of melancholy in her original photographs. “[H]er images,” he writes, “leave equally little doubt that there is hardly a more melancholic space than that of a fulfilled and seemingly satisfied utopian aspiration, one that has, however, not quite lived up to the originary promises … ”

Hrag Vartanian. “The Values of Louise Lawler,” on the Hypoallergic website July 21, 2014 [Online] Cited 29/12/2021

 

Louise Lawler. 'Hand on Her Back (traced)' 1997/1998/2013

 

Louise Lawler (American, b. 1947)
Hand on Her Back (traced)
1997/1998/2013
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Evening Sale' 2010/2015

 

Louise Lawler (American, b. 1947)
Evening Sale
2010/2015
Silver dye bleach print
50 x 36 5/8 inches (127 x 93cm)
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Big (adjusted to fit)' 2002/2003/2016

 

Louise Lawler (American, b. 1947)
Big (adjusted to fit)
2002/2003/2016
Dimensions variable
The Museum of Modern Art, New York
Acquired through the generosity of The Modern Women’s Fund and The Contemporary Arts Council
© 2016 Louise Lawler

 

Louise Lawler. 'Still Life (Candle) (adjusted to fit)' 2003/2016

 

Louise Lawler (American, b. 1947)
Still Life (Candle) (adjusted to fit)
2003/2016
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

Louise Lawler. 'Arranged by Donald Marron, Susan Brundage, Cheryl Bishop at Paine Webber Inc. (adjusted to fit)' 1982/2016

 

Louise Lawler (American, b. 1947)
Arranged by Donald Marron, Susan Brundage, Cheryl Bishop at Paine Webber Inc. (adjusted to fit)
1982/2016
Dimensions variable
Courtesy the artist and Metro Pictures
© 2016 Louise Lawler

 

 

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

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

MoMA website

LIKE ART BLART ON FACEBOOK

Back to top

21
Apr
17

Exhibition: ‘The Shape of Things: Photographs from Robert B. Menschel’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 29th October 2016 – 7th May 2017

 

Roger Fenton (British, 1819-1869) 'Greek Hero' c. 1857

 

Roger Fenton (British, 1819-1869)
Greek Hero
c. 1857
Salted-paper print from a wet-collodion glass negative
13 7/16 × 10 3/16″ (34.2 × 25.8cm)
The Museum of Modern Art, New York
Robert and Joyce Menschel Fund

 

 

Photography is … a language for asking questions about the world. The Shape of Things imbues this aphorism with a linear taxonomy in its written material (while the installation “occasionally diverges from a strict chronological progression”), no matter that each “moment” in the history of photography – historical, modern, contemporary – is never self contained or self sufficient, that each overlaps and informs one another, in a nexus of interweaving threads.

Charles Harry Jones’ Peapods (c. 1900) are as modern as Bernd and Hilla Becher’s Cooling Towers (1973); Margaret Watkins’ Design Angles (1919) are as directorial as Jan Groover’s Untitled (1983) or Charles Harry Jones’ Onions (c. 1900). And so it goes…

The ideation “the shape of things” is rather a bald fundamental statement in relation to how we imagine and encounter the marvellous. No matter the era, the country or the person who makes them; no matter the meanings readable in photographs or their specific use value in a particular context – the photograph is still the footprint of an idea and, as John Berger asks, a trace naturally left by something that has past? That flicker of imagination in the mind’s eye which has no time.

As Sartre says in Being and Nothingness, “Temporality is only a tool of vision.”

Dr Marcus Bunyan

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

 

The Shape of Things presents a compact and non-comprehensive history of photography, from its inception to the early twenty-first century, in one hundred images. The exhibition is drawn entirely from the 504 photographs that have entered The Museum of Modern Art’s collection with the support of Robert B. Menschel over the past forty years, including a notable selection of works from his personal collection that were given in 2016 and are being shown here for the first time.

