Posts Tagged ‘nan goldin

17
Feb
17

Exhibition: ‘Gay Gotham: Art and Underground Culture in New York’ at the Museum of the City of New York, New York City Part 2

Exhibition dates: 7th October 2016 – 26th February 2017

An exhibition showcasing Lesbian, Gay, Bisexual, Transgender, and Queer artistic life in New York City through the social networks of Leonard Bernstein, Mercedes de Acosta, Harmony Hammond,  Bill T. Jones, Lincoln Kirstein, Greer Lankton, George Platt Lynes,  Robert Mapplethorpe, Richard Bruce Nugent, and Andy Warhol.

Curators: Donald Albrecht, MCNY curator of architecture and design, and Stephen Vider, MCNY Mellon Postdoctoral Fellow.

 

 

Part two of this monster posting on the exhibition Gay Gotham: Art and Underground Culture in New York at the Museum of the City of New York.

Highlights include photographs by Carl Van Vechten; art work by and of Andy Warhol; a video of the “Panzy Craze” of the the 1920s and 1930s; a photograph of a very young and skinny Robert Mapplethorpe and some of his early art work; some wonderful subversiveness from Greer Lankton; two glorious photographs from one of my favourite artists, Peter Hujar; and a great selection of book covers and posters, including the ever so sensual, German Expressionist inspired Nocturnes for the King of Naples cover art by Mel Odom.

Marcus

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Many thank to the Museum of the City of New York for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

Themes

Printing

Foujita. "Helen Morgan Jr. And Jean Malin at the Smart Club Abbey," 'Vanity Fair' February 1931

 

Foujita
“Helen Morgan Jr. And Jean Malin at the Smart Club Abbey”
Vanity Fair
February 1931
Private collection

 

 

Léonard Tsuguharu Foujita (藤田 嗣治 Fujita Tsuguharu, November 27, 1886 – January 29, 1968) was a Japanese-French painter and printmaker born in Tokyo, Japan, who applied Japanese ink techniques to Western style paintings. He has been called “the most important Japanese artist working in the West during the 20th century”. His Book of Cats, published in New York by Covici Friede, 1930, with 20 etched plate drawings by Foujita, is one of the top 500 (in price) rare books ever sold, and is ranked by rare book dealers as “the most popular and desirable book on cats ever published”.

 

André Tellier. 'Twilight Men' (Greenberg, New York) 1931

 

André Tellier
Twilight Men (Greenberg, New York)
1931
Fales Library and Special Collections, New York University

 

 

First published in 1931, this is an extremely uncommon early novel set in New York City of homosexuality and a young man whose gay tendencies infuriates his father, who attempts to set him upon the “path of normality” by hiring a mistress to seduce him.

“Like many early gay novels, the book does not have a happy ending: the main character becomes addicted to drugs, murders his father, and kills himself. This theme (the gay monster or the gay degenerate) occurs very frequently before the 1960’s. Originally, this was the only way that a book with any kind of gay themes could even be published; that is, it was only palatable – or even legal – to feature a gay protagonist if that person “gets what’s coming to him” in the end.

The February 1934 issue of Chanticleer, a gay literary “magazine,” includes reviews by Henry Gerber of several novels, including Twilight Men. He wrote: “TWILIGHT MEN, by Andre Tellier, deals with a young Frenchman, who comes to America, is introduced into homosexual society in New York, becomes a drug addict for no obvious reason, finally kills his father and commits suicide. It is again excellent anti-homosexual propaganda, although the plot is too silly to convince anyone who has known homosexual people at all.”

Little has been written about the author, Andre Tellier, himself. He wrote other books, including A Woman of Paris, The Magnificent Sin, Vagabond April, and Witchfire; but nothing else is really known about him.” (Text from the Somewhere Books website)

 

Blair Niles. 'Strange Brother' (Horace Liveright, New York) 1931

 

Blair Niles
Strange Brother (Horace Liveright, New York)
1931
Fales Library and Special Collections, New York University

 

 

Strange Brother is a gay novel written by Blair Niles published in 1931. The story is about a platonic relationship between a heterosexual woman and a gay man and takes place in New York City in the late 1920s and early 1930s. Strange Brother provides an early and objective documentation of homosexual issues during the Harlem Renaissance.

Mark Thornton, the story’s protagonist, moves to New York City in hopes of feeling like less of an outsider. At a nightclub in Harlem he meets and befriends June Westbrook. One night they witness a man named Nelly being arrested. June encourages Mark to investigate. This leads Mark to attend Nelly’s trial, where he is found guilty and sentenced to six months’ imprisonment on Welfare Island for his feminine affections and gestures. Next Mark researches the crimes against nature sections of the penal code. Shaken up by his findings and the events, Mark confesses his own homosexuality to June.

Mark and June’s friendship continues to grow, and June introduces Mark to a number of friends in her social circle. Various social interactions ensue including a dinner party for a departing professor, a trip to a nightspot featuring a singer called Glory who sings Creole Love Call and attending a drag ball. Despite reading Walt Whitman’s poetry collection Leaves of Grass, Edward Carpenter’s series of papers Love’s Coming of Age, and Countee Cullen’s poetry, Mark is afraid to come out. Subsequently, Mark is threatened with being outed at work. In response to this threat, Mark commits suicide by shooting himself.

Text from the Wikipedia website

 

Ann Bannon. 'I Am a Woman' (Gold Medal Books, New York) 1959

 

Ann Bannon
I Am a Woman (Gold Medal Books, New York)
1959
Private collection

 

 

The classic 1950s novel from the Queen of Lesbian Pulp. “For contemporary readers the books offer a valuable record of gay and lesbian life in the 1950s. Most are set in Greenwich Village, and Ms. Bannon’s descriptions of bars, clubs and apartment parties vividly evoke a vanished community. Her characters also have historical value. Whereas most lesbians in pulp are stereotypes who get punished for their desires, Beebo and her friends are accessibly human. Their struggles with love and relationships are engrossing today, and half a century ago they were revolutionary.” ~ New York Times “Sex. Sleeze. Depravity. Oh, the twisted passions of the twilight world of lesbian pulp fiction.” ~ Chicago Free Press “Little did Bannon know that her stories would become legends, inspiring countless fledgling dykes to flock to the Village, dog-eared copies of her books in hand, to find their own Beebos and Lauras and others who shared the love they dared not name.” ~ San Francisco Bay Guardian “Ann Bannon is a pioneer of dyke drama.” ~ On Our Backs “When I was young, Bannon’s books let me imagine myself into her New York City neighborhoods of short-haired, dark-eyed butch women and stubborn, tight-lipped secretaries with hearts ready to be broken. I would have dated Beebo, no question.” ~ Dorothy Allison “Bannon’s books grab you and don’t let go.”  ~ Village Voice

 

'The Young Physique' October/November 1964

 

The Young Physique
October/November 1964
Collection of Kelly McKaig

 

 

'Muscleboy' March/April 1965

 

Muscleboy
March/April 1965
Collection of Kelly McKaig

 

Design by Gran Fury for Art Against AIDS/On The Road and Creative Time, Inc. 'Kissing Doesn't Kill: Greed and Indifference Do' 1989

 

Design by Gran Fury for Art Against AIDS/On The Road and Creative Time, Inc.
Kissing Doesn’t Kill: Greed and Indifference Do
1989
Bus poster
Gran Fury, Courtesy The New York Public Library Manuscripts and Archives Division

 

Placemaking: Cruising

Anonymous photographer. 'New York City street photograph' 1960s

 

Anonymous photographer
New York City street photograph
1960s
Collection of Philip Aarons and Shelley Fox Aarons, New York

 

Leonard Fink. 'Charley Inside Ramrod' c. 1976

 

Leonard Fink
Charley Inside Ramrod
c. 1976
Courtesy LGBT Community Center National History Archive

 

 

THE RAMROD, 394 West Street, (between Charles and West 10th Streets). Constructed in the 1850’s this building (actually two, that were attached) housed S. J. Seely & Co., a lime dealer, and C. August, (on the corner) a porter house, and private residence. In the late 70’s it was one of the most popular leather bars in New York. Attracting a large motorcycle clientele, West Street always had a plethora of bikes parked out front. The doorman, Rico, had a long black bushy beard, and an ever present black cowboy hat, also he wore on his hand a glove with sharp stainless steel blades attached to it, (sort of a precursor to Freddie Kruger). The bar, and Rico could be very intimidating, if you were new, or “Brown” as the uninitiated were called… referring to the brown leather they wore.

Greenwich Village: A Gay History

 

In June 1993, the Estate of Leonard Fink donated a photographic collection to The Center in New York City through its executor, Steven E. Bing. The materials in the Fink Estate was willed to four AIDS related organisations who gave all of the rights to the photos to the Center Archive. Some of these were signed “Len Elliot,” which might have ben a pseudonym of Fink’s. The collection consists of over 25,000 negatives and images capturing Greenwich Village and much of the spirit of the late 60s and 70s. Some of the most well known images in the collection are Fink’s work at “The Piers” along the Hudson River. Fink documented over 25 years of gay life in New York City but his photography was never exhibited or published in his lifetime. He was self taught and used an old 35mm camera while working out of a homemade darkroom in his West 92nd Street apartment.

Text from the Gay Cities website

 

Leonard Fink was an amateur photographer who documented over 25 years of gay life in New York including parades, bars, and especially the west side piers. He worked in complete obscurity and was apparently very reclusive. His photographs were seen by only a few close friends and were never exhibited or published in his lifetime. He seems to have taught himself photography using an old 35mm camera and a homemade darkroom in his small apartment on West 92nd street. He lived frugally, spending much of his income on photographic supplies which he bought in bulk and stored in his darkroom and his bedroom. He stored the prints and negatives in a file cabinet. By the time of his death, the photos in the file cabinet covered a period from 1954 to 1992. His photographs of gay life begin with groups of gay men photographed in Greenwich Village in 1967. His photographs of Gay Pride parades begin with the first parade in 1970. His earlier photographs are of friends, trips to Europe, and scenes in New York. Leonard Fink was a colourful and ubiquitous character in the Village and at Pride parades, usually appearing on roller skates in short cut-offs, and a tight t-shirt with cameras always around his neck. He sometimes arrived on a bicycle or a motorcycle. He was born in 1930. His father and older brother were both physicians. He worked for many years as an attorney for the New York Transit Authority. He died of AIDS in 1993.

Text from The Center website

 

Posing

 

James VanDerZee. 'Beau of the Ball' 1926

 

James VanDerZee
Beau of the Ball
1926
Gelatin silver print
Donna Mussenden VanDerZee

 

 

James Van Der Zee (June 29, 1886 – May 15, 1983) was an African-American photographer best known for his portraits of black New Yorkers. He was a leading figure in the Harlem Renaissance. Aside from the artistic merits of his work, Van Der Zee produced the most comprehensive documentation of the period. Among his most famous subjects during this time were Marcus Garvey, Bill “Bojangles” Robinson and Countee Cullen…

Van Der Zee worked predominantly in the studio and used a variety of props, including architectural elements, backdrops, and costumes, to achieve stylized tableaux vivant in keeping with late Victorian and Edwardian visual traditions. Sitters often copied celebrities of the 1920s and 1930s in their poses and expressions, and he retouched negatives and prints heavily to achieve an aura of glamour…

Works by Van Der Zee are artistic as well as technically proficient. His work was in high demand, in part due to his experimentation and skill in double exposures and in retouching negatives of children. One theme that recurs in his photographs was the emergent black middle class, which he captured using traditional techniques in often idealistic images. Negatives were retouched to show glamor and an aura of perfection. This affected the likeness of the person photographed, but he felt each photo should transcend the subject. His carefully posed family portraits reveal that the family unit was an important aspect of Van Der Zee’s life. “I tried to see that every picture was better-looking than the person.” “I had one woman come to me and say ‘Mr.Van Der Zee my friends tell thats a nice picture, But it doesn’t look like you.’ That was my style.” Said Van Der Zee.

Text from the Wikipedia website

 

Carl Van Vechten. 'Anna May Wong' 1932

 

Carl Van Vechten
Anna May Wong
1932
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Little known today, Carl Van Vechten was a prolific novelist, critic, photographer, and promoter of all things modern, most actively engaged in the city’s cultural life during the 1920s and ’30s. The City Museum is rich in Van Vechten materials; its collections include about 2,200 photographs taken by him and 3,000 Christmas cards sent to him and his wife, film and theater actress Fania Marinoff. Taken together, they chronicle Van Vechten’s influential circles of friends and colleagues – a hybrid mash-up that defines the modern America at the heart of White’s new book. Images and correspondence in the City Museum’s collection range from Harlem Renaissance poet Langston Hughes to writer Zelda Fitzgerald (wife of F. Scott), and playwright Eugene O’Neill.

Around 1920 Van Vechten gave up journalism for fiction and over the next decade wrote hotly debated novels about Jazz Age Manhattan. His 1923 book The Blind Bow-Boy, for example, is a classic of gay camp and a public expression of Van Vechten’s sexual orientation; while he and Marinoff were married from 1914 until Van Vechten’s death in 1964, he had numerous homosexual relationships… Van Vechten’s role in the Harlem Renaissance remains a controversial topic. To some he’s a valuable bridge between white and black New Yorkers, to others he’s an outsider who patronised and exploited his African-American subjects…

Carl Van Vechten abandoned writing altogether in the early 1930s and embraced photography, a field he would pursue until his death. All told, it is estimated that Van Vechten took some 15,000 photographs. Because his inherited wealth offered him financial independence, Van Vechten took pictures for his own pleasure, usually inviting local and visiting celebrities to a studio he set up in his own apartment. While Van Vechten was aware of the stylistic artifice of such contemporary commercial photographers as Edward Steichen and Cecil Beaton, he stood apart from them. He used a small-format camera, and his aesthetic, which included deep and dramatic shadows that sometimes obscured his subjects’ faces, resulted in picture-making that was far more immediate and spontaneous than that of his contemporaries. Using this technique, Van Vechten photographed musicians Billie Holiday and George Gershwin, Hollywood actors Laurence Olivier and Anna May Wong, and writers Sinclair Lewis and Clifford Odets, to name only a few. The sum of Van Vechten’s work, according to photography historian Keith F. Davis, “constitutes the single most integrated vision of American arts and letters produced in his era.”

Donald Albrecht. “Carl Van Vechten and Modern New York,” on the Museum of the City of New York website

 

Anna May Wong (January 3, 1905 – February 3, 1961) was an American actress. She is considered to be the first Chinese American movie star, and also the first Asian American actress to gain international recognition. Her long and varied career spanned silent film, sound film, television, stage and radio…

Wong’s image and career have left a legacy. Through her films, public appearances and prominent magazine features, she helped to humanise Asian Americans to white audiences during a period of overt racism and discrimination. Asian Americans, especially the Chinese, had been viewed as perpetually foreign in U.S. society but Wong’s films and public image established her as an Asian-American citizen at a time when laws discriminated against Asian immigration and citizenship. Wong’s hybrid image dispelled contemporary notions that the East and West were inherently different.

See an excellent short biography on the Wikipedia website

 

Carl Van Vechten. 'Hugh Laing' 1941

 

Carl Van Vechten
Hugh Laing
1941
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Hugh Laing (6 June 1911 – 10 May 1988) was one of the most significant dramatic ballet dancers of the 20th-century. He was the partner of choreographer Antony Tudor. Known for his good looks and the intensity of his stage presence, Laing was never considered a great technician, yet his powers of characterisation and his sense of theatrical timing were considered remarkable. His profile as a significant dancer of his era was almost certainly enhanced by Tudor’s choreographing to his undoubted strengths and Laing is generally regarded as one of the finest dramatic dancers of 20th-century ballet. He remained Tudor’s artistic collaborator and companion until the choreographer’s death in 1987.

 

Carl Van Vechten. 'Alvin Ailey' 1955

 

Carl Van Vechten
Alvin Ailey
1955
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Alvin Ailey (January 5, 1931 – December 1, 1989) was an African-American choreographer and activist who founded the Alvin Ailey American Dance Theater in New York City. He is credited with popularizing modern dance and revolutionizing African-American participation in 20th-century concert dance. His company gained the nickname “Cultural Ambassador to the World” because of its extensive international touring. Ailey’s choreographic masterpiece Revelations is believed to be the best known and most often seen modern dance performance…

Ailey made use of any combination of dance techniques that best suited the theatrical moment. Valuing eclecticism, he created more a dance style than a technique. He said that what he wanted from a dancer was a long, unbroken leg line and deftly articulated legs and feet (“a ballet bottom”) combined with a dramatically expressive upper torso (“a modern top”). “What I like is the line and technical range that classical ballet gives to the body. But I still want to project to the audience the expressiveness that only modern dance offers, especially for the inner kinds of things.”

Ailey’s dancers came to his company with training from a variety of other schools, from ballet to modern and jazz and later hip-hop. He was unique in that he did not train his dancers in a specific technique before they performed his choreography. He approached his dancers more in the manner of a jazz conductor, requiring them to infuse his choreography with a personal style that best suited their individual talents. This openness to input from dancers heralded a paradigm shift that brought concert dance into harmony with other forms of African-American expression, including big band jazz.

Text from the Wikipedia website

 

Larry Rivers. 'O'Hara Nude With Boots' 1954

 

Larry Rivers
O’Hara Nude With Boots
1954
Oil on canvas
Collection of the Larry Rivers Foundation

 

 

“Among Rivers’ portraits of the mid-1950s, the most notable and controversial work for a discussion of the relationship among autobiography, sexuality, and art is O’Hara, which he painted during January 1954 as he re-entered an emotional relationship with the sitter. According to [poet Frank] O’Hara’s biographer, Brad Gooch, Rivers and O’Hara had a relatively short, turbulent romance that began in 1952m but during 1953 the two men became involved in other romantic relationships…. Beginning in 1954, however, Rivers and O’Hara resumed their intimate relationship, which then lasted less than a year…

A nude of a contemporary figure on such a huge scale as O’Hara appeared unusual and even controversial in the 1950s New York art world. Rivers recalled that when the painting was first shown at the Whitney Annual in 1955, a guard often stood in front of it to ensure that the painting would not be defaced or damaged: “There was something about the male nude that seemed to be more of a problem than the female nude.” Some contemporary viewers where shocked by O’Hara, given its depiction of a naked male body with meticulous attention to the genitals.”

