Posts Tagged ‘NOMA

19
Apr
14

Exhibition: ‘Photography and the American Civil War’ at the New Orleans Museum of Art (NOMA)

Exhibition dates: 31st January – 4th May 2014

 

This posting continues my fascination with the American Civil War, with new photographs from the exhibition to compliment the posting I did when it was staged at the Metropolitan Museum of Art, New York, April – September 2013.

I have included fascinating close-up details: the collar of African-American Union soldier John Henry flapping in the breeze during the long time exposure (What Do I Want, John Henry? Warrenton, Virginia November 1862, below); the pale grey/blue eyes of George Patillo which have been added to the plate afterwards1 (The Pattillo Brothers (Benjamin, George, James, and John) etc… 1861-63, below); the horrific branding of the slave Wilson Chinn who had the initials of his owner burned into his head (Emancipated Slaves Brought from Louisiana by Colonel George H. Banks, December 1863, below); and the crumpled coat of Allan Pinkerton, Chief of the Secret Service of the United States, as he poses with his president (President Abraham Lincoln et al, October 4, 1862, below).

Marcus

 

1. “The daguerreotype, like all photographic processes before 1873 [including Ambrotypes], was sensitive to blue light only, so that red dresses registered black and people with blue eyes appeared to have no irises and looked quite strange.”

Davies, Alan. An Eye for Photography: The camera in Australia. Melbourne: The Miegunyah Press/State Library of New South Wales, 2002, p. 8.

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

 

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;) 'What Do I Want, John Henry? Warrenton, Virginia' November 1862

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;)
What Do I Want, John Henry? Warrenton, Virginia
November 1862
Albumen photograph from the album Incidents of the War
Photography collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs
The New York Public Library Astor, Lennox and Tilden Foundations

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;) 'What Do I Want, John Henry? Warrenton, Virginia' (detail) November 1862

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;)
What Do I Want, John Henry? Warrenton, Virginia (detail)
November 1862
Albumen photograph from the album Incidents of the War
Photography collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs
The New York Public Library Astor, Lennox and Tilden Foundations

 

Andrew Joseph Russell (American, 1830-1902) 'Confederate Method of Destroying Rail Roads at McCloud Mill, Virginia' 1863

 

Andrew Joseph Russell (American, 1830-1902)
Confederate Method of Destroying Rail Roads at McCloud Mill, Virginia
1863
Albumen silver print from glass negative
The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1933
Image © The Metropolitan Museum of Art

 

Unknown Artist. 'Captain Charles A. and Sergeant John M. Hawkins, Company E, "Tom Cobb Infantry," Thirty-eighth Regiment, Georgia Volunteer Infantry' 1861-62

 

Unknown Artist
Captain Charles A. and Sergeant John M. Hawkins, Company E, “Tom Cobb Infantry,” Thirty-eighth Regiment, Georgia Volunteer Infantry
1861-62
Quarter-plate ambrotype with applied color
David Wynn Vaughan Collection
Photo: Jack Melton

 

The vast majority of war portraits, either cased images or cartes de visite, are of individual soldiers. Group portraits in smaller formats are more rare and challenged the field photographer (as well as the studio gallerist) to conceive and execute an image that would honor the occasion and be desirable – saleable – to multiple sitters. For the patient photographer, this created interesting compositional problems and an excellent opportunity to make memorable group portraits of brothers, friends, and even members of different regiments.

In this quarter-plate ambrotype, Confederate Captain Charles Hawkins of the Thirty-eighth Regiment, Georgia Volunteer Infantry, on the left, sits for his portrait with his brother John, a sergeant in the same regiment. They address the camera and draw their fighting knives from scabbards. Charles would die on June 13, 1863, in the Shenandoah Valley during General Robert E. Lee’s second invasion of the North. John, wounded at the Battle of Gaines’s Mill in June 1862, would survive the war, fighting with his company until its surrender at Appomattox.

 

Unknown '[The Pattillo Brothers (Benjamin, George, James, and John), Company K, "Henry Volunteers," Twenty-second Regiment, Georgia Volunteer Infantry]' 1861-63

 

Unknown
[The Pattillo Brothers (Benjamin, George, James, and John), Company K, “Henry Volunteers,” Twenty-second Regiment, Georgia Volunteer Infantry]
1861-63
Ambrotype
Plate: 8.3 x 10.8 cm (3 1/4 x 4 1/4 in.)
David Wynn Vaughan Collection
Image © The Metropolitan Museum of Art

 

The four Pattillo boys of Henry County were brothers who all enlisted together in Company K of the 22nd Regiment of the GA Volunteer Infantry on August 31, 1861.