“Photography is less and less a cognitive process, in the traditional sense of the term, or an affirmative one, offering answers, but rather a language for asking questions about the world,” wrote the Italian photographer and critic Luigi Ghirri in 1989. Echoing these words, the exhibition presents the history of the medium in three parts, emphasising the strengths of Menschel’s collection and mirroring his equal interest in historical, modern, and contemporary photography. Each section focuses on a moment in photography’s history and the conceptions of the medium that were dominant then: informational and documentary in the nineteenth and early twentieth centuries, more formal and subjective in the immediate postwar era, and questioning and self-referential from the 1970s onward. The installation occasionally diverges from a strict chronological progression, fuelled by the conviction that works from different periods, rather than being antagonistic, correspond with and enrich each other.

 

 

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

Installation view of 'The Shape of Things: Photographs from Robert B. Menschel' at The Museum of Modern Art, New York, October 29, 2016 - May 7, 2017

 

Installation views of The Shape of Things: Photographs from Robert B. Menschel at The Museum of Modern Art, New York, October 29, 2016 – May 7, 2017
© 2016 The Museum of Modern Art
Photo: John Wronn

 

 

The exhibition The Shape of Things: Photographs from Robert B. Menschel presents a compact history of photography, from its inception to the early 21st century, in 100 images. On view from October 29, 2016, through May 7, 2017, the exhibition is drawn entirely from the 504 photographs that have entered The Museum of Modern Art’s collection over the past 40 years with the support of longtime Museum trustee Robert B. Menschel. It includes a notable selection of works from his personal collection that were given in 2016 and are being shown here for the first time. The Shape of Things is organised by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, MoMA.

Borrowing its title from the eponymous work by Carrie Mae Weems (American, b. 1953), the exhibition presents the history of the medium in three parts, emphasising the strengths of Menschel’s collection and mirroring his equal interest in historical, modern, and contemporary photography. Each section focuses on a moment in photography’s history and the conceptions of the medium that were dominant then: informational and documentary in the 19th and early 20th centuries, more formal and subjective in the immediate postwar era, and questioning and self-referential from the 1970s onward. The installation occasionally diverges from a strict chronological progression, fuelled by the conviction that works from different periods, rather than being antagonistic, correspond with and enrich each other.

 

Historical

From 1840 to 1900, in photography’s infancy as a medium, artists principally sought to depict truthful representations of their surrounding environments. This primal stage is distinguished by a debate on the artistic-versus-scientific nature of the invention. Photographers engaged with the aesthetic and technical qualities of the medium, experimenting with tone, texture, and printing processes. The exhibition begins with seminal photographs such as William Henry Talbot Fox’s (British, 1800-1877) 1843 picture Rue Basse des Remparts, Paris, taken from the windows of the Hôtel de Douvres. Also on view is the astronomer Jules Janssen’s (French, 1824-1907) masterpiece L’Atlas de photographies solaires (Atlas of solar photographs), published in 1903. Summing up a quarter-century of daily photography at Janssen’s observatory in Meudon, France, the volume on view contains 30 images of the photosphere, demonstrating photography’s instrumental role in advancing the study of science. Other artists included in this section are Louis-August and Auguste-Rosalie Bisson (Bisson brothers), Eugène Cuvelier, Roger Fenton, Hugh W. Diamond, Charles Marville, and Henri Le Secq.

 

Modern

As photographers grappled with war and its aftermath, they began to turn their focus away from documenting the world around them and toward capturing their own personal experiences in a more formal, subjective way. A selection of works from 1940 to 1960 explores this theme, including works by two artists whose images Menschel collected extensively: Harry Callahan (American, 1912-1999) and Aaron Siskind (American, 1903-1991). A selection from Callahan’s quintessential photographs of urban environments – from Chicago and New York to Aix-en Provence and Cuzco, Peru – double exposures of city views, and portraits of his wife Eleanor and daughter Barbara, underscore the breadth of his oeuvre. In the summer of 1951, while teaching alongside Callahan at Black Mountain College in North Carolina, Siskind began the series of pictures of the surfaces of walls for which he is best known. One of the early works in the series on view, North Carolina 30 (1951), shows the bare legs of a woman framed by the words “IN” and”AND” amid layers of peeling layers of posters. In their planarity and graphic quality, these pictures also have a kinship with paintings by the Abstract Expressionists, alongside whom Siskind began exhibiting in the late 1940s. Other artists in this section include Berenice Abbott, Robert Frank, Lee Friedlander, John Gossage, André Kertész, Clarence John Laughlin, and Dora Maar.