Dong-Yeon Koh. Larry Rivers and Frank O’Hara: Reframing Male Sexualities Phd dissertation 2006, pp. 196-198.

 

Beauford Delaney. 'James Baldwin' c. 1957

 

Beauford Delaney
James Baldwin
c. 1957
Oil on canvasboard
Halley K. Harrisburg and Michael Rosenfeld, New York

 

 

Beauford Delaney (December 30, 1901 – March 26, 1979) was an American modernist painter. He is remembered for his work with the Harlem Renaissance in the 1930s and 1940s, as well as his later works in abstract expressionism following his move to Paris in the 1950s.

In his Introduction to the Exhibition of Beauford Delaney opening December 4, 1964 at the Gallery Lambert, James Baldwin wrote, “the darkness of Beauford’s beginnings, in Tennessee, many years ago, was a black-blue midnight indeed, opaque and full of sorrow. And I do not know, nor will any of us ever really know, what kind of strength it was that enabled him to make so dogged and splendid a journey.”

 

James Arthur Baldwin (August 2, 1924 – December 1, 1987) was an American novelist, essayist, playwright, poet, and social critic. His essays, as collected in Notes of a Native Son (1955), explore palpable yet unspoken intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-20th-century America, and their inevitable if unnameable tensions. Some Baldwin essays are book-length, for instance The Fire Next Time (1963), No Name in the Street (1972), and The Devil Finds Work (1976).

Baldwin’s novels and plays fictionalise fundamental personal questions and dilemmas amid complex social and psychological pressures thwarting the equitable integration not only of black people, but also of gay and bisexual men, while depicting some internalised obstacles to such individuals’ quests for acceptance. Such dynamics are prominent in Baldwin’s second novel, Giovanni’s Room, written in 1956, well before the gay liberation movement.

Text from the Wikipedia website

 

Performing

 

 

New York’s queer cultures gained remarkable visibility on the city’s stages in the 1920 and 1930s. Broadway producers and nightclub owners put on plays and acts exploring gay and lesbian themes. They launched a popular “Panzy Craze,” where minorities where accepted. This period lasted until the mid-1930s when morals and ethics changed because of right-wing pressure. The film code was then in full force to protect society’s “morals” and there was, once more, open hostility towards minorities that latest into the 1970s.

With permission of the Museum of the City of New York for Art Blart

The Museum of the City of New York
Film compiliation
Produced by Cramersound

 

Max Ewing. 'Gallery of Extraordinary Portraits' 1928

 

Max Ewing
Gallery of Extraordinary Portraits
1928
Courtesy Yale University, Beinecke Rare Books and Manuscripts Library

 

 

Max Ewing’s Gallery of Extraordinary Portraits encapsulates the exhibition’s wider exploration of queer communities in 20th-century New York. Ewing was a novelist, composer, pianist, and sculptor who created this gallery in the walk-in closet of his Manhattan studio apartment on West 31st Street. His semi-public closet exhibition paid homage to interracial, gay, and artistic communities with images of friends and celebrities plastered floor to ceiling, corner to corner.

 

Sterling Paige. 'Gladys Bentley at the Ubangi Club in Harlem' early 1930s

 

Sterling Paige
Gladys Bentley at the Ubangi Club in Harlem
early 1930s
Gelatin silver print
Courtesy of the Visual Studies Workshop, Rochester, NY

 

 

1960-1995

Portraits

Andy Warhol

 

Andy Warhol. 'Studies for a Boy Book' exhibition announcement for Bodley Gallery c. 1956

 

Andy Warhol
Studies for a Boy Book exhibition announcement for Bodley Gallery
c. 1956
Offset lithograph Susan Sheehan Gallery, New York

 

Andy Warhol. 'Gee, Merrie Shoes' 1956

 

Andy Warhol
Gee, Merrie Shoes
1956
Hand colored offset lithograph
Susan Sheehan Gallery, New York

 

Andy Warhol. 'Cecil Beaton's Feet' 1961

 

Andy Warhol
Cecil Beaton’s Feet
1961
Black ink on buff wove paper
Philadephia Museum of Art
The Henry P. Mcllhenny Collection in memory of Frances P. Mcllhenny, 1986

 

Cecil Beaton. 'Andy Warhol and Candy Darling, New York' 1969

 

Cecil Beaton
Andy Warhol and Candy Darling, New York
1969
Gelatin silver print
© The Cecil Beaton Studio Archive at Sotheby’s

 

Candy Darling (November 24, 1944 – March 21, 1974) was an American transgender actress, best known as a Warhol Superstar. She starred in Andy Warhol’s films Flesh (1968) and Women in Revolt (1971), and was a muse of the protopunk band The Velvet Underground.

 

 

 

 

Harmony Hammond

 

Liberation News Service #624 July 3, 1974

 

Liberation News Service #624, featuring Harmony Hammond, right, with daughter, Tanya, at the Christopher Street Liberation Day Gay Pride March, photograph by Cidne Hart for Liberation News Service, July 3, 1974
Private collection

 

Harmony Hammond. 'An Oval Braid' 1972

 

Harmony Hammond
An Oval Braid
1972
Charcoal on paper
Courtesy the artist and Alexander Gray Associates, New York

 

Harmony Hammond. 'Fan Lady meets Cactus Lady' 1981

 

Harmony Hammond
Fan Lady meets Cactus Lady
1981
Lithograph
Courtesy the artist and Alexander Gray Associates, New York

 

 

Robert Mapplethorpe

 

Judy Linn. 'Robert Gets Dressed at the Chelsea, #3' 1970

 

Judy Linn
Robert Gets Dressed at the Chelsea, #3
1970
Modern digital print
Courtesy the Artist and Susanne Hilberry Gallery

 

'Gay Power', Volume 1, No 16, April 15, 1970

 

Gay Power, Volume 1, No 16, April 15, 1970
Alternative Press Collection, Archives & Special Collections at the Thomas J. Dodd Research Center, University of Connecticut Libraries

 

Robert Mapplethorpe. 'Light Gallery invitation' 1973

 

Robert Mapplethorpe
Light Gallery invitation
1973
Getty Research Institute, Los Angeles California

 

Ultra Violet modeling Mapplethorpe-designed jewelry, c. 1975

 

Ultra Violet modeling Mapplethorpe-designed jewelry
c. 1975
Gift of the Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art

 

 

Isabelle Collin Dufresne (stage name Ultra Violet; 6 September 1935 – 14 June 2014) was a French-American artist, author, and both a colleague of Andy Warhol and one of the pop artist’s so-called superstars. Earlier in her career, she worked for and studied with surrealist artist Salvador Dalí. Dufresne lived and worked in New York City, and also had a studio in Nice, France…

In 1954, after a meeting with Salvador Dalí, she became his “muse”, pupil, studio assistant, and lover in both Port Lligat, Spain, and in New York City. Later, she would recall, “I realized that I was ‘surreal’, which I never knew until I met Dalí”. In the 1960s, Dufresne began to follow the progressive American Pop Art scene including Jasper Johns, Robert Rauschenberg and James Rosenquist.

In 1963, Dalí introduced Dufresne to Andy Warhol, and soon she moved into the orbit of his unorthodox studio, “The Factory”. In 1964 she selected the stage name “Ultra Violet” at Warhol’s suggestion, because it was her preferred fashion – her hair color at the time was often violet or lilac. She became one of many “superstars” in Warhol’s Factory, and played multiple roles in over a dozen films between 1965 and 1974…

In the 1980s, she gradually drifted away from the Factory scene, taking a lower profile and working independently on her own art. In her autobiography, published the year after Warhol’s unexpected demise in 1987, she chronicled the activities of many Warhol superstars, including several untimely deaths during and after the Factory years…

In 1990 she opened a studio in Nice and wrote another book detailing her own ideas about art, L’Ultratique. She lived and worked as an artist in New York City, and also maintained a studio in Nice for the rest of her life.

Text from the Wikipedia website

 

Valerie Santagto. 'Robert Mapplethorpe, front, and Jay Johnson in Mapplethorpe designed jewelry' c. 1970-75

 

Valerie Santagto
Robert Mapplethorpe, front, and Jay Johnson in Mapplethorpe designed jewelry
c. 1970-75
Gift of the Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art

 

Robert Mapplethorpe (American, 1946-1989) 'Jim, Sausalito' 1977

 

Robert Mapplethorpe
X Portfolio with Jim, Sausalito
1978
Black silk clamshell case with gelatin silver print photographs mounted on pure rag board
Designed by John Cheim
Courtesy Yoshi Gallery, New York and Cheim & Read, New York

 

 

Greer Lankton

 

Einsteins installation designed by Paul Monroe for Gay Gotham, 2016

 

Einsteins installation designed by Paul Monroe for Gay Gotham, 2016
Courtesy of Greer Lankton Archives Museum

Greer Lankton
Mini-Einsteins
1987
Cardboard, glass, paint, styrofoam board

Andy Warhol
1990
Fabric, wire, glass, human hair

Teri Toye
1988
Fabric, wire, glass, human hair

Siamese Twins
1988
Paper, wire, fabric

 

Greer Lankton (dolls and photo) 'Einsteins "Circus" window display by Greer Lankton and Paul Monroe' 1986

 

Greer Lankton (dolls and photo)
Einsteins “Circus” window display by Greer Lankton and Paul Monroe
1986
Courtesy Paul Monroe for Greer Lankton Archives Museum

 

 

Greer Lankton (1958 – November 18, 1996) was an American artist known for creating lifelike, sewn dolls that were often modelled on friends and celebrities and posed in elaborate theatrical settings. She was a key figure in the East Village art scene of the 1980s in New York.

Gender and sexuality are recurring themes in Lankton’s art. Her dolls are created in the likeness of those society calls “freaks”, and have often been compared to the surrealist works of Hans Bellmer, who made surreal dolls with interchangeable limbs. She created figures that were simultaneously distressing and glamorous, as if they were both victim and perpetrator of their existence.

In 1981 Lankton was featured in the seminal “New York/New Wave” exhibition at P.S.1 in Long Island City, and began to show her work in the East Village at Civilian Warfare. She gained an almost cult following among East Village residents from her highly theatrical window displays she designed for Einstein’s, the boutique that was run by her husband, Paul Monroe, at 96 East Seventh Street. Besides her more emotionally charged dolls, Lankton also created commissioned portrait dolls. These include a 1989 doll of Diana Vreeland that was commissioned for a window display at Barney’s as well as shrines to her icons, such as Candy Darling.

Critic Roberta Smith described her works in the New York Times as: “Beautifully sewn, with extravagant clothes, make-up and hairstyles, they were at once glamorous and grotesque and exuded intense, Expressionistic personalities that reminded some observers of Egon Schiele. They presaged many of the concerns of 90’s art, including the emphasis on the body, sexuality, fashion and, in their resemblance to puppets, performance.” 

Photographer Nan Goldin said of her work, “Greer was one of the pioneers who blurred the line between folk art and fine art.” She had spots in the prestigious Whitney Biennial and the Venice Biennale, both in 1995, where her busts of Candy Darling, circus fat ladies, and dismembered heads gained her notoriety…

Greer was friends with photographer Nan Goldin, and lived in her apartment in the early 80’s, often posing for her. She also played muse to photographers like David Wojnarowicz and Peter Hujar.

Text from the Wikipedia website

 

“Writing about the wax dolls of German artist Lotte Pritzel (to whom Lankton’s own work bears a strong family resemblance), Rainer Maria Rilke noted: “With the doll we had to assert ourselves, because if we surrendered to it there was nobody there. It made no response, so we got into the habit of doing things for it, splitting our own slowly expanding nature into opposing parts and to some extent using the doll to establish distance between ourselves and the amorphous world pouring into us” [“Dolls: On the Wax Dolls of Lotte Pritzel,” tr. Idris Parry]. This relationship imbues the doll with its “soul,” Rilke writes, arguing that it is the extremity of this attachment that leads us to both desire and reject the doll. Unalterable strangeness: Lankton’s own work is plotted along the rejection-desire axis, granting the work a peculiar levity that hovers between fearsome and friendly…

Lankton’s art is both realistic and unrealistic, a difficult balance that is not unlike Candy Darling’s work as an actor, which often operated at the juncture between self-conscious play and unanticipated reality to evoke, again, unalterable strangeness. Following Douglas Crimp’s description of the superstar as someone whose “self … recognizes otherness already there in itself [and] performs its own self-alienation” [Our Kind of Movie: The Films of Andy Warhol, Cambridge: MIT Press, 2012], Lankton likewise performs the double work of representing bodies (hers and others) while asserting their alienation. Darling rehearsed and played herself in order to be someone else. It might be said that Lankton rehearsed and played others in order to be herself.”

Extract from “Unalterable Strangeness: Andrew Durbin and Paul Monroe on Greer Lankton,” on the Flash Art website, March – April 2015

 

Paul Monroe. 'Chanel No. 5 earrings' 1985

 

Paul Monroe
Chanel No. 5 earrings
1985
Glass (actual miniature Chanel products filled with No. 5), 14k gold wire and glass pearls

Candelabra ring
1986
Metal, chain, glass jewels and wax

Paul Monroe and Greer Lankton
Teri Toye necklace
1985
Clay, acrylic paint, gold metal chain and rhinestones

Einsteins promotional cards 1986-1992
Einsteins business card, 1985

 

Nan Goldin. 'Greer Lankton and Paul Monroe wedding' 1987

 

Nan Goldin
Greer Lankton and Paul Monroe wedding
1987
Greer Lankton Archives Museum

 

 

Bill T. Jones

 

Lois Greenfield. 'Bill T. Jones and Arnie Zane' 1982

 

Lois Greenfield
Bill T. Jones and Arnie Zane
1982
Modern print Courtesy Lois Greenfield Studio

 

Robert Mapplethorpe. 'Studio Portrait (Bill T. Jones and Arnie Zane)' 1986

 

Robert Mapplethorpe
Studio Portrait (Bill T. Jones and Arnie Zane)
1986
Private Collection of Bill T. Jones

 

Tseng Kwong Chi. 'Bill T. Jones Body Painting with Keith Haring' 1983

 

Tseng Kwong Chi
Bill T. Jones Body Painting with Keith Haring
1983
Silver gelatin selenium-toned print
© Muna Tseng Dance Projects, Inc., New York. Body Drawing on Bill T. Jones by Keith Haring
© 1983 Keith Haring Foundation

 

Huck Snyder. Small mask from 'Last Supper at Uncle Tom's Cabin' 1990

 

Huck Snyder
Small mask from Last Supper at Uncle Tom’s Cabin
1990
Painted cardboard and fabric
New York Live Arts

 

 

Huck Snyder was a visual artist and a designer of vivid stage settings for dancers and performance artists. He created sets and stage furniture that were surrealistic yet extremely simple and almost childlike at times. Imaginative and free in their execution and unmistakably his work, his sets often seemed inseparable from the vision of the performers with whom he worked. Huck had designed stage sets for the performance artist John Kelly beginning with sets for Diary of a Somnambulist in 1985…

Mr. Snyder also created sets for dances by Bill T. Jones and Bart Cook, and for theater pieces by Ishmael Houston-Jones. He conceived, directed and designed his own work “Circus,” a performance-art piece presented in 1987 at La Mama E.T.C. Mr. Snyder’s work has been displayed at the Lincoln Center for the Performing Arts, the Brooklyn Academy of Music and the Dance Theater Workshop in New York. His paintings and installations have been exhibited at galleries throughout the United States and in solo and group shows in Europe and Japan.

Text from the Visual AIDS website

 

 

Themes

Downtown

 

'Shazork! invitation, Danceteria' late 1980s

 

Downtown invitations
Shazork! invitation, Danceteria
Late 1980s
Museum of the City of New York, Gift of Carrie Goteiner and Miriam Montaug Ashkenazy in memory of Haoui Montaug

 

Peter Hujar. 'Quentin Crisp' 1982

 

Peter Hujar
Quentin Crisp
1982
Vintage gelatin silver print
© The Peter Hujar Archive; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Quentin Crisp was born Denis Charles Pratt in Surrey, England, on December 25, 1908. A self-described flamboyant homosexual, Crisp changed his name in his early 20s as part of his process of reinvention. Teased mercilessly at school as a boy, Crisp left school in 1926. He studied journalism at King’s College London, but failed to graduate. He then moved on to take art classes at Regent Street Polytechnic. Crisp began visiting the cafés of Soho, London, and even worked as a prostitute for six months. Crisp was always true to himself and expressed himself by dying his long hair lavender, polishing his fingernails and toenails, and dressing in an often androgynous style. Despite the ridicule and violence often directed toward him, Crisp carried on. He tried to join the army with the outbreak of World War II, but was rejected by the medical board, who determined that he was suffering from sexual perversion. Instead, Crisp remained in London during the Blitz, entertaining American GIs, whose friendliness inculcated a love for Americans.

Crisp held a number of jobs, including engineer’s tracer, life model, and author. His most famous work, The Naked Civil Servant, detailed his life in a homophobic British society. When the book was adapted for television, Crisp began a new career as a performer and lecturer. He moved to Manhattan in 1981, when he was 72 years old; settling in a studio apartment in the Bowery. Upon meeting and spending time with Crisp, Sting was inspired to pen his hit song, “An Englishman in New York.”

Crisp continued to tour, write, and lecture; including instructions on how to live life with style and the importance of manners. Crisp landed a few roles on American television and the 1990s became his busiest decade as an actor. In 1992, Crisp took on the role of Elizabeth I in the film Orlando.

Quentin Crisp died in November 1999, just shy of his 91st birthday, while touring his one-man show.

Text from the Biography website

 

Peter Hujar. 'Susan Sontag' 1975, printed 2014

 

Peter Hujar
Susan Sontag
1975, printed 2014
Pigmented ink print
© The Peter Hujar Archive; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Peter Hujar (born 1934) died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. He was a consummate technician, and his portraits of people, animals, and landscapes, with their exquisite black-and-white tonalities, were extremely influential. Highly emotional yet stripped of excess, Hujar’s photographs are always beautiful, although rarely in a conventional way. His extraordinary first book, Portraits in Life and Death, with an introduction by Susan Sontag, was published in 1976, but his “difficult” personality and refusal to pander to the marketplace insured that it was his last publication during his lifetime.