Benjamin, seated on the left holding a Confederate hand-grenade, made a 50-dollar bounty during his tenure from April 5 to June 20, 1862. He was shot in the stomach at 2nd Manassas on August 30, 1862, and died in the General Hospital in Warrenton, VA, the next day.

George, second from the left, was detailed for shoemaking at Augusta, GA in November of 1862 until the close of the war. He was the only Pattillo to make it out of the Civil War without an injury. He made 35 cents per shoe and made 106 shoes in February 29, for $37.10. The pay for a soldier was 3 dollars per day.

James, second from the right, was discharged in March of 1862 but reenlisted afterwards. He was shot in the foot in the Battle of Second Deep Bottom on August 16, 1864. The injury resulted in the amputation of his third toe. Pension records show he was at home on wounded furlough to close of the war.

John, seated on the right, was admitted to Chimborazo Hospital #2 in Richmond on May 31, 1862, because of a case of Dysentery. He returned to duty on June 14, 1862, but was wounded at the Seven Days’ battles near Richmond on June 28,1862. He was admitted to C. S. A. General Hospital at Charlottesville on November 20, 1862, and again on December 16, 1862. He returned to duty on December 17, 1862, but pension records show he was discharged on account of wounds in March of 1863. (Text from the Historynet.com website)

 

Unknown '[The Pattillo Brothers (Benjamin, George, James, and John), Company K, "Henry Volunteers," Twenty-second Regiment, Georgia Volunteer Infantry]' (detail) 1861-63

 

Unknown
[The Pattillo Brothers (Benjamin, George, James, and John), Company K, “Henry Volunteers,” Twenty-second Regiment, Georgia Volunteer Infantry] (detail)
1861-63
Ambrotype
Plate: 8.3 x 10.8 cm (3 1/4 x 4 1/4 in.)
David Wynn Vaughan Collection
Image © The Metropolitan Museum of Art

 

Myron H. Kimball (American, active 1860s) 'Emancipated Slaves Brought from Louisiana by Colonel George H. Banks' December 1863

 

Myron H. Kimball (American, active 1860s)
Emancipated Slaves Brought from Louisiana by Colonel George H. Banks
December 1863
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Image © The Metropolitan Museum of Art

 

Myron H. Kimball (American, active 1860s) 'Emancipated Slaves Brought from Louisiana by Colonel George H. Banks' (detail) December 1863

 

Myron H. Kimball (American, active 1860s)
Emancipated Slaves Brought from Louisiana by Colonel George H. Banks (detail)
December 1863
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Image © The Metropolitan Museum of Art

 

The slave (at back left) with those letters was Wilson Chinn, who was about 60 years old at the time. When he was 21 years old he was sold to Volsey B. Marmillion, a sugar planter about 45 miles above New Orleans. Marmillion branded his slaves, including Wilson. Those are Marmillion’s initials, horrifically burned into Wilson’s forehead in the image.

Russell Lord, photography curator at NOMA

 

Andrew Joseph Russell (American, 1830-1902) 'Slave Pen, Alexandria, Virginia' 1863

 

Andrew Joseph Russell (American, 1830-1902)
Slave Pen, Alexandria, Virginia
1863
Albumen silver print from glass negative
25.6 x 36.5 cm (10 1/16 x 14 3/8 in.)
Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Image © The Metropolitan Museum of Art

 

Better known for his later views commissioned by the Union Pacific Railroad, A. J. Russell, a captain in the 141st New York Infantry Volunteers, was one of the few Civil War photographers who was also a soldier. As a photographer-engineer for the U.S. Military Railroad Con struction Corps, Russell’s duty was to make a historical record of both the technical accomplishments of General Herman Haupt’s engineers and the battlefields and camp sites in Virginia. This view of a slave pen in Alexandria guarded, ironically, by Union officers shows Russell at his most insightful; the pen had been converted by the Union Army into a prison for captured Confederate soldiers.

Between 1830 and 1836, at the height of the American cotton market, the District of Columbia, which at that time included Alexandria, Virginia, was considered the seat of the slave trade. The most infamous and successful firm in the capital was Franklin & Armfield, whose slave pen is shown here under a later owner’s name. Three to four hundred slaves were regularly kept on the premises in large, heavily locked cells for sale to Southern plantation owners. According to a note by Alexander Gardner, who published a similar view, “Before the war, a child three years old, would sell in Alexandria, for about fifty dollars, and an able-bodied man at from one thousand to eighteen hundred dollars. A woman would bring from five hundred to fifteen hundred dollars, according to her age and personal attractions.” 