 

Contemporary

From the 1970s onward, photographers began working in what A. D. Coleman defined as “The Directorial Mode,” wherein the photographer consciously creates events for the sole purpose of making images. John Coplans (British, 1920-2003) took his own body, naked and with the head invisible, as the subject of his work – both carrying on and contradicting the tradition of the self-portrait centred on the face – as seen in Self-Portrait (Back with Arms Above) (1984). Joan Fontcuberta’s (Spanish, b. 1955) series Herbarium appears at first glance to be a collection of botanical studies, depicting plants with new and distinctive contours and rigorously scientific names. However, as revealed by his fictional character Dr Hortensio Verdeprado (“green pasture” in Spanish), the “plants” are actually carefully composed by the photographer using scrap picked up in industrial areas around Barcelona. Made of bits of paper and plastic, small animal bones, and other detritus, these forms are not only non-vegetal – there is almost nothing natural about them at all. Fontcuberta is interested in the way data assumes meaning through its presentation and in the acceptance of the photographic image as evidence of truth. Other artists in this section include Jan Groover, David Levinthal, An-My Lê, Michael Spano, JoAnn Verburg, and William Wegman.

Press release from the Museum of Modern Art

 

Hugh W. Diamond (British, 1809-1886) 'Untitled' c. 1852-55

 

Hugh W. Diamond (British, 1809-1886)
Untitled
c. 1852-55
Albumen silver print from a glass negative
6 1/2 x 5 5/16″ (16.6 x 13.5cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

William Henry Fox Talbot (British, 1800-1877) 'Rue Basse des Remparts, Paris' May 1843

 

William Henry Fox Talbot (British, 1800-1877)
Rue Basse des Remparts, Paris
May 1843
Salted paper print
6 11/16 × 6 3/4″ (17 × 17.2cm)
Promised gift of Robert B. Menschel

 

Charles Marville (French, 1816-1879) 'Pont Neuf' 1870s

 

Charles Marville (French, 1816-1879)
Pont Neuf
1870s
Albumen silver print
14 1/8 x 8 1/4″ (36 x 23.5cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Charles Marville (French, 1816-1879) 'Rue des Prêtres-Saint-Germain-l'Auxerrois' c. 1866

 

Charles Marville (French, 1816-1879)
Rue des Prêtres-Saint-Germain-l’Auxerrois
c. 1866
Albumen silver print
11 13/16 × 10 1/2″ (30 × 26.6cm)
Promised gift of Robert B. Menschel

 

Charles Marville (French, 1816-1879) 'Rue du Cygne' c. 1865

 

Charles Marville (French, 1816-1879)
Rue du Cygne
c. 1865
Albumen silver print from a glass negative
11 3/4 x 10 9/16″ (29.9 x 26.9cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Alfred Stieglitz (American, 1864-1946) 'The Terminal' 1893

 

Alfred Stieglitz (American, 1864-1946)
The Terminal
1893
Photogravure mounted to board
10 × 13 3/16″ (25.4 × 33.5cm)
Promised gift of Robert B. Menschel

 

 

Truthful representations, 1840-1930

“One advantage of the discovery of the Photographic Art will be, that it will enable us to introduce into our pictures a multitude of minute details which add to the truth and reality of the representation, but which no artist would take the trouble to copy faithfully from nature.