Text from the Peter Hujar Archive website

 

Susan Sontag (January 16, 1933 – December 28, 2004) was an American writer, filmmaker, teacher, and political activist. She published her first major work, the essay “Notes on ‘Camp'”, in 1964. Her best-known works include On Photography, Against Interpretation, Styles of Radical Will, The Way We Live Now, Illness as Metaphor, Regarding the Pain of Others, The Volcano Lover, and In America.

Sontag was active in writing and speaking about, or travelling to, areas of conflict, including during the Vietnam War and the Siege of Sarajevo. She wrote extensively about photography, culture and media, AIDS and illness, human rights, and communism and leftist ideology. Although her essays and speeches sometimes drew controversy, she has been described as “one of the most influential critics of her generation.” …

It was through her essays that Sontag gained early fame and notoriety. Sontag wrote frequently about the intersection of high and low art and expanded the dichotomy concept of form and art in every medium. She elevated camp to the status of recognition with her widely read 1964 essay “Notes on ‘Camp’,” which accepted art as including common, absurd and burlesque themes.

In 1977, Sontag published the series of essays On Photography. These essays are an exploration of photographs as a collection of the world, mainly by travelers or tourists, and the way we experience it… She became a role-model for many feminists and aspiring female writers during the 1960s and 1970s.

Text from the Wikipedia website

 

 

Printing

 

Liza Cowan (designer) 'DYKE, A Quarterly' c. 1974

 

Liza Cowan (designer)
DYKE, A Quarterly
c. 1974
Flyer
Courtesy Liza Cowan and Penny House

 

'DYKE, A Quarterly Call for poster design flyer' 1976

 

DYKE, A Quarterly Call for poster design flyer
1976
Illustration by Liza Cowan Penny House

 

'Christopher Street' September 1977

 

Christopher Street
September 1977
Private collection

 

'Christopher Street' June 1978

 

Christopher Street
June 1978
Private collection

 

Edmund White. 'Nocturnes for the King of Naples' Paperback edition with cover art by Mel Odom, 1980

 

Edmund White
Nocturnes for the King of Naples
Paperback edition with cover art by Mel Odom, 1980 (originally published 1978)
Private collection

 

'New York Magazine' June 20, 1994

 

New York Magazine
June 20, 1994
1994
Courtesy New York Magazine

 

 

Posing

 

Eva Weiss. 'From left, Lois Weaver, Peggy Shaw, and Deb Margolin performing as Split Britches in 'Upwardly Mobile Home'' 1984

 

Eva Weiss
From left, Lois Weaver, Peggy Shaw, and Deb Margolin performing as Split Britches in ‘Upwardly Mobile Home’
1984
Contemporary archival print
Courtesy Eva Weiss Photography

 

Alice O'Malley. 'Melanie Hope, Clit Club' c. 1992

 

Alice O’Malley
Melanie Hope, Clit Club
c. 1992
Vintage gelatin silver print
Alice O’Malley Photography

 

Tseng Kwong Chi. 'New York, NY (Statue of Liberty)' 1979

 

Tseng Kwong Chi
New York, NY (Statue of Liberty)
1979
Gelatin silver print
Muna Tseng Dance Projects Inc.

 

 

Tseng Kwong Chi, known as Joseph Tseng prior to his professional career (Chinese: 曾廣智; c. 1950 – March 10, 1990), was a Hong Kong-born American photographer who was active in the East Village art scene in the 1980s.

Tseng was part of an circle of artists in the 1980s New York art scene including Keith Haring, Kenny Scharf, and Cindy Sherman. Tseng’s most famous body of work is his self-portrait series, East Meets West, also called the “Expeditionary Series”. In the series, Tseng dressed in what he called his “Mao suit” and sunglasses (dubbed a “wickedly surrealistic persona” by the New York Times), and photographed himself situated, often emotionlessly, in front of iconic tourist sites. These included the Statue of Liberty, Cape Canaveral, Disney Land, Notre Dame de Paris, and the World Trade Center. Tseng also took tens of thousands of photographs of New York graffiti artist Keith Haring throughout the 1980s working on murals, installations and the subway. In 1984, his photographs were shown with Haring’s work at the opening of the Semaphore Gallery’s East Village location in a show titled “Art in Transit”. Tseng photographed the first Concorde landing at Kennedy International Airport, from the tarmac. According to his sister, Tseng drew artistic influence from Brassai and Cartier-Bresson.

Text from the Wikipedia website

 

Chantal Regnault. 'From left, Whitney Elite, Ira Ebony, Stewart and Chris LaBeija, Ian and Jamal Adonis, Ronald Revlon, House of Jourdan Ball, New Jersey' 1989

 

Chantal Regnault
From left, Whitney Elite, Ira Ebony, Stewart and Chris LaBeija, Ian and Jamal Adonis, Ronald Revlon, House of Jourdan Ball, New Jersey
1989
Gelatin silver print
© Chantal Regnault

 

 

Museum of the City of New York
1220 Fifth Ave at 103rd St.,

Opening hours:
Open Daily 10am – 6pm

Museum of the City of New York website

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03
Feb
17

Exhibition: ‘Nan Goldin: The Ballad of Sexual Dependency’ at the Museum of Modern Art, New York

Exhibition dates: 11th June 2016 – 12th February 2017

 

This “seminal” body of work by Nan Goldin allegedly changed the course of photography. In my opinion, not for the better.

There is little love and tenderness here, little magic or generosity of spirit. Goldin’s attitude to the world at the time seems to be one of hostility and resentment. It’s all very well portraying the underbelly of society – the depravity, violence and degradation – but if your point of departure is one of anger and animosity, this is always going to be reflected in your art. I remember going out with my friends partying in the 1980s, the drugs, the sex, the pushing it to the edge, but you know what – we cared about each other. Nothing could be further from the truth in Goldin’s hedonistic (not heuristic) approach to her aura.

Shooting indiscriminately, hoping to find the rough diamond of an image, cuts both ways. In the arbitrary voyeurism of this work – do I snap now or a second later, what is happening outside of the frame – you never know what you are missing. Often you get nothing, or you get a reflection of yourself that is not very appealing. (Today is a very different world from the 1980s, we just snap and upload everything. These images are very of their time). There is so much more that could have been said other than through this controlling, diaristic approach to the subject matter.

I repeat, there seems to be a less than generous spirit captured in this work, of how Goldin looked at the world at that time, and it is reflected back to us in her images. Nothing to do with HIV/AIDS, nothing to do with bohemianism – everything to do with the spirit of the artist.

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.

 

 

“Since David Armstrong and I were young he always referred to photography as “diving for pearls.” If you took a million pictures you were lucky to come out with one or two gems. … I never learned control over my machines. I made every mistake in the book. But the technical mistakes allowed for magic. … Random psychological subtexts that I never would have thought to intentionally create. The subconscious made visible – though whether mine or the camera’s I don’t know …”

.
Nan Goldin. “Diving for Pearls,” quoted in Hilton Als. “Nan Goldin’s Life in Progress,” on The New Yorker website, July 4, 2016

 

 

 

Nan Goldin (American, born 1953) 'Trixie on the Cot, New York City' 1979

 

Nan Goldin (American, born 1953)
Trixie on the Cot, New York City
1979
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Marian and James H. Cohen in memory of their son Michael Harrison Cohen
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Buzz and Nan at the Afterhours, New York City' 1980

 

Nan Goldin (American, born 1953)
Buzz and Nan at the Afterhours, New York City
1980
Silver dye bleach print, printed 2008
15 1/2 x 23 1/4″ (39.4 x 59 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Nan and Dickie in the York Motel, New Jersey' 1980

 

Nan Goldin (American, born 1953)
Nan and Dickie in the York Motel, New Jersey
1980
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Self-Portrait in Blue Bathroom, London' 1980

 

Nan Goldin (American, born 1953)
Self-Portrait in Blue Bathroom, London
1980
Silver dye bleach print, printed 2016
20 x 24″ (50.8 x 61 cm)
The Museum of Modern Art, New York
Gift of Nan Goldin
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Heart-Shaped Bruise, New York City' 1980

 

Nan Goldin (American, born 1953)
Heart-Shaped Bruise, New York City
1980
Silver dye bleach print, printed 2006
20 x 24″ (50.8 x 61 cm)
The Museum of Modern Art, New York
Gift of Nan Goldin
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'David and Butch Crying at Tin Pan Alley, New York City' 1981

 

Nan Goldin (American, born 1953)
David and Butch Crying at Tin Pan Alley, New York City
1981
Silver dye bleach print, printed 2009, 15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Nan on Brian's Lap, Nan's Birthday, New York City' 1981

 

Nan Goldin (American, born 1953)
Nan on Brian’s Lap, Nan’s Birthday, New York City
1981
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.3 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Rise and Monty Kissing, New York City' 1980

 

Nan Goldin (American, born 1953)
Rise and Monty Kissing, New York City
1980
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Philippe H. and Suzanne Kissing at Euthanasia, New York City' 1981

 

Nan Goldin (American, born 1953)
Philippe H. and Suzanne Kissing at Euthanasia, New York City
1981
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Max and Richard, New York City' 1983

 

Nan Goldin (American, born 1953)
Max and Richard, New York City
1983
Silver dye bleach print, printed 2006
15 9/16 x 23 1/16″ (39.6 x 58.5 cm)
The Museum of Modern Art, New York. The Family of Man Fund
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Nan and Brian in Bed, New York City' 1983

 

Nan Goldin (American, born 1953)
Nan and Brian in Bed, New York City
1983
Silver dye bleach print, printed 2006
15 1/2 x 23 3/16″ (39.4 x 58.9 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Jon L. Stryker
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'Nan One Month After Being Battered' 1984

 

Nan Goldin (American, born 1953)
Nan One Month After Being Battered
1984
Silver dye bleach print, printed 2008
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Purchase
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'The Parents' Wedding Photo, Swampscott, Massachusetts' 1985

 

Nan Goldin (American, born 1953)
The Parents’ Wedding Photo, Swampscott, Massachusetts
1985
Silver dye bleach print, printed 2006
15 1/2 x 23 1/8″ (39.4 x 58.7 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Richard O. Rieger
© 2016 Nan Goldin

 

 

Comprising almost 700 snapshot-like portraits sequenced against an evocative music soundtrack, Nan Goldin’s The Ballad of Sexual Dependency is a deeply personal narrative, formed out of the artist’s own experiences around Boston, New York, Berlin, and elsewhere in the late 1970s, 1980s, and beyond. Titled after a song in Bertolt Brecht and Kurt Weill’s The Threepenny Opera, Goldin’s Ballad is itself a kind of downtown opera; its protagonists – including the artist herself – are captured in intimate moments of love and loss. They experience ecstasy and pain through sex and drug use; they revel at dance clubs and bond with their children at home; and they suffer from domestic violence and the ravages of AIDS.

The Ballad of Sexual Dependency is the diary I let people read,” Goldin wrote. “The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.”

The Ballad developed through multiple improvised live performances, for which Goldin ran through the slides by hand and friends helped prepare the soundtrack – from Maria Callas to The Velvet Underground – for an audience not unlike the subjects of the pictures. The Ballad is presented in its original 35mm format, along with photographs from the Museum’s collection that also appear as images in the slide show. Introducing the installation is a selection of materials from the artist’s archive, including posters and flyers announcing early iterations of The Ballad. Live performances will periodically accompany The Ballad during the course of the Museum’s presentation; performance details will be announced during the course of the exhibition presentation.

Press release from MoMA

 

Nan Goldin (American, born 1953) 'C.Z. and Max on the Beach, Truro, Massachusetts' 1976

 

Nan Goldin (American, born 1953)
C.Z. and Max on the Beach, Truro, Massachusetts
1976
Silver dye bleach print, printed 2006
23 1/8 x 15 1/2″ (58.7 x 39.4 cm)
The Museum of Modern Art, New York
Acquired through the generosity of Jon L. Stryker
© 2016 Nan Goldin

 

Nan Goldin (American, born 1953) 'The Hug, New York City' 1980

 

Nan Goldin (American, born 1953)
The Hug, New York City
1980
Silver dye bleach print, printed 2008
23 1/8 x 15 1/2″ (58.7 x 39.4 cm)
The Museum of Modern Art, New York. Purchase
© 2016 Nan Goldin

 

Janet Stein (designer) 'Poster for 'The Ballad of Sexual Dependency', slide show by Nan Goldin, with 'Desperate Living', a film by John Waters' O.P. Screening Room, New York, March 29, 1982

 

Janet Stein (designer)
Poster for ‘The Ballad of Sexual Dependency’, slide show by Nan Goldin, with ‘Desperate Living’, a film by John Waters
O.P. Screening Room, New York, March 29, 1982
Photocopy
11 × 8 1/2″ (27.9 × 21.6 cm)
Collection Nan Goldin

 

 

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

Opening hours:
Monday – Thursday, Saturday – Sunday 10.30 am – 5.30 pm
Friday, 10.30 am – 8.00 pm

MOMA website

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11
Jan
17

Exhibition: ‘Telling Tales: Contemporary Narrative Photography’ at the McNay Art Museum, San Antonio TX

Exhibition dates: 28th September 2016 – 15th January 2017

Curator: René Paul Barilleaux, Chief Curator/Curator of Contemporary Art at the McNay

 

 

I really, really don’t know what tales I can tell from this disparate group of media images illustrating (and that’s the key word) the exhibition.

Except to say that their stage managed, dead pan style, really, really doesn’t do it for me.

The sensation of loneliness, limited colour palette and total nihilism leaves me as cold as a corpse in a freezer.

The tale that nothing in the world has a real existence, or really matters.

If Norman Rockwell used photographs to compose his painted illustrations, then that is what these are … photographic illustrations.

A perfect example of this composite, stilted painterly overkill is Julie Blackmon’s New Chair (2014, below).

Everything is perfectly posed, poised and positioned in relation to each other: the boy behind the chair; the price on the chair; the pair of legs and two hands lifting the roller door; the children in the background; the blue dress of the child in the forground and her relationship to the horse, baseball, melting icy pole, football and young lad with head wrapped in bubble wrap while another piece lies on the ground. The ramp fills the space delightfully behind these artefacts with the hero splash of colour, the new chair, perched upon its upper reaches.

This, dear friends, is the state of contemporary narrative photography, where “telling tales” – to gossip about or reveal another person’s secrets or wrongdoings – is just this. Gossip about nothing.

Marcus

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

 

 

 

 

Telling Tales: Contemporary Narrative Photography is a survey of work by artists who record stories through pictures, whether real or imagined. Organized by the McNay’s Chief Curator and Curator of Contemporary Art, René Paul Barilleaux, the exhibition includes approximately fifty photographs from the late 1970s to the present by 17 ground-breaking photographers. Telling Tales is the McNay Art Museum’s first large-scale exhibition of photography and is accompanied by an 88-page illustrated book.

The exhibition presents work such as Nan Goldin’s landmark The Ballad of Sexual Dependency demonstrate some artists’ explorations of the politics of the day – in this case, the onset of the AIDS crisis – while other examples, including photographs by Tina Barney, Justine Kurland, and Paul Graham investigate class differences, marginalized communities, and social justice.

While some contemporary artists explore photographic imagery as it is filtered through and mediated by technology and the internet, others exploit photography’s ability to present a momentary, frozen narrative. Images are staged for the camera or highly manipulated through digital processes, yet they often resemble a casual snapshot or movie still. Primarily in color and often large-scale, the photographs reference everything from classical painting and avant-garde cinema, to science fiction illustration and Alfred Hitchcock. The exhibition includes examples of these various approaches to image-making.

Telling Tales: Contemporary Narrative Photography features work by Tina Barney, Julie Blackmon, Gregory Crewdson, Philip-Lorca diCorcia, Mitch Epstein, Nan Goldin, Paul Graham, Jessica Todd Harper, Teresa Hubbard and Alexander Birchler, Anna Gaskell, Justine Kurland, Lori Nix, Erwin Olaf, Alex Prager, Alec Soth, and Jeff Wall.

Text from the McNay website

 

Mitch Epstein. 'Massachusetts Turnpike' 1973

 

Mitch Epstein
Massachusetts Turnpike
1973
Dye transfer print
Courtesy of the artist and Sikkema Jenkins & Co., New York City
© Black River Productions, Ltd. / Mitch Epstein. Used with permission. All rights reserved

 

Nan Goldin. 'Cookie at Tin Pan Alley, NYC' 1983

 

Nan Goldin
Cookie at Tin Pan Alley, NYC
1983
Cibachrome
Courtesy of the artist and Matthew Marks Gallery, New York City
© Nan Goldin

 

Erwin Olaf. 'Victoria' 2007

 

Erwin Olaf
Victoria
2007
Digital chromogenic print
Courtesy of the artist
© Erwin Olaf

 

Erwin Olaf. 'The Dancing School' 2004

 

Erwin Olaf
The Dancing School
2004
Chromogenic print
Courtesy of the artist
© Erwin Olaf

 

 

“It all began with the drawings of Norman Rockwell. I like that sort of nostalgic feeling. Originally, I wanted to do something really happy, up-beat, after all the depression of my last series, Separation (2003). So the starting point was that everybody was going to be beautiful, and that I would ask the models to act funny. But then it somehow became terrible. I realized this was a world which has vanished. So instead, I radically simplified the images. Now, everybody is just waiting for nothing, it’s the moment after happiness. I suppose after Separation, comes the well of loneliness. It’s also been a difficult process because for the first time, I have worked without purposely using eroticism or any sexual jokes…

Dancing School is a dreary party which no one attends. The evening has been carefully mapped out, right down to the dance-steps printed on paper and placed neatly on the floor. Sheet music is open on the piano. It is just after six in the evening, but despite the party hats, this is an event reserved for eternal wall-flowers. The mood in this room is in sharp contrast to the antique print of dancing damsels at play, hanging on the wall behind the two isolated guests.”