Late in the 1830s Franklin and Armfield, already millionaires from the profits they had made, sold out to George Kephart, one of their former agents. Although slavery was outlawed in the District in 1850, it flourished across the Potomac in Alexandria. In 1859, Kephart joined William Birch, J. C. Cook, and C. M. Price and conducted business under the name of Price, Birch & Co. The partnership was dissolved in 1859, but Kephart continued operating his slave pen until Union troops seized the city in the spring of 1861.

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;) 'Ruins of Gallego Flour Mills, Richmond' 1865

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;)
Ruins of Gallego Flour Mills, Richmond
1865
Albumen silver prints from glass negatives
The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1933
Image © The Metropolitan Museum of Art

 

George N. Barnard (American, 1819-1902) 'Ruins of Mrs. Henry's House, Battlefield of Bull Run; Bull Run, Mrs. Henry's House, 21 July 1861' March 1862

 

George N. Barnard (American, 1819-1902)
Ruins of Mrs. Henry’s House, Battlefield of Bull Run; Bull Run, Mrs. Henry’s House, 21 July 1861
March 1862
Albumen silver print from glass negative
The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1933
Image © The Metropolitan Museum of Art

 

Maker: Unknown '[Civil War Portrait Lockets]' 1860s

 

Maker: Unknown
[Civil War Portrait Lockets]
1860s
Tintypes and albumen silver prints in brass, glass, and shell enclosures
Brian D. Caplan Collection
Image © The Metropolitan Museum of Art

 

Maker: Unknown '[Civil War Portrait Lockets]' (detail) 1860s

 

Maker: Unknown
[Civil War Portrait Lockets] (detail)
1860s
Tintypes and albumen silver prints in brass, glass, and shell enclosures
Brian D. Caplan Collection
Image © The Metropolitan Museum of Art

 

 

“More than 200 of the finest and most poignant photographs of the American Civil War have been brought together for the landmark exhibition Photography and the American Civil War, opening January 31 at New Orleans Museum of Art. Organized by The Metropolitan Museum of Art, the exhibition will examine the evolving role of the camera during the nation’s bloodiest war. The “War between the States” was the great test of the young Republic’s commitment to its founding precepts; it was also a watershed in photographic history. The camera recorded from beginning to end the heartbreaking narrative of the epic four-year war (1861-1865) in which 750,000 lives were lost. This exhibition will explore, through photography, the full pathos of the brutal conflict that, after 150 years, still looms large in the American public’s imagination.

“This extraordinary exhibition transcends geographic divisions in its intense focus on the participants in the Civil War,” said Susan M. Taylor, Director of New Orleans Museum of Art. “It becomes an exploration of shared human traits: hope, resolution, stoicism, fear, and sadness. We are delighted to share this important statement about American history and identity with the people of New Orleans and the Gulf region.”

 

Exhibition overview

Photography and the American Civil War will include: intimate studio portraits of armed Union and Confederate soldiers preparing to meet their destiny; battlefield landscapes strewn with human remains; rare multi-panel panoramas of the killing fields of Gettysburg and destruction of Richmond; diagnostic medical studies of wounded soldiers who survived the war’s last bloody battles; and portraits of Abraham Lincoln as well as his assassin John Wilkes Booth. The exhibition features groundbreaking works by Mathew B. Brady, George N. Barnard, Alexander Gardner, and Timothy O’Sullivan, among many others. It also examines in-depth the important, if generally misunderstood, role played by Brady, perhaps the most famous of all wartime photographers, in conceiving the first extended photographic coverage of any war. The exhibition addresses the widely held, but inaccurate, belief that Brady produced most of the surviving Civil War images, although he actually made very few field photographs during the conflict. Instead, he commissioned and published, over his own name and imprint, negatives made by an ever-expanding team of field operators, including Gardner, O’Sullivan, and Barnard.

Approximately 1,000 photographers worked separately and in teams to produce hundreds of thousands of photographs – portraits and views – that were actively collected during the period (and over the past century and a half) by Americans of all ages and social classes. In a direct expression of the nation’s changing vision of itself, the camera documented the war and also mediated it by memorializing the events of the battlefield as well as the consequent toll on the home front.