Contenting himself with a general effect, he would probably deem it beneath his genius to copy every accident of light and shade; nor could he do so indeed, without a disproportionate expenditure of time and trouble, which might be otherwise much better employed.

Nevertheless, it is well to have the means at our disposal of introducing these minutiae without any additional trouble, for they will sometimes be found to give an air of variety beyond expectation to the scene represented.”

William Henry Fox Talbot, The Pencil of Nature, 1844-46

 

“I was interested in a straightforward 19th-century way of photographing an object. To photograph things frontally creates the strongest presence and you can eliminate the possibilities of being too obviously subjective. If you photograph an octopus, you have to work out which approach will show the most typical character of the animal. But first you have to learn about the octopus. Does it have six legs or eight? You have to be able to understand the subject visually, through its visual appearance. You need clarity and not sentimentality.”

Hilla Becher, in “The Music of the Blast Furnaces: Bernhard and Hilla Becher in Conversation with James Lingwood,” Art Press, no. 209 (1996)

 

Charles Harry Jones (British, 1866-1959) 'Peapods' c. 1900

 

Charles Harry Jones (British, 1866-1959)
Peapods
c. 1900
Gelatin silver printing-out-paper print
6 5/16 x 8 1/4″ (16 x 20.9cm)
Promised gift of Robert B. Menschel

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015) 'Cooling Towers' 1973

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015)
Cooling Towers
1973
Gelatin silver prints
Each 15 3/4 × 11 13/16″ (40 × 30cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Estate Bernd and Hilla Becher

 

Berenice Abbott (American, 1898-1991) 'George Washington Bridge, Riverside Drive and West 179th Street, Manhattan' January 17, 1936

 

Berenice Abbott (American, 1898-1991)
George Washington Bridge, Riverside Drive and West 179th Street, Manhattan
January 17, 1936
Gelatin silver print
9 9/16 x 7 5/8″ (24.3 x 19.3cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Berenice Abbott/Commerce Graphics

 

Berenice Abbott (American, 1898-1991) 'Gunsmith, 6 Centre Market Place, Manhattan' February 4, 1937

 

Berenice Abbott (American, 1898-1991)
Gunsmith, 6 Centre Market Place, Manhattan
February 4, 1937
Gelatin silver print
9 5/8 x 7 9/16″ (24.4 x 19.1cm)
Gift of the Robert and Joyce Menschel Foundation

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015) 'Hannover Mine 1/2/5, Bochum-Hordel, Ruhr Region, Germany' 1973

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015)
Hannover Mine 1/2/5, Bochum-Hordel, Ruhr Region, Germany
1973
Gelatin silver print
18 7/16 x 22 11/16″ (46.9 x 57.6cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015) 'Duisburg-Bruckhausen, Ruhr Region, Germany' 1999

 

Bernd Becher (German, 1931-2007), Hilla Becher (German, 1934-2015)
Duisburg-Bruckhausen, Ruhr Region, Germany
1999
Gelatin silver print
19 5/16 x 24″ (49.1 x 60.9cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Louis-Auguste Bisson (French, 1814-1876) 'Cathedral of Notre Dame, Paris (detail of facade)' c. 1853

 

Louis-Auguste Bisson (French, 1814-1876)
Cathedral of Notre Dame, Paris (detail of facade)
c. 1853
Albumen silver print from a glass negative
14 7/16 x 17 13/16″ (36.6 x 45.3cm)
Acquired through the generosity of Robert B. Menschel

 

Germaine Krull (Dutch, born Germany. 1897-1985) 'Rails' c. 1927

 

Germaine Krull (Dutch born Germany, 1897-1985)
Rails
c. 1927
Gelatin silver print
15 7/16 x 10 3/8″ (39.2 x 26.3cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Germaine Krull (Dutch, born Germany. 1897-1985) 'Le Metal Inspirateur d'Art (Metal Inspiration of Art)' 1930

 

Germaine Krull (Dutch born Germany, 1897-1985)
Le Metal Inspirateur d’Art (Metal Inspiration of Art)
1930
Gelatin silver print
6 5/8 x 8 7/16″ (16.8 x 21.5cm)
Promised gift of Robert B. Menschel

 

 

Personal experiences, 1940-1960

“As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as you approach, group and regroup themselves as you shift your position. Relationships gradually emerge, and sometimes assert themselves with finality. And that’s your picture.