Erwin Olaf quoted in Jonathan Turner. “Erwin Olaf: Rain,” on the M+B website

 

Jessica Todd Harper. 'Self Portrait with Marshall' 2008

 

Jessica Todd Harper
Self Portrait with Marshall
2008
Archival pigment print
Courtesy of the artist and Rick Wester Fine Art, New York City
© Jessica Todd Harper

 

Jessica Todd Harper. 'Self Portrait with Marshall' 2008

 

Jessica Todd Harper
Self Portrait with Marshall
2008
Archival pigment print
Courtesy of the artist and Rick Wester Fine Art, New York City
© Jessica Todd Harper

 

Teresa Hubbard / Alexander Birchler (Swiss/Irish/American, born 1965; Swiss, born 1962) From the series 'Falling Down' 1996

 

Teresa Hubbard / Alexander Birchler (Swiss/Irish/American, born 1965; Swiss, born 1962)
From the series Falling Down
1996
Chromogenic print
Courtesy of the artists; Tanya Bonakdar Gallery, New York City; and Lora Reynolds Gallery, Austin, Texas

 

Teresa Hubbard / Alexander Birchler (Swiss/Irish/American, born 1965; Swiss, born 1962) From the series 'Falling Down' 1996

 

Teresa Hubbard / Alexander Birchler (Swiss/Irish/American, born 1965; Swiss, born 1962)
From the series Falling Down
1996
Chromogenic print
Courtesy of the artists; Tanya Bonakdar Gallery, New York City; and Lora Reynolds Gallery, Austin, Texas

 

Anna Gaskell. 'Untitled #3 (Turns Gravity)' 2010

 

Anna Gaskell
Untitled #3 (Turns Gravity)
2010
Archival pigment print
Courtesy of the artist and Galerie Gisela Capitain, Cologne
© Anna Gaskell

 

 

“Telling Tales: Contemporary Narrative Photography features the work of seventeen artists who interpret stories through pictures, whether real or imagined. Spanning nearly four decades, this survey begins with the art of ground-breaking photographers who emerged during the 1970s and 1980s and continues through today. The images present a wide range of styles and themes – familiar, mysterious, humorous, perplexing – yet they are always compelling to view. Organized by the McNay, the exhibition presents over fifty photographs. Works such as Nan Goldin’s landmark The Ballad of Sexual Dependency demonstrate some artists’ explorations of the politics of the day – in this case, the onset of the AIDS crisis – while other examples, including photographs by Tina Barney, Justine Kurland, and Paul Graham investigate class differences, marginalized communities, and social justice.

“Since 2015 the McNay has focused its contemporary exhibitions on three areas our visitors had not had the opportunity to explore in depth: installation and performance art with Lesley Dill: Performance as Art and now narrative photography with Telling Tales” says René Paul Barilleaux, McNay Art Museum’s Chief Curator/Curator of Contemporary Art and the exhibition’s organizer. “This presentation is the first major contemporary photography exhibition at the McNay as well as the first to examine and expose recent developments in narrative photography.”

Many contemporary artists explore photographic imagery as it is filtered through and mediated by technology and the Internet; others exploit photography’s ability to present a momentary, frozen narrative. And even when the images are staged for the camera or are highly manipulated through digital processes, they often resemble a casual snapshot or movie still. Primarily in color and frequently large-scale, references found in this work range from classical painting to avant-garde cinema, from science fiction illustration to the films of Alfred Hitchcock.

Quintessential American storyteller Norman Rockwell employed photographs, created in series, to compose his painted illustrations. He staged elaborate vignettes for the camera using detailed props, live models, and at times even himself. Rockwell used photography in his creative process; he did not present photographs as finished works. Many of the photographs in Telling Tales evoke Rockwell’s spirit, and, not surprisingly, several of the artists identify him as an inspiration.”

Press release from the McNay

 

Lori Nix. 'Flood' 1998

 

Lori Nix
Flood
1998
Archival pigment print
Courtesy of the artist and ClampArt, New York City
© Lori Nix

 

Lori Nix. 'Chinese Take-Out' 2013

 

Lori Nix
Chinese Take-Out
2013
Archival pigment print
Courtesy of the artist and ClampArt, New York City
© Lori Nix

 

Julie Blackmon. 'Time Out' 2005

 

Julie Blackmon
Time Out
2005
Archival pigment print
Courtesy of the artist and Robert Mann Gallery, New York City
© Julie Blackmon

 

Julie Blackmon. 'New Chair' 2014

 

Julie Blackmon
New Chair
2014
Archival pigment print
Courtesy of the artist and Robert Mann Gallery, New York City
© Julie Blackmon

 

Tina Barney. 'Family Commission with Snake' 2007

 

Tina Barney
Family Commission with Snake
2007
Chromogenic print
Courtesy of the artist and Paul Kasmin Gallery, New York City
© Tina Barney

 

Alex Prager. 'Hollywood Park' 2014

 

Alex Prager
Hollywood Park
2014
Archival pigment print
Courtesy of the artist and Lehmann Maupin, New York City and Hong Kong
© Alex Prager

 

Alec Soth. 'Charles, Vasa, Minnesota' 2002

 

Alec Soth
Charles, Vasa, Minnesota
2002
Chromogenic print
Courtesy of the artist
© Alec Soth

 

 

McNay Art Museum
6000 N New Braunfels Ave,
San Antonio TX 78209

Opening hours:
Sunday noon – 5 pm
Monday Closed
Tuesday, Wednesday, Friday 10 am – 4 pm
Thursday 10 am – 9 pm
Saturday 10 am – 5 pm

McNay Art Museum website

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28
Dec
16

Exhibition: ‘Intersections: Photographs and Videos from the National Gallery of Art and the Corcoran Gallery of Art’ at the National Gallery of Art, Washington

Exhibition dates: 29th May 2016 – 2nd January 2017

Curators: Sarah Greenough, senior curator, department of photographs, and Philip Brookman, consulting curator, department of photographs, both National Gallery of Art, are the exhibition curators.

 

 

The last posting of a fruitful year for Art Blart.  I wish all the readers of Art Blart a happy and safe New Year!

The exhibition is organized around five themes – movement, sequence, narrative, studio, and identity – found in the work of Muybridge and Stieglitz, themes then developed in the work of other artists. While there is some interesting work in the posting, the conceptual rationale and stand alone nature of the themes and the work within them is a curatorial ordering of ideas that, in reality, cannot be contained within any one boundary, the single point of view.

Movement can be contained in sequences; narrative can be unfolded in a sequence (as in the work of Duane Michals); narrative and identity have a complex association which can also be told through studio work (eg. Gregory Crewdson), etc… What does Roger Mayne’s Goalie, Street Football, Brindley Road (1956, below) not have to do with identity, the young lad with his dirty hands, playing in his socks, in a poverty stricken area of London; why has Hiroshi Sugimoto’s Oscar Wilde (1999, below) been included in the studio section when it has much more to do with the construction of identity through photography- “Triply removing his portrait from reality – from Oscar Wilde himself to a portrait photograph to a wax sculpture and back to a photograph” – which confounds our expectations of the nature of photography. Photography is nefariously unstable in its depiction of an always, constructed reality, through representation(s) which reject simple causality.

To isolate and embolden the centre is to disclaim and disavow the periphery, work which crosses boundaries, is multifaceted and multitudinous; work which forms a nexus for networks of association beyond borders, beyond de/lineation – the line from here to there. The self-contained themes within this exhibition are purely illusory.

Marcus

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

 

 

“We can no longer accept that the identity of a man can be adequately established by preserving and fixing what he looks like from a single viewpoint in one place.”

.
John Berger. “No More Portraits,” in New Society August 1967

 

 

“Intersections: Photographs and Videos from the National Gallery of Art and the Corcoran Gallery of Art explores the connections between the two newly joined photography collections. On view from May 29, 2016, through January 2, 2017, the exhibition is organized around themes found in the work of the two pioneers of each collection: Eadweard Muybridge (1830-1904) and Alfred Stieglitz (1864-1946). Inspired by these two seminal artists, Intersections brings together more than 100 highlights of the recently merged collections by a range of artists from the 1840s to today.

Just as the nearly 700 photographs from Muybridge’s groundbreaking publication Animal Locomotion, acquired by the Corcoran Gallery of Art in 1887, became the foundation for the institution’s early interest in photography, the Key Set of more than 1,600 works by Stieglitz, donated by Georgia O’Keeffe and the Alfred Stieglitz Estate, launched the photography collection at the National Gallery of Art in 1949.”

Press release from the National Gallery of Art

 

Exhibition highlights

The exhibition is organized around five themes – movement, sequence, narrative, studio, and identity – found in the work of Muybridge and Stieglitz.

Movement

Works by Muybridge, who is best known for creating photographic technologies to stop and record motion, anchor the opening section devoted to movement. Photographs by Berenice Abbott and Harold Eugene Edgerton, which study how objects move through space, are included, as are works by Roger Mayne, Alexey Brodovitch, and other who employed the camera to isolate an instant from the flux of time.

Wall text

Intersections wall text

 

Eadweard Muybridge. 'Horses. Running. Phyrne L. No. 40, from The Attitudes of Animals in Motion' 1879

 

Eadweard Muybridge
Horses. Running. Phyrne L. No. 40, from The Attitudes of Animals in Motion
1879
Albumen print
Image: 16 x 22.4 cm (6 5/16 x 8 13/16 in.)
Sheet: 25.7 x 32.4 cm (10 1/8 x 12 3/4 in.)
National Gallery of Art, Washington, Gift of Mary and Dan Solomon

 

 

In order to analyze the movement of racehorses, farm animals, and acrobats, Muybridge pioneered new and innovative ways to stop motion with photography. In 1878, he started making pictures at railroad magnate Leland Stanford’s horse farm in Palo Alto, California, where he developed an electronic shutter that enabled exposures as fast as one-thousandth of a second. In this print from Muybridge’s 1881 album The Attitudes of Animals in Motion, Stanford’s prized racehorse Phryne L is shown running in a sequential grid of pictures made by 24 different cameras with electromagnetic shutters tripped by wires as the animal ran across the track. These pictures are now considered a critical step in the development of cinema.

 

Eadweard Muybridge. 'Internegative for Horses. Trotting. Abe Edgington. No. 28, from The Attitudes of Animals in Motion' 1878

 

Eadweard Muybridge
Internegative for Horses. Trotting. Abe Edgington. No. 28, from The Attitudes of Animals in Motion
1878
Collodion negative
Overall (glass plate): 15.3 x 25.4 cm (6 x 10 in.)
National Gallery of Art, Washington, Gift of Mary and Dan Solomon and Patrons’ Permanent Fund

 

 

This glass negative shows the sequence of Leland Stanford’s horse Abe Edgington trotting across a racetrack in Palo Alto, California – a revolutionary record of the changes in the horse’s gait in about one second. Muybridge composed the negative from photographs made by eight different cameras lined up to capture the horse’s movements. Used to print the whole sequence together onto albumen paper, this internegative served as an intermediary step in the production of Muybridge’s 1881 album The Attitudes of Animals in Motion.

 

Étienne Jules Marey. 'Chronophotograph of a Man on a Bicycle' c. 1885-1890

 

Étienne Jules Marey
Chronophotograph of a Man on a Bicycle
c. 1885-1890
Glass lantern slide
Image: 4 x 7.5 cm (1 9/16 x 2 15/16 in.)
Plate: 8.8 x 10.2 cm (3 7/16 x 4 in.)
National Gallery of Art, Washington, Gift of Mary and David Robinson

 

 

A scientist and physiologist, Marey became fascinated with movement in the 1870s. Unlike Muybridge, who had already made separate pictures of animals in motion, Marey developed in 1882 a means to record several phases of movement onto one photographic plate using a rotating shutter with slots cut into it. He called this process “chronophotography,” meaning photography of time. His photographs, which he published in books and showed in lantern slide presentations, influenced 20th-century cubist, futurist, and Dada artists who examined the interdependence of time and space.

 

William Henry Fox Talbot. 'The Boulevards of Paris' 1843

 

William Henry Fox Talbot
The Boulevards of Paris
1843
Salted paper print
Image: 16.6 × 17.1 cm (6 9/16 × 6 3/4 in.)
Sheet: 19 × 23.2 cm (7 1/2 × 9 1/8 in.)
National Gallery of Art, Washington, New Century Fund

 

As soon as Talbot announced his invention of photography in 1839, he realized that its ability to freeze time enabled him to present the visual spectacle of the world in an entirely new way. By capturing something as mundane as a fleeting moment on a busy street, he could transform life into art, creating a picture that could be savored long after the event had transpired.

 

David Octavius Hill and Robert Adamson. 'Colinton Manse and weir, with part of the old mill on the right' 1843-1847

 

David Octavius Hill and Robert Adamson
Colinton Manse and weir, with part of the old mill on the right
1843-1847
Salted paper print
Image: 20.7 x 14.6 cm (8 1/8 x 5 3/4 in.)
National Gallery of Art, Washington, Paul Mellon Fund

 

 

In 1843, only four years after Talbot announced his negative/positive process of photography, painter David Octavius Hill teamed up with engineer Robert Adamson. Working in Scotland, they created important early portraits of the local populace and photographed Scottish architecture, rustic landscapes, and city scenes. Today a suburb southwest of Edinburgh, 19th-century Colinton was a mill town beside a river known as the Water of Leith. Because of the long exposure time required to make this photograph, the water rushing over a small dam appears as a glassy blur.

 

Thomas Annan. 'Old Vennel, Off High Street' 1868-1871

 

Thomas Annan
Old Vennel, Off High Street
1868-1871
Carbon print
Image: 26.9 x 22.3 cm (10 9/16 x 8 3/4 in.)
Sheet: 50.8 x 37.9 cm (20 x 14 15/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

 

In 1868, Glasgow’s City Improvements Trust hired Annan to photograph the “old closes and streets of Glasgow” before the city’s tenements were demolished. Annan’s pictures constitute one of the first commissioned photographic records of living conditions in urban slums. The collodion process Annan used to make his large, glass negatives required a long exposure time. In the dim light of this narrow passage, it was impossible for the photographer to stop the motion of the restless children, who appear as ghostly blurs moving barefoot across the cobblestones.

 

Thomas Annan. 'Old Vennel, Off High Street' 1868-1871 (detail)

 

Thomas Annan
Old Vennel, Off High Street (detail)
1868-1871
Carbon print
Image: 26.9 x 22.3 cm (10 9/16 x 8 3/4 in.)
Sheet: 50.8 x 37.9 cm (20 x 14 15/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

Alfred Stieglitz. 'Going to the Post, Morris Park' 1904

 

Alfred Stieglitz
Going to the Post, Morris Park
1904
Photogravure
Image: 30.8 x 26.4 cm (12 1/8 x 10 3/8 in.)
Sheet: 38.5 x 30.3 cm (15 3/16 x 11 15/16 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

 

In the 1880s and 1890s, improvements in photographic processes enabled manufacturers to produce small, handheld cameras that did not need to be mounted on tripods. Faster film and shutter speeds also allowed practitioners to capture rapidly moving objects. Stieglitz was one of the first fine art photographers to exploit the aesthetic potential of these new cameras and films. Around the turn of the century, he made many photographs of rapidly moving trains, horse-drawn carriages, and racetracks that capture the pace of the increasingly modern city.

 

Harold Eugene Edgerton. 'Wes Fesler Kicking a Football' 1934

 

Harold Eugene Edgerton
Wes Fesler Kicking a Football
1934
Gelatin silver print
Image: 11 1/2 x 9 5/8 in.
Sheet: 13 15/16 x 11 in.
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase with the aid of funds from the National Endowment for the Arts, Washington, D.C., a Federal Agency, and The Polaroid Corporation)

 

 

A professor of electrical engineering at the Massachusetts Institute of Technology, Edgerton in the early 1930s invited the stroboscope, a tube filled with gas that produced high-intensity bursts of light at regular and very brief intervals. He used it to illuminate objects in motion so that they could be captured by a camera. At first he was hired by industrial clients to reveal flaws in their production of materials, but bt the mid-1930s he began to photography everyday events… Edgerton captured phenomena moving too fast for the naked eye to see, and revealed the beauty of people and objects in motion.

 

Alexey Brodovitch. 'Untitled from "Ballet" series' 1938

 

Alexey Brodovitch
Untitled from “Ballet” series
1938
Gelatin silver print
Overall: 20.4 x 27.5 cm (8 1/16 x 10 13/16 in.)
National Gallery of Art, Washington, Diana and Mallory Walker Fund

 

 

A graphic artist, Russian-born Brodovitch moved to the United States from Paris in 1930. Known for his innovative use of photographs, illustrations, and type on the printed page, he became art director for Harper’s Bazaar in 1934, and photographed the Ballets Russes de Monte Carlo during their American tours from 1935 to 1939. Using a small-format, 35 mm camera, Brodovitch worked in the backstage shadows and glaring light of the theater to produce a series of rough, grainy pictures that convey the drama and action of the performance. This photograph employs figures in motion, a narrow field of focus, and high-contrast effects to express the stylized movements of Léonide Massine’s 1938 choreography for Beethoven’s Seventh Symphony.

 

Harry Callahan. 'Detroit' 1943

 

Harry Callahan
Detroit
c. 1943
Dye imbibition print, printed c. 1980
Overall (image): 18 x 26.7 cm (7 1/16 x 10 1/2 in.)
Sheet: 27.31 x 36.83 cm (10 3/4 x 14 1/2 in.)
National Gallery of Art, Washington, Gift of the Callahan Family

 

Harry Callahan. 'Camera Movement on Neon Lights at Night' 1946

 

Harry Callahan
Camera Movement on Neon Lights at Night
1946
Dye imbibition print, printed 1979
Image: 8 3/4 x 13 5/8 in.
Sheet: 10 3/8 x 13 15/16 in.
National Gallery of Art, Washington, Corcoran Collection (Gift of Richard W. and Susan R. Gessner)

 

Louis Stettner. 'Times Square, New York City' 1952-1954

 

Louis Stettner
Times Square, New York City
1952-1954
Gelatin silver print
Sheet (trimmed to image): 42.1 x 27.5 cm (16 9/16 x 10 13/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

Frank Horvat. 'Paris, Gare Saint-Lazare' 1959

 

Frank Horvat
Paris, Gare Saint-Lazare
1959
Gelatin silver print
Overall: 39.3 x 26.2 cm (15 1/2 x 10 5/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

 

Gare Saint-Lazare is one of the principal railway stations in Paris. Because of its industrial appearance, steaming locomotives, and teeming crowds, it was a frequent subject for 19th-century French painters – including Claude Monet, Édouard Manet, and Gustave Caillebotte – who used it to express the vitality of modern life. 20th-century artists such as Horvat also depicted it to address the pace and anonymity that defined their time. Using a telephoto lens and long exposure, he captured the rushing movement of travelers scattered beneath giant destination signs.