“The massive scope of this exhibition mirrors the tremendous role that photography played in describing, defining, and documenting the Civil War,” said Russell Lord, Freeman Family Curator of Photography. “The technical, cultural and even discursive functions of photography during the Civil War are critically traced in this exhibition, as is the powerful human story, a story of the personal hopes and sacrifices and the deep and tragic losses on both sides of the conflict.”

Press release from the New Orleans Museum of Art website

 

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Maker: Unknown
[Presidential Campaign Medals with Portraits of John C. Breckinridge, Stephen A. Douglas and Edward Everett]
1860
Tintype
Brian D. Caplan Collection
Image © The Metropolitan Museum of Art

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;) '[President Abraham Lincoln, Major General John A. McClernand (right), and E. J. Allen (Allan Pinkerton, left), Chief of the Secret Service of the United States, at Secret Service Department, Headquarters Army of the Potomac, near Antietam, Maryland]' October 4, 1862

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;)
[President Abraham Lincoln, Major General John A. McClernand (right), and E. J. Allen (Allan Pinkerton, left), Chief of the Secret Service of the United States, at Secret Service Department, Headquarters Army of the Potomac, near Antietam, Maryland]
October 4, 1862
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Copy Photograph © The Metropolitan Museum of Art

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;) '[President Abraham Lincoln, Major General John A. McClernand (right), and E. J. Allen (Allan Pinkerton, left), Chief of the Secret Service of the United States, at Secret Service Department, Headquarters Army of the Potomac, near Antietam, Maryland]' (detail) October 4, 1862

 

Alexander Gardner (American, Glasgow, Scotland 1821-1882 Washington, D.C.;)
[President Abraham Lincoln, Major General John A. McClernand (right), and E. J. Allen (Allan Pinkerton, left), Chief of the Secret Service of the United States, at Secret Service Department, Headquarters Army of the Potomac, near Antietam, Maryland] (detail)
October 4, 1862
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Copy Photograph © The Metropolitan Museum of Art

 

Maker: Unknown, American; Photography Studio: After, Brady & Co., American, active 1840s–1880s '[Mourning Corsage with Portrait of Abraham Lincoln]' (detail) Photograph, corsage April 1865

 

Maker: Unknown, American; Photography Studio: After, Brady & Co., American, active 1840s–1880s
[Mourning Corsage with Portrait of Abraham Lincoln] (detail)
Photograph, corsage
April 1865
Black and white silk with tintype set inside brass button
20 x 9 cm (7 7/8 x 3 9/16 in.) Image: 2 x 2 cm (13/16 x 13/16 in.)
Purchase, Alfred Stieglitz Society Gifts, 2013
Image © The Metropolitan Museum of Art

 

George N. Barnard (American, 1819-1902) 'Bonaventure Cemetery, Four Miles from Savannah' 1866

 

George N. Barnard (American, 1819-1902)
Bonaventure Cemetery, Four Miles from Savannah
1866
Albumen silver print from glass negative
The Metropolitan Museum of Art, Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005
Photograph © The Metropolitan Museum of Art

 

Maker: Unknown '[Game Board with Portraits of President Abraham Lincoln and Union Generals]' 1862

 

Maker: Unknown
[Game Board with Portraits of President Abraham Lincoln and Union Generals]
1862
Albumen silver prints from glass negatives
Brian D. Caplan Collection
Image © The Metropolitan Museum of Art

 

Maker: Unknown '[Game Board with Portraits of President Abraham Lincoln and Union Generals]' (detail) 1862

 

Maker: Unknown
[Game Board with Portraits of President Abraham Lincoln and Union Generals] (detail)
1862
Albumen silver prints from glass negatives
Brian D. Caplan Collection
Image © The Metropolitan Museum of Art

 

Unknown '[Confederate Sergeant in Slouch Hat]' 1861-62

 

Unknown
[Confederate Sergeant in Slouch Hat]
1861-62
Ambrotype
David Wynn Vaughan, Jr. Collection
Image © The Metropolitan Museum of Art

 

Attributed to, Oliver H. Willard (American, active 1850s-70s, died 1875) 'Ordnance, Private' 1866

 

Attributed to, Oliver H. Willard (American, active 1850s-70s, died 1875)
Ordnance, Private
1866
Albumen silver print from glass negative
The Metropolitan Museum of Art, The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2010
Image © The Metropolitan Museum of Art

 