What I have just described is an emotional experience. It is utterly personal: no one else can ever see quite what you have seen, and the picture that emerges is unique, never made and never to be repeated. The picture – and this is fundamental – has the unity of an organism. Its elements were not put together, with whatever skill or taste or ingenuity. It came into being as an instant act of sight.”

Aaron Siskind, “The Drama of Objects,” Minicam Photography 8, no. 9 (1945)

 

“The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realised, and the experience which brings them together. First, and emphatically, I accept the flat plane of the picture surface as the primary frame of reference of the picture. The experience itself may be described as one of total absorption in the object. But the object serves only a personal need and the requirements of the picture. Thus rocks are sculptured forms; a section of common decorated ironwork, springing rhythmic shapes; fragments of paper sticking to a wall, a conversation piece. And these forms, totems, masks, figures, shapes, images must finally take their place in the tonal field of the picture and strictly conform to their space environment. The object has entered the picture in a sense; it has been photographed directly. But it is often unrecognisable; for it has been removed from its usual context, disassociated from its customary neighbours and forced into new relationships.”

Aaron Siskind, “Credo,” Spectrum 6, No. 2 (1956)

 

Weegee (Arthur Fellig) (American, born Austria. 1899-1968) 'The Gay Deceiver' c. 1939

 

Weegee (Arthur Fellig) (American born Austria, 1899-1968)
The Gay Deceiver
c. 1939
Gelatin silver print
13 x 10 1/4″ (33 x 26cm)
Promised gift of Robert B. Menschel

 

Harry Callahan (American, 1912-1999) 'Chicago' 1951

 

Harry Callahan (American, 1912-1999)
Chicago
1951
Dye transfer print
10 5/16 x 15 11/16″ (26.2 x 39.9cm)
Promised gift of Robert B. Menschel

 

Clarence John Laughlin (American, 1905-1985) 'Spectre of Coca-Cola' 1962

 

Clarence John Laughlin (American, 1905-1985)
Spectre of Coca-Cola
1962
Gelatin silver print, printed 1981
13 1/4 x 10 3/8″ (33.6 x 26.4cm)
Robert B. Menschel Fund

 

Harry Callahan (American, 1912-1999) 'Siena' 1968

 

Harry Callahan (American, 1912-1999)
Siena
1968
Gelatin silver print
9 × 8 7/8″ (22.9 × 22.5cm)
Promised gift of Robert B. Menschel

 

Harry Callahan (American, 1912-1999) 'Chicago' c. 1952

 

Harry Callahan (American, 1912-1999)
Chicago
c. 1952
Dye transfer print
8 3/4 × 13 7/16″ (22.3 × 34.1cm)
Promised gift of Robert B. Menschel

 

Harry Callahan (American, 1912-1999) 'Chicago' c. 1949

 

Harry Callahan (American, 1912-1999)
Chicago
c. 1949
Gelatin silver print
7 11/16 x 9 9/16″ (19.5 x 24.3cm)
Gift of Robert and Joyce Menschel

 

Harry Callahan (American, 1912-1999) 'Eleanor and Barbara, Chicago' 1953

 

Harry Callahan (American, 1912-1999)
Eleanor and Barbara, Chicago
1953
Gelatin silver print
7 11/16 x 9 11/16″ (19.5 x 24.6cm)
Gift of Robert and Joyce Menschel

 

Harry Callahan (American, 1912-1999) 'Providence' 1974

 

Harry Callahan (American, 1912-1999)
Providence
1974
Gelatin silver print
6 9/16 × 6 7/16″ (16.6 × 16.3cm)
Promised gift of Robert B. Menschel