 

Roger Mayne. 'Goalie, Street Football, Brindley Road' 1956

 

Roger Mayne
Goalie, Street Football, Brindley Road
1956
Gelatin silver print
Image: 34.7 × 29.1 cm (13 11/16 × 11 7/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

 

From 1956 to 1961, Mayne photographed London’s North Kensington neighborhood to record its emergence from the devastation and poverty caused by World War II. This dramatic photograph of a young goalie lunging for the ball during an after-school soccer game relies on the camera’s ability to freeze the fast-paced and unpredictable action. Because the boy’s daring lunge is forever suspended in time, we will never know its outcome.

 

Shōmei Tōmatsu. 'Rush Hour, Tokyo' (detail) 1981

 

Shōmei Tōmatsu
Rush Hour, Tokyo (detail)
1981
Gelatin silver print
Sheet: 11 5/16 x 9 7/16 in. (28.73 x 23.97 cm)
National Gallery of Art, Washington, Corcoran Collection (Gift of Michael D. Abrams)

 

 

Best known for his expressive documentation of World War II’s impact on Japanese culture, Tomatsu was one of Japan’s most creative and influential photographers. Starting in the early 1960s, he documented the country’s dramatic economic, political, and cultural transformation. This photograph – a long exposure made with his camera mounted on a tripod – conveys the chaotic rush of commuters on their way through downtown Tokyo. Tomatsu used this graphic description of movement, which distorts the faceless bodies of commuters dashing down a flight of stairs, to symbolize the dehumanizing nature of work in the fast-paced city of the early 1980s.

 

Sequence

Muybridge set up banks of cameras and used electronic shutters triggered in sequence to analyze the motion of people and animals. Like a storyteller, he sometimes adjusted the order of images for visual and sequential impact. Other photographers have also investigated the medium’s capacity to record change over time, express variations on a theme, or connect seemingly disparate pictures. In the early 1920s, Stieglitz began to create poetic sequences of cloud photographs meant to evoke distinct emotional experiences. These works (later known as Equivalents) influenced Ansel Adams and Minor White – both artists created specific sequences to evoke the rhythms of nature or the poetry of time passing.

Wall text

Intersections wall text

 

Alfred Stieglitz. 'From My Window at An American Place, Southwest' March 1932

 

Alfred Stieglitz
From My Window at An American Place, Southwest
March 1932
Gelatin silver print
Sheet (trimmed to image): 23.8 x 18.4 cm (9 3/8 x 7 1/4 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

Alfred Stieglitz. 'From My Window at An American Place, Southwest' April 1932

 

Alfred Stieglitz
From My Window at An American Place, Southwest
April 1932
Gelatin silver print
Sheet (trimmed to image): 23.8 x 18.8 cm (9 3/8 x 7 3/8 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

Alfred Stieglitz. 'Water Tower and Radio City, New York' 1933

 

Alfred Stieglitz
Water Tower and Radio City, New York
1933
Gelatin silver print
Sheet: 23.7 x 18.6 cm (9 5/16 x 7 5/16 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

 

Whenever Stieglitz exhibited his photographs of New York City made in the late 1920s and early 1930s, he grouped them into series that record views from the windows of his gallery, An American Place, or his apartment at the Shelton Hotel, showing the gradual growth of the buildings under construction in the background. Although he delighted in the formal beauty of the visual spectacle, he lamented that these buildings, planned in the exuberance of the late 1920s, continued to be built in the depths of the Depression, while “artists starved,” as he said at the time, and museums were “threatened with closure.”

 

Ed Ruscha. 'Every Building on Sunset Strip' 1966

Ed Ruscha. 'Every Building on Sunset Strip' 1966

Ed Ruscha. 'Every Building on Sunset Strip' 1966

 

Ed Ruscha
Every Building on the Sunset Strip
1966
Offset lithography book: 7 x 5 3/4 in. (17.78 x 14.61 cm) unfolded (open flat): 7 x 276 in.
National Gallery of Art, Washington, Corcoran Collection (Gift of Philip Brookman and Amy Brookman)

 

Vito Acconci. 'Step Piece' 1970

 

Vito Acconci
Step Piece
1970
Five gelatin silver prints and four sheets of type-written paper, mounted on board with annotations in black ink
Sheet: 76.2 x 101.6 cm (30 x 40 in.)
National Gallery of Art, Washington, Dorothy and Herbert Vogel Collection

 

 

Acconci’s Step Piece is made up of equal parts photography, drawing, performance, and quantitative analysis. It documents a test of endurance: stepping on and off a stool for as long as possible every day. This performance-based conceptual work is rooted in the idea that the body itself can be a medium for making art. To record his activity, Acconci made a series of five photographs spanning one complete action. Like the background grid in many of Muybridge’s motion studies, vertical panels in Acconci’s studio help delineate the space. His handwritten notes and sketches suggest the patterns of order and chaos associated with the performance, while typewritten sheets, which record his daily progress, were given to people who were invited to observe.

 

Narrative

The exhibition also explores the narrative possibilities of photography found in the interplay of image and text in the work of Robert Frank, Larry Sultan, and Jim Goldberg; the emotional drama of personal crisis in Nan Goldin’s image grids; or the expansion of photographic description into experimental video and film by Victor Burgin and Judy Fiskin.

Wall text

Intersections wall text

 

Alfred Stieglitz. 'Judith Being Carted from Oaklawn to the Hill. The Way Art Moves' 1920

 

Alfred Stieglitz
Judith Being Carted from Oaklawn to the Hill. The Way Art Moves
1920
Gelatin silver print
Image: 24.1 x 18.8 cm (9 1/2 x 7 3/8 in.)
Sheet: 25.2 x 20.1 cm (9 15/16 x 7 15/16 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

 

In 1920, Stieglitz’s family sold their Victorian summerhouse on the shore of Lake George, New York, and moved to a farmhouse on a hill above it. This photograph shows three sculptures his father had collected – two 19th-century replicas of ancient statues and a circa 1880 bust by Moses Ezekiel depicting the Old Testament heroine Judith – as they were being moved in a wooden cart from one house to another. Stieglitz titled it The Way Art Moves, wryly commenting on the low status of art in American society. With her masculine face and bared breast, Judith was much maligned by Georgia O’Keeffe and other younger family members. In a playful summer prank, they later buried her somewhere near the farmhouse, where she remained lost, despite many subsequent efforts by the perpetrators themselves to find her.

 

Dan Graham. 'Homes for America' 1966-1967

 

Dan Graham
Homes for America
1966-1967
Two chromogenic prints
Image (top): 23 x 34 cm (9 1/16 x 13 3/8 in.)
Image (bottom): 27.8 x 34 cm (10 15/16 x 13 3/8 in.)
Mount: 101 x 75 cm (39 3/4 x 29 1/2 in.)
Framed: 102 x 76.2 x 2.8 cm (40 3/16 x 30 x 1 1/8 in.)
National Gallery of Art, Washington, Glenstone in honor of Eileen and Michael Cohen

 

 

Beginning in the mid-1960s, conceptual artist Dan Graham created several works of art for magazine pages and slide shows. When Homes for America was designed for Arts magazine in 1966, his accompanying text critiqued the mass production of cookie-cutter homes, while his photographs – made with an inexpensive Kodak Instamatic camera – described a suburban world of offices, houses, restaurants, highways, and truck stops. With their haphazard composition and amateur technique, Graham’s pictures ironically scrutinized the aesthetics of America’s postwar housing and inspired other conceptual artists to incorporate photographs into their work. Together, these two photographs link a middle-class family at the opening of a Jersey City highway restaurant with the soulless industrial landscape seen through the window.

 

Larry Sultan. 'Thanksgiving Turkey' 1985

Larry Sultan. 'Business Page' from the series 'Pictures from Home' 1985

 

Larry Sultan
Thanksgiving Turkey/Newspaper (detail)
1985-1992
Two plexiglass panels with screenprinting
Framed (Thanksgiving Turkey): 76 × 91 cm (29 15/16 × 35 13/16 in.)
Framed (Newspaper): 76 × 91 cm (29 15/16 × 35 13/16 in.)
Other (2 text panels): 50.8 × 76.2 cm (20 × 30 in.) overall: 30 x 117 in.
National Gallery of Art, Washington, Corcoran Collection (Gift of the FRIENDS of the Corcoran Gallery of Art)

 

 

From 1983 to 1992, Sultan photographed his parents in retirement at their Southern California house. His innovative book, Pictures from Home, combines his photographs and text with family album snapshots and stills from home movies, mining the family’s memories and archives to create a universal narrative about the American dream of work, home, and family. Thanksgiving Turkey/Newspaper juxtaposes photographs of his mother and father, each with their face hidden and with adjacent texts where they complain about each other’s shortcomings. “I realize that beyond the rolls of film and the few good pictures … is the wish to take photography literally,” Sultan wrote. “To stop time. I want my parents to live forever.”

 

Shimon Attie. 'Mulackstrasse 32: Slide Projections of Former Jewish Residents and Hebrew Reading Room, 1932, Berlin' 1992

 

Shimon Attie
Mulackstrasse 32: Slide Projections of Former Jewish Residents and Hebrew Reading Room, 1932, Berlin
1992
Chromogenic print
Unframed: 20 x 24 in. (50.8 x 60.96 cm)
National Gallery of Art, Washington, Corcoran Collection (Gift of Julia J. Norrell in honor of Hilary Allard and Lauren Harry)

 

 

Attie projected historical photographs made in 1932 onto the sides of a building at Mulackstrasse 32, the site of a Hebrew reading room in a Jewish neighborhood in Berlin during the 1930s. Fusing pictures made before Jews were removed from their homes and killed during World War II with photographs of the same dark, empty street made in 1992, Attie has created a haunting picture of wartime loss.

 

Nan Goldin. 'Relapse/Detox Grid' 1998-2000

 

Nan Goldin
Relapse/Detox Grid
1998-2000
Nine silver dye bleach prints
Overall: 42 1/2 x 62 1/8 in. (107.95 x 157.8 cm)
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase with funds donated by the FRIENDS of the Corcoran Gallery of Art)

 

 

Goldin has unsparingly chronicled her own community of friends by photographing their struggles, hopes, and dreams through years of camaraderie, abuse, addiction, illness, loss, and redemption. Relapse/Detox Grid presents nine colorful yet plaintive pictures in a slide show-like narrative, offering glimpses of a life rooted in struggle, along with Goldin’s own recovery at a detox center, seen in the bottom row.

 

Nan Goldin. 'Relapse/Detox Grid' 1998-2000 (detail)

 

Nan Goldin
Relapse/Detox Grid (detail)
1998-2000
Nine silver dye bleach prints
Overall: 42 1/2 x 62 1/8 in. (107.95 x 157.8 cm)
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase with funds donated by the FRIENDS of the Corcoran Gallery of Art)

 

Victor Burgin. 'Watergate' 2000

 

Victor Burgin
Watergate
2000
Video with sound, 9:58 minutes
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase, with funds from the bequest of Betty Battle to the Women’s Committee of the Corcoran Gallery of Art)

 

 

An early advocate of conceptual art, Burgin is an artist and writer whose work spans photographs, text, and video. Watergate shows how the meaning of art can change depending on the context in which it is seen. Burgin animated digital, 160-degree panoramic photographs of nineteenth-century American art hanging in the Corcoran Gallery of Art and in a hotel room. While the camera circles the gallery, an actor reads from Jean-Paul Satre’s Being and Nothingness, which questions the relationship between presence and absence. Then a dreamlike pan around a hotel room overlooking the nearby Watergate complex mysteriously reveals Niagara, the Corcoran’s 1859 landscape by Frederic Church, having on the wall. In 1859, Niagara Falls was seen as a symbol of the glory and promise of the American nation, yet when Church’s painting is placed in the context of the Watergate, an icon of the scandal that led to Richard Nixon’s resignation, it assumes a different meaning and suggests an ominous sense of disillusionment.

 

Studio

Intersections also examines the studio as a locus of creativity, from Stieglitz’s photographs of his gallery, 291, and James Van Der Zee’s commercial studio portraits, to the manipulated images of Wallace Berman, Robert Heinecken, and Martha Rosler. Works by Laurie Simmons, David Levinthal, and Vik Muniz also highlight the postmodern strategy of staging images created in the studio.

Wall text

Intersections wall text

 

Nadar. 'Self-Portrait with Wife Ernestine in a Balloon Gondola' c. 1865

 

Nadar
Self-Portrait with Wife Ernestine in a Balloon Gondola
c. 1865
Gelatin silver print, printed c. 1890
Image: 8.6 × 7.7 cm (3 3/8 × 3 1/16 in.)
National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel

 

 

Nadar (a pseudonym for Gaspard-Félix Tournachon) was not only a celebrated portrait photographer, but also a journalist, caricaturist, and early proponent of manned flight. In 1863, he commissioned a prominent balloonist to build an enormous balloon 196 feet high, which he named The Giant. The ascents he made from 1863 to 1867 were widely covered in the press and celebrated by the cartoonist Honoré Daumier, who depicted Nadar soaring above Paris, its buildings festooned with signs for photography studios. Nadar made and sold small prints like this self-portrait to promote his ballooning ventures. The obviously artificial construction of this picture – Nadar and his wife sit in a basket far too small for a real ascent and are posed in front of a painted backdrop – and its untrimmed edges showing assistants at either side make it less of the self-aggrandizing statement that Nadar wished and more of an amusing behind-the-scenes look at studio practice.

 

Alfred Stieglitz. 'Self-portrait' 1907, printed 1930

 

Alfred Stieglitz
Self-Portrait
probably 1911
Platinum print
Image: 24.2 x 19.3 cm (9 1/2 x 7 5/8 in.)
Sheet: 25.3 x 20.3 cm (9 15/16 x 8 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

 

Unlike many other photographers, Stieglitz made few self-portraits. He created this one shortly before he embarked on a series of portraits of the artists who frequented his New York gallery, 291. Focusing only on his face and leaving all else in shadow, he presents himself not as an artist at work or play, but as a charismatic leader who would guide American art and culture into the 20th century.

 

Alfred Stieglitz. '291 - Picasso-Braque Exhibition' 1915

 

Alfred Stieglitz
291 – Picasso-Braque Exhibition
1915
Platinum print
Image: 18.5 x 23.6 cm (7 5/16 x 9 5/16 in.)
Sheet: 20.1 x 25.3 cm (7 15/16 x 9 15/16 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

 

291 was Stieglitz’s legendary gallery in New York City (its name derived from its address on Fifth Avenue), where he introduced modern European and American art and photography to the American public. He also used 291 as a studio, frequently photographing friends and colleagues there, as well as the views from its windows. This picture records what Stieglitz called a “demonstration” – a short display of no more than a few days designed to prompt a focused discussion. Including two works by Picasso, an African mask from the Kota people, a wasps’ nest, and 291’s signature brass bowl, the photograph calls into question the relationship between nature and culture, Western and African art.

 

James Van Der Zee. 'Sisters' 1926

 

James Van Der Zee
Sisters
1926
Gelatin silver print
Sheet (trimmed to image): 17.6 x 12.5 cm (6 15/16 x 4 15/16 in.)
National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel

 

 

James Van Der Zee was a prolific studio photographer in Harlem during a period known as the Harlem Renaissance, from the end of World War I to the middle of the 1930s. He photographed many of Harlem’s celebrities, middle-class residents, and community organizations, establishing a visual archive that remains one of the best records of the era. He stands out for his playful use of props and retouching, thereby personalizing each picture and enhancing the sitter’s appearance. In this portrait of three sisters, clasped hands show the tender bond of the two youngest, one of whom holds a celebrity portrait, revealing her enthusiasm for popular culture.

 

Wallace Berman. 'Silence Series #7' 1965-1968

 

Wallace Berman
Silence Series #7
1965-1968
Verifax (wet process photocopy) collage
Actual: 24 1/2 x 26 1/2 in. (62.23 x 67.31 cm)
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase, William A. Clark Fund)

 

 

An influential artist of California’s Beat Generation during the 1950s and 1960s, Berman was a visionary thinker and publisher of the underground magazine Semina. His mysterious and playful juxtapositions of divers objects, images, and texts were often inspired by Dada and surrealist art. Silence Series #7 presents a cinematic sequence of his trademark transistor radios, each displaying military, religious, or mechanical images along with those of athletes and cultural icons, such as Andy Warhol. Appropriated from mass media, reversed in tone, and printed backward using an early version of a photocopy machine, these found images, pieced together and recopied as photomontages, replace then ew transmitted through the radios. Beat poet Robert Duncan once called Berman’s Verify collages a “series of magic ‘TV’ lantern shows.”

 

Mike and Doug Starn. 'Double Rembrandt with Steps' 1987-1991

 

Doug and Mike Starn
Double Rembrandt (with steps)
1987-1991
Gelatin silver prints, ortho film, tape, wood, plexiglass, glue and silicone
2 interlocking parts:
Part 1 overall: 26 1/2 x 13 7/8 in.
Part  2 overall: 26 3/8 x 13 3/4 in.
Overall: 26 1/2 x 27 3/4 in.
National Gallery of Art, Washington, Gift of Susan and Peter MacGill

 

 

Doug and Mike Starn, identical twins who have worked collaboratively since they were thirteen, have a reputation for creating unorthodox works. Using take, wood, and glue, the brothers assembles sheets of photographic film and paper to create a dynamic composition that includes an appropriated image of Rembrandt van Rijn’s Old Man with a Gold Chain (1631). Double Rembrandt (with steps) challenges the authority of the austere fine art print, as well as the aura of the original painting, while playfully invoking the twins’ own double identity.

 

Martha Rosler. 'Cleaning the Drapes', from the series, 'House Beautiful: Bringing the War Home' 1967-1972

 

Martha Rosler
Cleaning the Drapes, from the series, House Beautiful: Bringing the War Home
1967-1972
Inkjet print, printed 2007
Framed: 53.5 × 63.3 cm (21 1/16 × 24 15/16 in.)
National Gallery of Art, Washington, Gift of the Collectors Committee and the Pepita Milmore Memorial Fund

 

 

A painter, photographer, video artist, feminist, activist writer, and teacher, Martha Rosler made this photomontage while she was a graduate student in the late 1960s and early 1970s. Frustrated by the portrayal of the Vietnam War on television and in other media, she wrote: “The images were always very far away and of a place we couldn’t imagine.” To bring “the war home,” as she announced in her title, she cut out images from Life magazine and House Beautiful to make powerfully layered collages that contrast American middle-class life with the realities of the war. She selected color pictures of the idealized American life rich in the trappings of consumer society, and used black-and-white pictures of troops in Vietnam to heighten the contrast between here and there, while also calling attention to stereotypical views of men and women.

 

Sally Mann. 'Self-Portrait' 1974

 

Sally Mann
Self-Portrait
1974
Gelatin silver print
Image: 17 × 14.9 cm (6 11/16 × 5 7/8 in.)
Sheet: 35 × 27.2 cm (13 3/4 × 10 11/16 in.)
National Gallery of Art, Washington, Corcoran Collection (Gift of Olga Hirshhorn)

 

 

Sally Mann, who is best known for the pictures of her children she made in the 1980s and 1990s, began to photograph when she was a teenager. In this rare, early, and intimate self-portrait, the artist is reflected in a mirror, clasping her loose shirt as she stands in a friend’s bathroom. Her thoughtful, expectant expression, coupled with her finger pointing directly at the lens of the large view camera that towers above her, foreshadows the commanding presence photography would have in her life.

 

David Levinthal. 'Untitled (from the series Hitler Moves East)' 1975

 

David Levinthal
Untitled (from the series Hitler Moves East)
1975
Gelatin silver print
Sheet: 15 15/16 x 20 in. (40.48 x 50.8 cm)
Image: 10 9/16 x 13 7/16 in. (26.83 x 34.13 cm)
National Gallery of Art, Washington, Corcoran Collection (Gift of the artist)

 

 

Levinthal’s series of photographs Hitler Moves East was made not during World War II, but in 1975, when the news media was saturated with images of the end of America’s involvement in the Vietnam War. In this series, he appropriates the grainy look of photojournalism and uses toy soldiers and fabricated environments to stage scenes from Germany’s brutal campaign on the Eastern Front during World War II. His pictures are often based on scenes found in television and movies, further distancing them from the actual events. A small stick was used to prop up the falling soldier and the explosion was made with puffs of flour. Hitler Moves East casts doubt on the implied authenticity of photojournalism and calls attention to the power of the media to define public understanding of events.

 

Hiroshi Sugimoto. 'Oscar Wilde' 1999

 

Hiroshi Sugimoto
Oscar Wilde
1999
Gelatin silver print
Image: 148.59 × 119.6 cm (58 1/2 × 47 1/16 in.)
Framed: 182.25 × 152.4 cm (71 3/4 × 60 in.)
National Gallery of Art, Washington, Corcoran Collection (Gift of The Heather and Tony Podesta Collection)

 

Hiroshi Sugimoto. 'Oscar Wilde' 1999 (detail)

 

Hiroshi Sugimoto
Oscar Wilde (detail)
1999
Gelatin silver print
Image: 148.59 × 119.6 cm (58 1/2 × 47 1/16 in.)
Framed: 182.25 × 152.4 cm (71 3/4 × 60 in.)
National Gallery of Art, Washington, Corcoran Collection (Gift of The Heather and Tony Podesta Collection)

 

 

While most traditional portrait photographers worked in studios, Sugimoto upended this practice in a series of pictures he made at Madame Tussaud’s wax museums in London and Amsterdam, where lifelike wax figures, based on paintings or photographs, as is the case with Oscar Wilde, are displayed in staged vignettes. By isolating the figure from its setting, posing it in a three-quarter-length view, illuminating it to convey the impression of a carefully lit studio portrait, and making his final print almost six feet tall, Sugimoto renders the artificial as real. Triply removing his portrait from reality – from Oscar Wilde himself to a portrait photograph to a wax sculpture and back to a photograph – Sugimoto collapses time and confounds our expectations of the nature of photography.

 

Vik Muniz. 'Alfred Stieglitz (from the series Pictures of Ink)' 2000

 

Vik Muniz
Alfred Stieglitz (from the series Pictures of Ink)
2000
Silver dye bleach print
Image: 152.4 × 121.92 cm (60 × 48 in.)
Framed: 161.29 × 130.81 × 5.08 cm (63 1/2 × 51 1/2 × 2 in.)
National Gallery of Art, Washington, Corcoran Collection (Museum Purchase with funds provided by the FRIENDS of the Corcoran Gallery of Art)

 

 

Muniz has spent his career remaking works of art by artists as varied as Botticelli and Warhol using unusual materials – sugar, diamonds, and even junk. He has been especially interested in Stieglitz and has re-created his photographs using chocolate syrup and cotton. Here, he refashioned Stieglitz’s celebrated self-portrait using wet ink and mimicking the dot matrix of a halftone reproduction. He then photographed his drawing and greatly enlarged it so that the dot matrix itself becomes as important as the picture it replicates.

 

Identity

Historic and contemporary works by August Sander, Diane Arbus, Lorna Simpson, and Hank Willis Thomas, among others, make up the final section, which explores the role of photography in the construction of identity.”

Wall text

Intersections wall text

 

Stanislaw Ignacy Witkiewicz. 'Self-Portrait (Collapse by the Lamp/Kolaps przy lampie)' c. 1913

 

Stanislaw Ignacy Witkiewicz
Self-Portrait (Collapse by the Lamp/Kolaps przy lampie)
c. 1913
Gelatin silver print
Image: 12.86 x 17.78 cm (5 1/16 x 7 in.)
National Gallery of Art, Washington, Foto Fund and Robert Menschel and the Vital Projects Fund

 

 

A writer, painter, and philosopher, Witkiewicz began to photograph while he was a teenager. From 1911 to 1914, while undergoing psychoanalysis and involved in two tumultuous relationships (one ending when his pregnant fiancée killed herself in 1914), he made a series of startling self-portraits. Close-up, confrontational, and searching, they are pictures in which the artist seems to seek understanding of himself by scrutinizing his visage.

 

August Sander. 'The Bricklayer' 1929

 

August Sander
The Bricklayer
1929
Gelatin silver print, printed c. 1950
Sheet (trimmed to image): 50.4 x 37.5 cm (19 13/16 x 14 3/4 in.)
National Gallery of Art, Washington, Gift of Gerhard and Christine Sander, in Honor of the 50th Anniversary of the National Gallery of Art

 

 

In 1911, Sander began a massive project to document “people of the twentieth century.” Identifying them by their professions, not their names, he aimed to create a typological record of citizens of the Weimar Republic. He photographed people from all walks of life – from bakers, bankers, and businessmen to soldiers, students, and tradesmen, as well as gypsies, the unemployed, and the homeless. The Nazis banned his project in the 1930s because his pictures did not conform to the ideal Aryan type. Although he stopped working after World War II, he made this rare enlargement of a bricklayer for an exhibition of his photographs in the early 1950s.

 

Walker Evans. 'Photographer's Display Window, Birmingham, Alabama' 1936

 

Walker Evans
Photographer’s Display Window, Birmingham, Alabama
1936
Gelatin silver print
Image: 24.1 x 19.3 cm (9 1/2 x 7 5/8 in.)
Sheet: 25.2 x 20.3 cm (9 15/16 x 8 in.)
National Gallery of Art, Washington, Gift of Mr. and Mrs. Harry H. Lunn, Jr. in honor of Jacob Kainen and in Honor of the 50th Anniversary of the National Gallery of Art

 

Diane Arbus. 'Triplets in their Bedroom, N.J.,' 1963

 

Diane Arbus
Triplets in their Bedroom, N.J.,
1963
Gelatin silver print
Image: 37.7 x 37.8 cm (14 13/16 x 14 7/8 in.)
Sheet: 50.4 x 40.4 cm (19 13/16 x 15 7/8 in.)
National Gallery of Art, Washington, R. K. Mellon Family Foundation

 

 

Celebrated for her portraits of people traditionally on the margins of society – dwarfs and giants – as well as those on the inside – society matrons and crying babies – Arbus was fascinated with the relationship between appearance and identity. Many of her subjects, such as these triplets, face the camera, tacitly aware of their collaboration in her art. Rendering the familiar strange and the strange familiar, her carefully composed pictures compel us to look at the world in new ways. “We’ve all got an identity,” she said. “You can’t avoid it. It’s what’s left when you take away everything else.”

 

Lorna Simpson. 'Untitled (Two Necklines)' 1989

 

Lorna Simpson
Untitled (Two Necklines)
1989
Two gelatin silver prints with 11 plastic plaques
Overall: 101.6 x 254 cm (40 x 100 in.)
National Gallery of Art, Washington, Gift of the Collectors Committee

 

 

From the mid-1980s to the present, Simpson has created provocative works that question stereotypes of gender, identity, history, and culture, often by combining photographs and words. Two Necklines shows two circular and identical photographs of an African American woman’s mouth, chin, neck, and collarbone, as well as the bodice of her simple shift. Set in between are black plaques, each inscribed with a single word: “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop.” The words connote things that bind and conjure a sense of menace, yet when placed between the two calm, elegant photographs, their meaning is at first uncertain. But when we read the red plaque inscribed “feel the ground sliding from under you” and note the location of the word “noose” adjacent to the two necklines, we realize that Simpson is quietly but chillingly referring to the act of lynching.

 

Hank Willis Thomas. 'And One' 2011

 

Hank Willis Thomas
And One
2011
Digital chromogenic print
Framed: 248.29 × 125.73 × 6.35 cm (97 3/4 × 49 1/2 × 2 1/2 in.)
National Gallery of Art, Washington, Corcoran Collection (Gift of the artist and Jack Shainman Gallery, New York)

 

 

And One is from Thomas’s Strange Fruit series, which explores the concepts of spectacle and display as they relate to modern African American identity. Popularized by singer Billie Holiday, the series title Strange Fruit comes from a poem by Abel Meeropol, who wrote the infamous words “Black bodies swinging in the southern breeze; Strange fruit hanging from the poplar trees” after seeing a photograph of a lynching in 1936. In And One, a contemporary African American artist reflects on how black bodies have been represented in two different contexts: lynching and professional sports. Thomas ponders the connections between these disparate forms through his dramatic photograph of two basketball players frozen in midair, one dunking a ball through a hanging noose.

 

 

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11
Oct
16

Exhibition: ‘Dream States: Contemporary Photographs and Video’ at the Metropolitan Museum of Art, New York

Exhibition dates: 16th May – 30th October 2016

 

The best fun I had with this posting was putting together the first twelve images. They seem to act as ‘strange attractors’, a feeling recognised by the curators of the exhibition if you view the first installation photograph by Anders Jones, below.

Marcus

.
Many thankx to photographer Anders Jones and the Duggal website for allowing me to publish the installation photographs in the posting. See their posting about the exhibition.

 

 

Artists have always turned to dreams as a source of inspiration, a retreat from reason, and a space for exploring imagination and desire. In the history of photography, dreams have been most closely associated with the Surrealists, who pushed the technical limits of the medium to transform the camera’s realist documents into fantastical compositions. Whereas their modernist explorations were often bound to psychoanalytic theories, more recently contemporary photographers have pursued the world of sleep and dreams through increasingly open-ended works that succeed through evocation rather than description.

This exhibition takes a cue from the artists it features by displaying a constellation of photographs that collectively evoke the experience of a waking dream. Here, a night sky composed of pills, a fragmented rainbow, a sleeping fairy-tale princess, and an alien underwater landscape illuminate hidden impulses and longings underlying contemporary life. Drawn entirely from The Met collection, Dream States features approximately 30 photographs and video works primarily from the 1970s to the present.

Text from the Metropolitan Museum of Art

 

 

Anselm Kiefer. 'Brünnhilde Sleeps' 1980

 

Anselm Kiefer (German, born Donaueschingen, 1945)
Brünnhilde Sleeps
1980
Acrylic and gouache on photograph
23 x 32 7/8in. (58.4 x 83.5cm)
Denise and Andrew Saul Fund, 1995
© Anselm Kiefer

 

 

Near the end of Wagner’s second opera of the Ring Cycle, Die Walküre (The Valkyrie), the Valkyrie Brünnhilde, having attempted to help the sibling lovers Siegmund and Sieglinde against their father’s wishes, is punished for her betrayal. Wotan puts her to sleep and surrounds her with a ring of fire (she will be awakened in turn by her nephew Siegfried, the incestuous son of Siegmund and Sieglinde, in the third opera of the cycle).

Kiefer portrays the dormant Brünnhilde as French actress Catherine Deneuve in François Truffaut’s film Mississippi Mermaid, using a photograph he snapped in a movie house in 1969. In the film, Deneuve plays a deceitful mail-order bride who comes to the island of Réunion to marry a plantation owner, played by Jean-Paul Belmondo. Aside from the parallels of love and betrayal in both the Ring Cycle and Truffaut’s film, Kiefer thought the choice of Deneuve for Brünnhilde both ironic and amusing: she was for him “the contrary of Brünnhilde. Very slim, very French, very cool, very sexy,” hinting that no man would go through fire to obtain Wagner’s corpulent, armored Valkyrie.

 

Manuel Alvarez Bravo (Mexican, 1902-2002) 'La Buena Fama Durmiendo (The Good Reputation Sleeping)' 1939, printed c. 1970s

 

Manuel Alvarez Bravo (Mexican, 1902-2002)
La Buena Fama Durmiendo (The Good Reputation Sleeping)
1939, printed c. 1970s
Gelatin silver print
Mat: 16 × 20 in. (40.6 × 50.8 cm)
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1973

 

Eugène Atget (French, Libourne 1857-1927 Paris) 'Versailles' 1924-25

 

Eugène Atget (French, Libourne 1857-1927 Paris)
Versailles
1924-25
Salted paper print from glass negative
Image: 17.5 x 21.9 cm (6 7/8 x 8 5/8 in.)
Sheet: 18 × 21.9 cm (7 1/16 × 8 5/8 in.)
Mat: 16 × 20 in. (40.6 × 50.8 cm)
Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005

 

 

From 1898 until his death in 1927, Atget exhaustively documented the remains of Old Paris: the city’s streets, monuments, interiors, and environs. Among the last entries in this self-directed preservationist effort was a series of images of landscapes and sculpture in the parks of Saint-Cloud and Versailles. Here, the photographer records a statue of a sleeping Ariadne, the mythical Cretan princess abandoned by her lover Theseus on the island of Naxos. Atget’s simultaneously realistic and otherworldly photographs inspired the Surrealist artist Man Ray, who reproduced four of them in a 1926 issue of the journal La Révolution Surréaliste, thus presenting the elder photographer as a modernist forerunner.

 

Robert Frank (American, born Zurich, 1924) 'Fourth of July, Coney Island' 1958

 

Robert Frank (American, born Zurich, 1924)
Fourth of July, Coney Island
1958
Gelatin silver print
Image: 26 x 35.6 cm (10 1/4 x 14 in.)
Mat: 18 1/2 × 22 1/2 in. (47 × 57.2 cm)
Purchase, Alfred Stieglitz Society Gifts, 2002
© 2005 Robert Frank

 

 

As he traveled around the country in 1955-56 making the photographs that would constitute his landmark book, The Americans, Frank’s impression of America changed radically. He found less of the freedom and tolerance imagined by postwar Europeans, and more alienation and racial prejudice simmering beneath the happy surface. His disillusionment is poignantly embodied in this image of a disheveled African-American man disengaged from the crowd and asleep in a fetal position amid the debris of an Independence Day celebration on Coney Island.

This was one of the last still photographs Frank made before he devoted his creative energy to filmmaking in the early 1960s. As such, it may be interpreted as an elegy to still photography; the lone figure functions as a surrogate for Frank himself, as he turned his back on Life – like photojournalism to concentrate on the more personal, dreamlike imagery of his films.

 

Shannon Bool (Canadian, born 1972) 'Vertigo' 2015

 

Shannon Bool (Canadian, born 1972)
Vertigo
2015
Gelatin silver print
Image: 7 13/16 × 11 13/16 in. (19.8 × 30 cm)
Gift of Shannon Bool and Daniel Faria Gallery, 2015
© Shannon Bool

 

 

This photogram – made without a camera by placing a collage of transparencies on a photosensitive sheet of paper and exposing it to light – is part of a series portraying psychoanalysts and their patients. Here, a patient on a Freudian couch is seen from above; the figure, sheathed in patterns of Maori origin, appears to come apart at the seams under the analyst’s scrutiny.

 

Nan Goldin (American, born Washington, D.C., 1953) 'French Chris on the Convertible, NYC' 1979

 

Nan Goldin (American, born Washington, D.C., 1953)
French Chris on the Convertible, NYC
1979
Silver dye bleach print
50.8 x 61cm (20 x 24in.)
Mat: 25 × 32 in. (63.5 × 81.3 cm)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2001
© Nan Goldin Courtesy Matthew Marks Gallery

 

 

Following in the tradition of Robert Frank and Helen Levitt, Goldin is her generation’s greatest practitioner of the “snapshot aesthetic” in photography-the intimate, diaristic mode that yields images that, in the right hands, are both spontaneous and carefully seen, tossed off and irreducibly right. In this early work, the artist has captured her friend as a Chatterton of the Lower East Side, lying across the back of a blue convertible with shirt open, eyes closed, and an empty can of Schaeffer beer by his side instead of arsenic – a contemporary vision of glamorous surrender for our own time.