 

André Kertész (American, born Hungary. 1894-1985) 'New York' August 10, 1969

 

André Kertész (American born Hungary, 1894-1985)
New York
August 10, 1969
Gelatin silver print
13 11/16 x 9 3/4″ (34.7 x 24.7cm)
Promised gift of Robert B. Menschel

 

 

Directorial modes, 1970s and beyond

“Here the photographer consciously and intentionally creates events for the express purpose of making images thereof. This may be achieved by intervening in ongoing ‘real’ events or by staging tableaux – in either case, by causing something to take place which would not have occurred had the photographer not made it happen.

Here the authenticity of the original event is not an issue, nor the photographer’s fidelity to it, and the viewer would be expected to raise those questions only ironically. Such images use photography’s overt veracity by evoking it for events and relationships generated by the photographer’s deliberate structuring of what takes place in front of the lens as well as of the resulting image. There is an inherent ambiguity at work in such images, for even though what they purport to describe as ‘slices of life’ would not have occurred except for the photographer’s instigation, nonetheless those events (or a reasonable facsimile thereof) did actually take place, as the photographs demonstrate.

… This mode I would define as the directorial.”

A. D. Coleman, “The Directorial Mode: Notes Towards a Definition,” Artforum 15, No. 1 (1976)

 

Aaron Siskind (American, 1903-1991) 'Chicago 30' 1949

 

Aaron Siskind (American, 1903-1991)
Chicago 30
1949
Gelatin silver print
14 x 17 13/16″ (35.6 x 45.3cm)
Gift of Robert and Joyce Menschel

 

Aaron Siskind (American, 1903-1991) 'North Carolina 30' 1951

 

Aaron Siskind (American, 1903-1991)
North Carolina 30
1951
Gelatin silver print
13 1/16 × 9 11/16″ (33.2 × 24.6cm)
Promised gift of Robert B. Menschel

 

Lee Friedlander (American, born 1934) 'Glenwood Springs, Colorado' 1981

 

Lee Friedlander (American, born 1934)
Glenwood Springs, Colorado
1981
Gelatin silver print
8 5/8 x 12 15/16″ (21.9 x 32.8cm)
Horace W. Goldsmith Fund through Robert B. Menschel

 

Jan Groover (American, 1943-2012) 'Untitled' 1983

 

Jan Groover (American, 1943-2012)
Untitled
1983
Gelatin silver print
10 3/16 x 13 1/2″ (25.9 x 34.3cm)
Promised gift of Robert B. Menschel

 

Margaret Watkins (Canadian, 1884-1969) 'Design Angles' 1919

 

Margaret Watkins (Canadian, 1884-1969)
Design Angles
1919
Gelatin silver print
8 5/16 x 6 3/8″ (21.1 x 16.2cm)
Acquired through the generosity of Robert B. Menschel

 

Charles Harry Jones (British, 1866-1959) 'Onions' c. 1900

 

Charles Harry Jones (British, 1866-1959)
Onions
c. 1900
Gelatin silver printing-out-paper print
5 7/8 x 8 1/4″ (15 x 21cm)
Promised gift of Robert B. Menschel

 

Aaron Siskind (American, 1903-1991) 'Jalapa 30 (Homage to Franz Kline)' 1973

 

Aaron Siskind (American, 1903-1991)
Jalapa 30 (Homage to Franz Kline)
1973
Gelatin silver print
9 1/2 x 9 15/16″ (24.1 x 23.6cm)
Gift of Robert and Joyce Menschel

 

Aaron Siskind (American, 1903-1991) 'Jalapa 38 (Homage to Franz Kline)' 1973

 

Aaron Siskind (American, 1903-1991)
Jalapa 38 (Homage to Franz Kline)
1973
Gelatin silver print
9 1/2 x 8 15/16″ (24.1 x 22.8cm)
Gift of Robert and Joyce Menschel

 