 

Arthur Tress (American, born 1940) 'Boy in Flood Dream, Ocean City, New Jersey' 1972

 

Arthur Tress (American, born 1940)
Boy in Flood Dream, Ocean City, New Jersey
1972
Gelatin silver print
Mat: 18 × 18 in. (45.7 × 45.7 cm)
Gift of the artist, 1973

 

 

In the late 1960s, Tress began audio-recording children recounting their dreams and nightmares. He then collaborated with the young people, who acted out their tales for the camera, and published the resulting surreal images in the 1972 book The Dream Collector. Many of the children shared common nightmare scenarios such as falling, drowning, and being trapped, chased by monsters, or humiliated in the classroom. Here, a young boy clings to the roof of a home that has washed ashore as if after a flood. The desolate landscape evokes the sort of non-place characteristic of dreams and conveys feelings of loneliness and abandonment.

 

Installation view of the exhibition 'Dream States: Contemporary Photography and Video' at the Metropolitan Museum of Art Photo by Anders Jones

 

Installation view of the exhibition Dream States: Contemporary Photography and Video at the Metropolitan Museum of Art featuring at lower right, Nan Goldin’s French Chris on the Convertible, NYC (1979)
Photo by Anders Jones

 

Sophie Calle (French, born Paris, 1953) 'Gloria K., first sleeper. Anne B., second sleeper' 1979

 

Sophie Calle (French, born Paris, 1953)
Gloria K., first sleeper. Anne B., second sleeper
1979
Gelatin silver prints
12.6 x 18.4cm (4 15/16 x 7 1/4in.) Mat: 14 × 17 in. (35.6 × 43.2 cm)
Gift of the artist and Olivier Renaud-Clement, in memory of Gilles Dusein, 2000
© Sophie Calle

 

Sophie Calle (French, born Paris, 1953) 'Gloria K., first sleeper. Anne B., second sleeper' 1979

 

Sophie Calle (French, born Paris, 1953)
Gloria K., first sleeper. Anne B., second sleeper
1979
Gelatin silver prints
12.6 x 18.4cm (4 15/16 x 7 1/4in.) Mat: 14 × 17 in. (35.6 × 43.2 cm)
Gift of the artist and Olivier Renaud-Clement, in memory of Gilles Dusein, 2000
© Sophie Calle

 

 

While obviously indebted to the deadpan photo-text combinations of Conceptualism, Calle’s art is as purely French at its core as the novels of Marguerite Duras and the films of Alain Resnais – an intimate exploration of memory, desire, and obsessive longing. The artist’s primary method involves a perfectly calibrated interplay between narrative and image, both of which steadily approach their object of desire only to find another blind spot-that which can never be captured through language or representation.

This work is the first segment of Calle’s first work, The Sleepers (1979), in which the artist invited twenty-nine friends and acquaintances to sleep in her bed consecutively between April 1 and April 9, during which time she photographed them once an hour and kept notes recording each encounter. All the elements of Calle’s art-from the voyeuristic inversion of the private sphere (rituals of the bedroom) and the public (the book or gallery wall) to the use of serial, repetitive structures-are present here in embryonic form.

 

Paul Graham (British, born 1956) 'Senami, Christchurch, New Zealand' 2011

 

Paul Graham (British, born 1956)
Senami, Christchurch, New Zealand
2011
Chromogenic print
Image: 44 1/4 in. × 59 in. (112.4 × 149.9 cm)
Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel and Hideyuki Osawa Gift, 2015

 

 

Graham’s series, Does Yellow Run Forever?, juxtaposes three groups of photographs: rainbows arcing over the Irish countryside, the facades of pawn-and-jewelry shops in New York, and tender studies of his partner asleep. The thematic links between the images (the rainbow’s mythical pot of gold, the sparkling objects in the Harlem window display, and a sleeping dreamer) may seem obvious, even pat, but Graham’s photographs transmute those clichés into a constellation of deep feeling. These luminous vignettes evoke a sense of longing and pathos, the quest for something permanent amid the illusory and devalued.

 

Peter Hujar (American, Trenton, New Jersey 1934-1987 New York) 'Girl in My Hallway' 1976

 

Peter Hujar (American, Trenton, New Jersey 1934-1987 New York)
Girl in My Hallway
1976
Gelatin silver print
Image: 37 x 37.1 cm (14 9/16 x 14 5/8 in.)
Mat: 25 × 25 in. (63.5 × 63.5 cm)
Purchase, Alfred Stieglitz Society Gifts, 2006
© The Peter Hujar Archive, L.L.C.

 

Brassaï (French (born Romania), Brașov 1899-1984 Côte d'Azur) 'A Vagrant Sleeping in Marseille' 1935, printed 1940s

 

Brassaï (French (born Romania), Brașov 1899-1984 Côte d’Azur)
A Vagrant Sleeping in Marseille
1935, printed 1940s
Gelatin silver print
17.2 x 23.3cm (6 3/4 x 9 3/16in.)
Mat: 17 × 14 in. (43.2 × 35.6 cm)
Gift of the artist, 1980
Photograph by Brassaï. Copyright © Gilberte Brassaï

 

 

The inevitable suggestion that the homeless, hungry man sprawled on the sidewalk might be dreaming of a finely dressed and improbably large salad links Brassaï’s photograph to the work of the Surrealists. Although he frequently depicted thugs, vagrants, and prostitutes, he did so without judgment or political motive; his were pictures meant to delight or perplex the eye and mind-not to prompt a social crusade.

 

Installation view of the exhibition 'Dream States: Contemporary Photography and Video' at the Metropolitan Museum of Art Photo by Anders Jones

 

Installation view of the exhibition Dream States: Contemporary Photography and Video at the Metropolitan Museum of Art featuring at left, Paul Graham’s Gold Town Jewellery, East Harlem, New York (2012) and at right, Paul Graham’s Senami, Christchurch, New Zealand (2011), both from the series Does Yellow Run Forever?
Photo by Anders Jones

 

 

“The psychological fluidity of the medium has been noted before by the Met. In 1993, to celebrate its purchase of the Gilman Collection, the curator Maria Morris Hambourg chose to call her exhibition The Waking Dream. The title came from Keats’s “Ode to a Nightingale” and suggested, in Hambourg’s words, “the haunting power of photographs to commingle past and present, to suspend the world and the artist’s experience of it in unique distillations.”

Conceptual latitude can benefit curators, giving them plenty of room to maneuver in making their selections, or it can be a detriment if a loose framework has so many sides that it won’t support an argument.

Dream States suffers from the latter, even though the leeway of the title allows splendid pictures in disparate styles to be displayed together. Organized by associate curator Mia Fineman and assistant curator Beth Saunders around a theme that isn’t notably pertinent or provocative, the show has no discernible reason for being. It isn’t stocked with recent purchases – fewer than ten of the works entered the collection in this decade – and it isn’t tightly edited. To quality for inclusion here a photograph need only depict someone lying down or with eyes closed. A “dream state” seems to be loosely defined. It can be as a starry or cloudless sky; a tree-less landscape; inverted or abstract imagery; or something blurry.”

Richard B. Woodward. “Dream States: Contemporary Photography and Video @Met,” on the Collector Daily website July 11, 2016 [Online] Cited 06/10/2016

 

Jack Goldstein (American, born Canada, 1945-2003) 'The Pull' 1976

 

Jack Goldstein (American, born Canada, 1945-2003)
The Pull
1976
Chromogenic prints
Frame: 76.2 x 101.6 cm (30 x 40 in.) each
Purchase, The Buddy Taub Foundation Gift and Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2009
© The Estate of Jack Goldstein

 

 

Born in the postwar baby boom, Goldstein grew up surrounded by the products of the rapidly expanding media culture-movies, television, newspapers, magazines, and advertisements of all kinds. Young artists such as Goldstein went on to be educated in the rigorous and reductive principles of Minimal and Conceptual art during the 1970s but knew from personal experience that images shape our sense of the world and who we are, rather than vice versa; they made their art reflect that secondhand relationship to reality.

In this early work, Goldstein has lifted, or “appropriated,” images of a deep sea diver, a falling figure, and a spaceman from unknown printed sources-isolating them from their original contexts and setting them at a very small scale against monochromatic backgrounds (green for sea, blue for sky, and white for space), as if the viewer were seeing them from a great distance. Because the viewer is unlikely to have seen such figures firsthand, that distance is not merely spatial but also epistemological in nature-the images trigger memories based not on original encounters but on reproductions of experience. The Pull – Goldstein’s only photographic work in a career that spanned painting, performance, film, and sound recordings – was included in “Pictures,” a seminal 1977 exhibition at Artist’s Space in New York, which also introduced the public to other young artists making use of appropriation, such as Sherrie Levine, Robert Longo, and Troy Brauntuch.

 

Sarah Anne Johnson (Canadian, born 1976) 'Glitter Bomb' 2012

 

Sarah Anne Johnson (Canadian, born 1976)
Glitter Bomb
2012
Chromogenic print with glitter and acrylic paint
Sheet: 29 7/8 in. × 53 in. (75.9 × 134.6 cm)
Purchase, Funds from Various Donors in memory of Randie Malinsky, 2016
© Sarah Anne Johnson

 

 

Johnson works primarily with photography but also employs a variety of other media – sculpted figurines, dioramas, paint, ink, and bursts of glitter – to amplify the emotional power of her images. Glitter Bomb belongs to a series exploring the bacchanalian culture of summer music festivals. At once ominous and ecstatic, the image evokes the blissed-out mind-set of young revelers taking part in a modern-day rite of passage.

 

Oliver Wasow (American, born 1960) 'Float' 1984-2008, printed 2009

 

Oliver Wasow (American, born 1960)
Float
1984-2008, printed 2009
Inkjet prints
Frame: 17.3 x 22.3 cm (6 13/16 x 8 3/4 in.)
Overall: 116.8 x 152.4 cm (46 x 60 in.)
Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2010
© Oliver Wasow

 

 

Wasow has a long-standing fascination with science fiction, apocalyptic fantasies, and documentation of unidentified flying objects. In his many pictures of mysterious floating disks and orbs, the artist courts doubt by running found images through a battery of processes, including drawing, photocopying, and superimposition, to create distortions. The resulting photographs play with the human propensity to invest form with meaning, offering just enough detail to spur the imagination.

 

Fred Tomaselli (American, born Santa Monica, California, 1956) 'Portrait of Laura' 2015

 

Fred Tomaselli (American, born Santa Monica, California, 1956)
Portrait of Laura
2015
Gelatin silver print with graphite
Image: 16 in. × 19 15/16 in. (40.6 × 50.6 cm)
Mat: 24 3/4 × 25 3/4 in. (62.9 × 65.4 cm)
Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016
© Fred Tomaselli

 

 

This “portrait” of the artist’s wife, Laura, belongs to an ongoing series he calls “chemical celestial portraits of inner and outer space.” Tomaselli creates likenesses based on each sitter’s astrological sign and the star map for his or her date of birth. Placing sugar and pills on photographic paper and exposing it to light, he produces a photogram of the corresponding constellation and names the stars after the various drugs the subject remembers consuming, from cold medicine to cocaine. The result is an unconventional map of identity that cleverly weds the mystical and the pharmacological.

 

Bea Nettles (American, born Gainesville, Florida, 1946) 'Mountain Dream Tarot: A Deck of 78 Photographic Cards' 1975

Bea Nettles (American, born Gainesville, Florida, 1946) 'Mountain Dream Tarot: A Deck of 78 Photographic Cards' 1975

Bea Nettles (American, born Gainesville, Florida, 1946) 'Mountain Dream Tarot: A Deck of 78 Photographic Cards' 1975

Bea Nettles (American, born Gainesville, Florida, 1946) 'Mountain Dream Tarot: A Deck of 78 Photographic Cards' 1975

 

Bea Nettles (American, born Gainesville, Florida, 1946)
Mountain Dream Tarot: A Deck of 78 Photographic Cards
1975
Photographically illustrated tarot cards
Purchase, Dorothy Levitt Beskind Gift, 1977

 

 

The idea to create a set of photographic tarot cards came to Nettles in a dream during the summer of 1970, while she was on an artist’s residency in the mountains of North Carolina. She subsequently reinterpreted the ancient symbolism of the traditional tarot deck, enlisting friends and family members as models for photographs that she augmented with hand-painted additions. In 2007 the image Nettles created for the Three of Swords card was used as the disc graphic for Bruce Springsteen’s album Magic.

 

Installation view of the exhibition 'Dream States: Contemporary Photography and Video' at the Metropolitan Museum of Art Photo by Anders Jones

 

Installation view of the exhibition Dream States: Contemporary Photography and Video at the Metropolitan Museum of Art featuring Bea Nettles’ Mountain Dream Tarot: A Deck of 78 Photographic Cards (1975)
Photo by Anders Jones

 

 

“Artists often turn to dreams as a source of inspiration, a retreat from reason, and a space for exploring imagination and desire. In the history of photography, dream imagery has been most closely associated with the Surrealists, who used experimental techniques to bridge the gap between the camera’s objectivity and the internal gaze of the mind’s eye. While those modernist explorations were often bound to psychoanalytic theories, other photographers have pursued the world of sleep and dreams through deliberately open-ended works that succeed through evocation rather than description. The exhibition Dream States: Contemporary Photographs and Video presents 30 photographs and one video drawn from The Met collection, all loosely tied to the subjective yet universal experience of dreaming. The exhibition is on view at the Museum from May 16 through October 30, 2016.

Many of the works take the surrender of sleep as their subject matter. In photographs by Robert Frank, Danny Lyon, and Nan Goldin, recumbent figures appear vulnerable to the wandering gaze of onlookers, yet their inner worlds remain out of reach. Images of bodies floating and falling conjure the tumultuous world of dreams, and landscapes are made strange through the camera’s selective vision. Highlights include photographs by Paul Graham from his recent series Does Yellow Run Forever (2014); images from Sophie Calle’s earliest body of work, The Sleepers (1979), in which she invited friends and acquaintances to sleep in her own bed while she watched; and Anselm Kiefer’s Brünnhilde Sleeps (1980), a hand-painted photograph featuring French actress Catherine Deneuve recast as a Wagnerian Valkyrie. Also featured are recently acquired works by Shannon Bool, Sarah Anne Johnson, Jim Shaw, and Fred Tomaselli.

Dream States: Contemporary Photographs and Video is organized by Mia Fineman, Associate Curator; and Beth Saunders, Curatorial Assistant in the Department of Photographs at The Metropolitan Museum of Art.”

Text from the Metropolitan Museum of Art

 

Grete Stern (Argentinian, born Germany, 1904-1999) 'Sueño No. 1: "Articulos eléctricos para el hogar" (Dream No. 1: "Electrical Household items")' c. 1950

 

Grete Stern (Argentinian, born Germany, 1904-1999)
Sueño No. 1: “Articulos eléctricos para el hogar” (Dream No. 1: “Electrical Household items”)
c. 1950
Gelatin silver print
Image: 26.6 x 22.9 cm (10 1/2 x 9 in.)
Frame: 63.5 x 76.2 cm (25 x 30 in.)
Twentieth-Century Photography Fund, 2012

 

 

In 1948 the Argentine women’s magazine Idilio introduced a weekly column called “Psychoanalysis Will Help You,” which invited readers to submit their dreams for analysis. Each week, one dream was illustrated with a photomontage by Stern, a Bauhaus-trained photographer and graphic designer who fled Berlin for Buenos Aires when the Nazis came to power. Over three years, Stern created 140 photomontages for the magazine, translating the unconscious fears and desires of its predominantly female readership into clever, compelling images. Here, a masculine hand swoops in to “turn on” a lamp whose base is a tiny, elegantly dressed woman. Rarely has female objectification been so erotically and electrically charged.

 

Adam Fuss (British, born 1961) 'From the series "My Ghost"' 1999

 

Adam Fuss (British, born 1961)
From the series “My Ghost”
1999
Gelatin silver print
184.9 x 123.3 cm (72 13/16 x 48 9/16 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2000
© Adam Fuss

 

 

With his large-scale photograms, Fuss has breathed new life into the cameraless technique that became the hallmark of modernist photographers such as Man Ray and László Moholy-Nagy in the 1920s. He created this image by blowing thick clouds of smoke over a sheet of photographic paper and exposing it to a quick flash of light. Evoking the wizardry of a medieval alchemist, Fuss fixes a permanent image of evanescence.

 

 

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Phone: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30 am – 5.30 pm*
Friday and Saturday: 9.30 am – 9.00 pm*
Sunday: 9.30 am – 5.30 pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

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23
Jan
14

Exhibition: ‘Everyday Epiphanies: Photography and Daily Life Since 1969’ at The Metropolitan Museum of Art, New York

Exhibition dates: 25th June 2013 – 26th January 2014

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Epiphany: a moment in which you suddenly see or understand something in a new or very clear way.

Stephen Shore’s photographs seem the most insightful epiphanies in this posting, picturing as they do “what he ate, the rest stops he visited, the people he met.” In other words, the wor(l)d as he saw it.

Marcus

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Many thankx to The Metropolitan Museum of Art, New York for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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“With the unspoken rules that exhibitions in the Met’s contemporary photography gallery must be drawn exclusively from the museum’s permanent collection and be organized as surveys of the period from the late 1960s to the present, it’s no wonder that these long running shows are often so broad that their themes seem to dissolve into edited collections of everything. The newest selection of images is tied up under the umbrella of “everyday epiphanies”, a construct that implies a delight in the ordinary, the quotidian, or the familiar, but in fact, reaches outward beyond these routine boundaries to works that have a wide variety of conceptual underpinnings and points of view. With some effort, it’s possible to follow the logic of why each piece has been included here, but when seen together, the diversity of the works on view diminishes the show’s ability to deliver any durable insights… The works that function best inside this theme are those that capture moments of unexpected, elemental elegance, often as a result of the way the camera sees the world.”

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Loring Knoblauch on the Collector Daily website August 14, 2013

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John Baldessari (American, born National City, California, 1931) 'Hands Framing New York Harbor' 1971

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John Baldessari (American, born National City, California, 1931)
Hands Framing New York Harbor
1971
Gelatin silver print
25.4 x 18.0 cm (10 x 7 1/16 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1992
Shunk-Kender © Roy Lichtenstein Foundation

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Martha Rosler (American) 'Semiotics of the Kitchen' (still) 1975

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Martha Rosler (American)
Semiotics of the Kitchen (still)
1975
Video
Purchase, Henry Nias Foundation Inc. Gift, 2010
Courtesy Electronic Arts Intermix (EAI), New York

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Jan Groover (American, 1943-2012) 'Untitled' 1980

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Jan Groover (American, 1943-2012)
Untitled
1980
Platinum print
19.0 x 24.0 cm. (7 1/2 x 9 7/16 in.)
David Hunter McAlpin Fund, 1981
The Metropolitan Museum of Art
© Jan Groover

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Carrie Mae Weems (American, born 1953) 'Untitled (Man Smoking)' 1990

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Carrie Mae Weems (American, born 1953)
Untitled (Man Smoking)
1990
From the Kitchen Table Series
Gelatin silver print
Image: 71.8 × 71.8 cm (28 1/4 × 28 1/4 in.)
Courtesy of the artist and Jack Shainman Gallery, New York

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Erica Baum (American, born New York, 1961) 'Buzzard' 2009

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Erica Baum (American, born New York, 1961) 
Buzzard
2009
Inkjet print
22.9 x 22.9 cm (9 x 9 in.)
Purchase, Marian and James H. Cohen Gift, in memory of their son, Michael Harrison Cohen, 2012
The Metropolitan Museum of Art
© Erica Baum

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“Since the birth of photography in 1839, artists have used the medium to explore subjects close to home – the quotidian, intimate, and overlooked aspects of everyday existence. Everyday Epiphanies: Photography and Daily Life Since 1969, an exhibition of 40 works at The Metropolitan Museum of Art, presents photographs and videos from the last four decades that examine these ordinary moments. The exhibition features photographs by a wide range of artists including John Baldessari, Philip-Lorca diCorcia, Fischli & Weiss, Jan Groover, Robert Gober, Nan Goldin, Elizabeth McAlpine, Gabriel Orozco, David Salle, Robert Smithson, Stephen Shore, and William Wegman, as well as videos by Martha Rosler, Ilene Segalove, Brandon Lattu, and Svetlana and Igor Kopytiansky.

Daily life, as it had been lived in Western Europe and America since the 1950s, was called into question in the late 1960s by a counterculture that rebelled against the prior “cookie-cutter” lifestyle. Everything from feminism to psychedelic drugs to space exploration suggested a nearly infinite array of alternative ways to perceive reality; and artists and thinkers in the ’60s and ’70s proposed a “revolution of everyday life.” A four-part work by David Salle from 1973 exemplifies the artist’s flair for piquant juxtaposition at an early stage in his career. In depicting four women in bathrobes standing before their respective kitchen windows in contemplative states, Salle goes against the grain of feminist orthodoxy – revealing a penchant for courting controversy that he would expand in his later paintings; pasted underneath the black-and-white images of the women are brightly colored labels of their preferred coffee brands, with the arbitrarily differentiated brands signifying an insufficient substitute for true freedom in the postwar era. Martha Rosler’s bracingly caustic video Semiotics of the Kitchen and Ilene Segalove’s wistfully funny The Mom Tapes complete a trio of works investigating the role of women in a rapidly changing society.

In the 1980s, artists’ renewed interest in conventions of narrative and genre led to often highly staged or produced images that hint at how even our deepest feelings are mediated by the images that surround us. In the wake of the economic crash of the late 1980s, photographers focused increasingly on what was swept under the carpet – the repressed and the taboo. Sally Mann’s Jesse at Five (1987) depicts the artist’s daughter as the central figure, half-dressed, dolled-up, and posed like an adult. Mann often created these frank images of her children and caused some controversy during the culture wars of the late 1980s and early 1990s. However, her photographs of her children are remarkable for the artist’s assured handling of a potentially explosive subject with equanimity and grace.

During the following decade, artists created photographs and videos that confused the real and the imaginary in ways that almost eerily predicted the epistemological quandaries posed by the digital revolution. Meanwhile, a trio of recently made works by Erica Baum, Elizabeth McAlpine, and Brandon Lattu combine process and product in novel ways to comment obliquely on the shifting sands of how we come to know the world in our digital age.”

Press release from The Metropolitan Museum of Art website

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Jean-Marc Bustamante (French, born 1952) 'Untitled' 1997

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Jean-Marc Bustamante (French, born 1952) 
Untitled
1997
Chromogenic print
40 x 59 cm (15 3/4 x 23 1/4 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert  Menschel, 1999
The Metropolitan Museum of Art
© Jean-Marc Bustamante

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Nan Goldin (American, born 1953) 'Heart-Shaped Bruise, NYC' 1980

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Nan Goldin (American, born 1953)
Heart-Shaped Bruise, NYC
1980
Silver dye bleach print
50.8 x 60.96 cm (20 x 24 in.)
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert  Menschel, 2001
The Metropolitan Museum of Art
© Nan Goldin, Courtesy Matthew Marks Gallery, New York

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Larry-Sultan-Portrait-of-My-Father-with-Newspaper-1988,-chromogenic-print-WEB

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Larry Sultan (American, 1946-2009)
My Father Reading the Newspaper
1989
Chromogenic print
Stewart S. MacDermott Fund, 1991
© Larry Sultan

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Gabriel Orozco (Mexican, born 1962) 'Caja vacia de zapatos' (Empty shoebox) 1993

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Gabriel Orozco (Mexican, born 1962)
Caja vacia de zapatos (Empty shoebox)
1993
Silver dye bleach print
31.8 x 46.4 cm. (12 1/2 x 18 1/4 in.)
Gift of the artist, 1995
The Metropolitan Museum of Art
© Gabriel Orozco

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Gabriel Orozco (Mexican, born Jalapa Enriquez, 1962) 'Vitral' 1998

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Gabriel Orozco (Mexican, born Jalapa Enriquez, 1962)
Vitral
1998
Silver dye bleach print
40.6 x 50.8 cm (16 x 20 in.)
Purchase, The Judith Rothschild Foundation Gift, 1999
© Gabriel Orozco

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Stephen Shore (American, born 1947) 'Oklahoma City, Oklahoma' July 9, 1972

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Stephen Shore (American, born 1947)
Oklahoma City, Oklahoma
July 9, 1972
From the series American Surfaces
Chromogenic print
Gift of Weston J. Naef, 1974
© Stephen Shore

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As a teenager in the 1960s, Shore was one of two in-house photographers at Andy Warhol’s Factory. During his first cross-country photographic road trip, Shore adopted the catholic approach of his mentor, accepting into his art everything that came along – what he ate, the rest stops he visited, the people he met. He then processed his color film as “drugstore prints”, the imprecise, colloquial term for the kind of amateur non-specialized snapshots that filled family photo albums. The entire series of 229 prints was shown for the first time in 1974 and acquired by the Metropolitan from that exhibition.

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Stephen Shore (American, born 1947) 'West Palm Beach, Florida' January 1973

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Stephen Shore (American, born 1947)
West Palm Beach, Florida
January 1973
From the series American Surfaces
Chromogenic print
Gift of Weston J. Naef, 1974
© Stephen Shore

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Stephen Shore (American, born 1947) 'Clovis, New Mexico' 1974

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Stephen Shore (American, born 1947)
Clovis, New Mexico
1974
From the series American Surfaces
Chromogenic print
Gift of Weston J. Naef, Jr., 1974
The Metropolitan Museum of Art
© Stephen Shore

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The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
T: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30 am – 5.30 pm*
Friday and Saturday: 9.30 am – 9.00 pm*
Sunday: 9.30 am – 5.30 pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

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29
May
12

Exhibition: ‘Entre Nous: The Art of Claude Cahun’ at the Art Institute of Chicago

Exhibition dates:  25th February – 3rd June 2012

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“In many ways, Cahun’s life was marked by a sense of role reversal, and her public identity became a commentary upon not only her own, but the public’s notions of sexuality, gender, beauty, and logic. Her adoption of a sexually ambiguous name, and her androgynous self-portraits display a revolutionary way of thinking and creating, experimenting with her audience’s understanding of photography as a documentation of reality. Her poetry challenged gender roles and attacked the increasingly modern world’s social and economic boundaries. Also Cahun’s participation in the Parisian Surrealist movement diversified the group’s artwork and ushered in new representations. Where most Surrealist artists were men, and their primary images were of women as isolated symbols of eroticism, Cahun epitomized the chameleonic and multiple possibilities of the female identity. Her photographs, writings, and general life as an artistic and political revolutionary continue to influence countless artists, namely Cindy Sherman, Nan Goldin and Del LaGrace Volcano.”

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Text from Wikipedia

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Cahun was a resistance fighter during the Second World War, was arrested, sentenced to death and survived. She lived with her longtime female partner and collaborator on Jersey from 1937 until 1954, the year of her death. Entre Nous means “Between Us,” such an appropriate title for the their collaboration, love and partnership. What a talent, what a woman and gay to boot!

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

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Claude Cahun
Autoportrait
1929
Gelatin silver print
24 x 19 cm
Musée des Beaux-Arts de Nantes. (C) RMN/Gérard Blot

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Claude Cahun
Autoportrait
1929
Gelatin silver print
11.5 x 8.5 cm
Jersey Heritage Collection
© Jersey Heritage

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Claude Cahun
Autoportrait
1928
Gelatin silver print
13.9 x 9 cm
Jersey Heritage Collection
© Jersey Heritage

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Claude Cahun
Autoportrait
1927
Gelatin silver print
10.4 x 7.6 cm
Soizic Audouard Collection

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“Claude Cahun (1894-1954) has something approaching cult status in today’s art world. However, her work was almost unknown until the early 1980s, when it was championed by the research of François Leperlier, after which exhibitions at the Musée des Beaux-Arts in Nantes (1994) and the Musée d’Art Moderne de la Ville de Paris (1995) brought it to public attention. Her life and work (both literary and artistic) bespeak an extraordinary libertarian personality who defied sexual, social and ethical conventions in what was an age of avant-garde and moral upheaval. Among her many photographs, it is undoubtedly her self-portraits that have aroused the greatest interest in recent years. Throughout her life, Cahun used her own image to dismantle the clichés surrounding ideas of identity. She reinvented herself through photography, posing for the lens with a keen sense of performance and role-play, dressed as a woman or a man, as a maverick hero, with her hair long or very short, or even with a shaved head. This approach was extended in innovative ways in her photographs of objects and use of photomontages, which asserted the primacy of the imagination and of metamorphosis.

By exploring the many different analyses made of Cahun’s work since the 1990s, and ranging across its different themes: from the subversive self-portraits that question identity, to her surrealist compositions, erotic metaphors and political forays, this exhibition confirms the modernity of a figure who, as a pioneer of self-representation and the poetry of objects, has been an important influence for many contemporary artists.

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Metamorphoses of identity and the subversion of gender (I)

This set of photographs, going from 1913 to the end of the 1920s, includes some of Cahun’s major works, in which she staged her own persona, emphasising disguise and masks, and working through variations on gender: feminine, masculine, androgyne, undifferentiated. Sexual ambiguity is consciously cultivated and calls into question established norms and conventions. In 1928, she even represented herself with her head shaved, wearing a singlet, in profile, or with her hands against her face, or wearing a loose man’s jacket. Some of the mise-en-scènes from this period seem to anticipate contemporary performance.

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Poetics of the object

The “assemblages of objects,” which make their appearance in around 1925, inventively explore what at the time was still a rather new form. This work came to wider attention in the Surrealist exhibition at the Charles Ratton gallery, in May 1936, and then with the commissioning of 22 photographic plates to illustrate a book of poems by Lise Deharme, Le Coeur de Pic (1937), prefaced by Paul Eluard. These photographs capture ephemeral set-ups, often in a natural setting (garden, beach). Each “sketch” is a composition of heterogeneous elements, both found and made, such as knickknacks in spun glass, sewing items, twigs, bones, insects, feathers, gloves, pieces of fabric, shoes, tools, etc. This “theatre of objects” has both a visual and symbolic significance, which Cahun explained in her text Prenez garde aux objets domestiques (1936).

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Metamorphoses of identity and the subversion of gender (continued)

The 1930s saw Cahun continuing to explore images of the self. However, questions of sexual difference and its social and cultural construction were now less to the fore as she went deeper into the potential of situations and disguises and experimented with duplication in a way that extended the work of the photomontages from the late 1920s.

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Metaphors of desire

Eschewing the direct and sometimes reifying display of the female body found in many paintings and photographs, Cahun opted for a more subtle kind of “veiled eroticism” using distance and irony. Here we find some very evocative examples of her calculating games with desire. Whether through the contained display of the body, allegory (the bacchante or faun, surrounded by sensuous vegetation), or anthropomorphic objects (the hermaphroditic “père”), she aimed to capture the essence of desire, to bring out its essential grounding in fantasy.

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The two of us. Claude Cahun and Suzanne Malherbe (Marcel Moore)

The photograph Entre nous (1926) clearly establishes the spirit of this section, which evokes various aspects of Claude Cahun’s intimate relationship and artistic collaboration with her partner, Suzanne Malherbe. In fact, a number of the photographs here were taken by Suzanne following Claude’s suggestions. A double portrait from 1921 shows a surprising parallel which could be read as a metaphor of their relationship, a deep closeness and understanding between two strong personalities. The linchpin of this section is constituted by the four photomontages used to illustrate Aveux non avenus (1930), Cahun’s most significant literary work, gathering together all the artist’s main themes and obsessive metaphors. The plates were executed by Moore in collaboration with Claude Cahun.

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Elective encounters

This series of portraits, which reflect the importance of friendship in the development of Cahun’s work, gives an idea of the figures who were important to her and influenced her, or to whom she felt close, among them Henri Michaux, Robert Desnos, André Breton, Jacqueline Lamba and Suzanne Malherbe. There are also two photographs from performances at Pierre Albert-Birot’s theatre Le Plateau (1929). They attest Cahun’s keen interest in theatre and acting.

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Poetry and politics

In the 1930s Cahun’s positions grew increasingly radical in response to the rise of totalitarianism. She joined the Surrealists and associated with a number of groups on the left and far left. This radicalisation is reflected in her aesthetic. In line with the ideas put forward in her pamphlet Les Paris sont ouverts (1934), she exploited the subversive qualities of “indirect action” in the sphere of symbolic expression, making a number of objects in which poetry and politics are intimately intertwined. This process culminated when she used these pieces for two big series of photographs dominated by a mood of irony, revolt and provocation: “La Poupée” (The Doll), a figure fashioned out of newspaper, and “Le Théâtre” (The Theatre), a wooden mannequin surrounded by various elements and placed under a glass dome.

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Beyond the visible. The last self-portraits

Close study of Cahun’s photographs reveals the presence of allusions to non-visible phenomena, pointing the way to other realities – and perhaps, too, beyond death. Her attraction to symbolism, her interest in Eastern doctrines and her closeness to Surrealism only confirmed the primacy of fantasy and metamorphosis evidenced in the intellectual and aesthetic approaches she took throughout her life. The series Le Chemin des chats (The Way of Cats, around 1949 and 1953), suggests a mediation on and questioning of reality and appearance. Cahun was a true cat lover: for her, this animal was the great intercessor, the medium of an intuitive contact between the visible and the invisible, leading to sensorial worlds that are both unfamiliar and yet very near.”

Juan Vicente Aliaga and François Leperlier, curators of the exhibition

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Claude Cahun
Autoportrait
1939
Gelatin silver print
10 x 8 cm
Jersey Heritage Collection
© Jersey Heritage

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Claude Cahun
Autoportrait
1926
Gelatin silver print
11.1 x 8.6 cm
IVAM, Institut Valencià d’Art Modern, Generalitat

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“Born Lucy Schwob to a family of French intellectuals and writers, Claude Cahun (who adopted the pseudonym at age 22) is best known for the staged self-portraiture, photomontages, and prose texts she made principally between 1920 and 1940. Rediscovered in the late 1980s, her work has not only expanded our understanding of the Surrealist era but also serves as an important touchstone to later feminist explorations of gender and identity politics. In her self-portraits, which she began creating around 1913, Cahun dismantled and questioned preexisting notions of self and sexuality. Posing in costumes and elaborate make-up, Cahun appears masked as various personae: man or woman, hero or doll, both powerful and vulnerable. Almost a century after their making, these innovative photographs and assemblages remain remarkably relevant in their treatment of gender, performance, and identity.

From her university years until her death, Cahun was accompanied by her partner and artistic collaborator, Suzanne Malherbe, a childhood friend and stepsister. They surrounded themselves with members of the Surrealist movement and created work that embraced leftist politics. Cahun, with assistance from Malherbe (under the pseudonym Marcel Moore), produced photographs, assemblages, and publications from the 1920s on. The photograph Entre Nous (Between Us), featuring a pair of masks embedded in sand, gives the title to this show and is emblematic of their multifaceted relationship.

The first retrospective exhibition in the United States of Cahun’s work, Entre Nous: The Art of Claude Cahun brings together over 80 photographs and published material by Cahun and Moore, including several photomontages from their 1930 collaborative publication Aveux non avenus (Disavowals), and the only surviving object by Cahun, which is in the Art Institute’s permanent collection.

Organizer: This exhibition was organized by the Jeu de Paume, Paris, and coproduced with La Virreina Centre de la Imatge, Barcelona.”

Press release from the Art Institute of Chicago website

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Claude Cahun
Combat de pierres
1931
Gelatin silver print
21 x 15.5 cm
Private collection
© Béatrice Hatala

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Claude Cahun
Le Père
1932
Gelatin silver print
23.6 x 17.7 cm
LAC

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Claude Cahun
Aveux non avenus, planche III
1929 – 1930
Gelatin silver print photomontage
15 x 10 cm
Private collection

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The Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
T: (312) 443-3600

Opening hours:
Monday – Wednesday, 10.30 – 5.00
Thursday, 10.30 – 8.00
Friday, 10.30 – 8.00
Saturday – Sunday, 10.00 – 5.00
The museum is closed Thanksgiving, Christmas, and New Year’s days.

The Art Institute of Chicago website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

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

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