Aaron Siskind (American, 1903-1991) 'Lima 89 (Homage to Franz Klein)' 1975

 

Aaron Siskind (American, 1903-1991)
Lima 89 (Homage to Franz Klein)
1975
Gelatin silver print
10 3/16 × 9 5/8″ (25.9 × 24.4cm)
Promised gift of Robert B. Menschel

 

John Gossage (American, born 1946) 'Monumentenbricke' 1982

 

John Gossage (American, b. 1946)
Monumentenbricke
1982
Gelatin silver print
12 3/16 x 9 11/16″ (30.9 x 24.6cm)
Promised gift of Robert B. Menschel

 

Val Telberg (American, born Russia. 1910-1995) 'Exhibition of the Witch' c. 1948

 

Val Telberg (American born Russia, 1910-1995)
Exhibition of the Witch
c. 1948
Gelatin silver print
10 15/16 × 13 3/4″ (27.8 × 35cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel
© 2016 Estate of Val Telberg

 

Frederick Sommer (American, born Italy. 1905-1999) 'I Adore You' 1947

 

Frederick Sommer (American born Italy, 1905-1999)
I Adore You
1947
Gelatin silver print
7 9/16 × 9 1/2″ (19.2 × 24.1 cm)
The Museum of Modern Art, New York
Promised gift of Robert B. Menschel

 

John Coplans (British, 1920-2003) 'Self-Portrait (Back with Arms Above)' 1984

 

John Coplans (British, 1920-2003)
Self-Portrait (Back with Arms Above)
1984
Gelatin silver print
19 13/16 × 15″ (50.4 × 38.1cm)
Promised gift of Robert B. Menschel

 

Joan Fontcuberta (Spanish, born 1955) 'Giliandria Escoliforcia' 1983

 

Joan Fontcuberta (Spanish, b. 1955)
Giliandria Escoliforcia
1983
Gelatin silver print
10 9/16 x 8 1/2″ (26.8 x 21.5cm)
Robert and Joyce Menschel Fund

 

Joan Fontcuberta (Spanish, born 1955) 'Mullerpolis Plunfis' 1983

 

Joan Fontcuberta (Spanish, b. 1955)
Mullerpolis Plunfis
1983
Gelatin silver print
10 9/16 x 8 1/2″ (26.8 x 21.5cm)
Robert and Joyce Menschel Fund

 

An-My Lê (American, born Vietnam 1960) '29 Palms: Mortar Impact' 2003-04

 

An-My Lê (American born Vietnam, b. 1960)
29 Palms: Mortar Impact
2003-2004
Gelatin silver print
26 1/2 × 38 1/16″ (67.3 × 96.7cm)
The Museum of Modern Art, New York
Robert B. Menschel Fund
© 2016 An-My Lê

 

An-My Lê (American, born Vietnam 1960) '29 Palms: Infantry Platoon (Machine Gunners)' 2003-04

 

An-My Lê (American born Vietnam, b. 1960)
29 Palms: Infantry Platoon (Machine Gunners)
2003-2004
Gelatin silver print
26 1/2 × 38 1/16″ (67.3 × 96.7cm)
The Museum of Modern Art, New York
Robert B. Menschel Fund
© 2016 An-My Lê

 

David Levinthal and Garry Trudeau. 'Hitler Moves East' 1977

 

David Levinthal (American, b. 1949)
Untitled from the series Hitler Moves East
1975
Gelatin silver print
10 9/16 x 13 7/16″ (26.8 x 34.1cm)
The Fellows of Photography Fund and Horace W. Goldsmith Fund through Robert B. Menschel

 

William Wegman (American, born 1943) 'Contemplating the Bust of Man Ray from the portfolio Man Ray' 1976

 

William Wegman (American, b. 1943)
Contemplating the Bust of Man Ray from the portfolio Man Ray
1976
Gelatin silver print
7 5/16 × 6 7/8″ (18.5 × 17.5cm)
Promised gift of Robert B. Menschel