Unknown '[James A. Holeman, Company A, "Roxboro Grays," Twenty-fourth North Carolina Infantry Regiment, Army of Northern Virginia]' 1861-62

 

Unknown
[James A. Holeman, Company A, “Roxboro Grays,” Twenty-fourth North Carolina Infantry Regiment, Army of Northern Virginia]
1861-62
Ambrotype
David Wynn Vaughan Collection
Image © The Metropolitan Museum of Art

Captain James A. Holeman of Person County, Roxboro lost his life during the Civil War

 

Unknown. 'Sojourner Truth, "I Sell the Shadow to Support the Substance"' 1864

 

 

Unknown
Sojourner Truth, “I Sell the Shadow to Support the Substance”
1864
Albumen silver print from glass negative
Carte-de-visite
The Metropolitan Museum of Art, Purchase, Alfred Stieglitz Society Gifts, 2013
© The Metropolitan Museum of Art, New York

 

Sojourner Truth (c. 1797 – November 26, 1883) was the self-given name, from 1843 onward, of Isabella Baumfree, an African-American abolitionist and women’s rights activist. Truth was born into slavery in Swartekill, Ulster County, New York, but escaped with her infant daughter to freedom in 1826. After going to court to recover her son, she became the first black woman to win such a case against a white man. Her best-known extemporaneous speech on gender inequalities, “Ain’t I a Woman?”, was delivered in 1851 at the Ohio Women’s Rights Convention in Akron, Ohio. During the Civil War, Truth helped recruit black troops for the Union Army; after the war, she tried unsuccessfully to secure land grants from the federal government for former slaves (Wikipedia)

 

Maker: Unknown (American; Alexander Gardner, American, Glasgow, Scotland 1821–1882 Washington, D.C.; Photography Studio: Silsbee, Case & Company, American, active Boston) '[Broadside for the Capture of John Wilkes Booth, John Surratt, and David Herold]' April 20, 1865

 

Maker: Unknown (American; Alexander Gardner, American, Glasgow, Scotland 1821-1882 Washington, D.C.; Photography Studio: Silsbee, Case & Company, American, active Boston)
[Broadside for the Capture of John Wilkes Booth, John Surratt, and David Herold]
April 20, 1865
Ink on paper with three albumen silver prints from glass negatives
The Metropolitan Museum of Art, Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005
Image © The Metropolitan Museum of Art

 

On the night of April 14, 1865, just five days after Lee’s surrender to Grant at Appomattox, John Wilkes Booth shot Lincoln at the Ford Theatre in Washington, D.C. Within twenty-four hours, Secret Service director Colonel Lafayette Baker had already acquired photographs of Booth and two of his accomplices. Booth’s photograph was secured by a standard police search of the actor’s room at the National Hotel; a photograph of John Surratt, a suspect in the plot to kill Secretary of State William Seward, was obtained from his mother, Mary (soon to be indicted as a fellow conspirator), and David Herold’s photograph was found in a search of his mother’s carte-de-visite album. The three photographs were taken to Alexander Gardner’s studio for immediate reproduction. This bill was issued on April 20, the first such broadside in America illustrated with photographs tipped onto the sheet.
The descriptions of the alleged conspirators combined with their photographic portraits proved invaluable to the militia. Six days after the poster was released Booth and Herold were recognized by a division of the 16th New York Cavalry. The commanding officer, Lieutenant Edward Doherty, demanded their unconditional surrender when he cornered the two men in a barn near Port Royal, Virginia. Herold complied; Booth refused. Two Secret Service detectives accompanying the cavalry, then set fire to the barn. Booth was shot as he attempted to escape; he died three hours later. After a military trial Herold was hanged on July 7 at the Old Arsenal Prison in Washington, D.C.
 Surratt escaped to England via Canada, eventually settling in Rome. Two years later a former schoolmate from Maryland recognized Surratt, then a member of the Papal Guard, and he was returned to Washington to stand trial. In September 1868 the charges against him were nol-prossed after the trial ended in a hung jury. Surratt retired to Maryland, worked as a clerk, and lived until 1916.

 

 

The New Orleans Museum of Art
One Collins Diboll Circle, City Park
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T: (504) 658-4100

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Friday: 10 am – 9 pm
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13
Jan
14

Exhibition: ‘Edward Burtynsky: Water’ presented by The New Orleans Museum of Art and the Contemporary Arts Center

Exhibition dates: 5th October 2013 – 19th January  2014

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“Now with the assistance of the web and being able to look at things in a bit more depth before I go there, I can actually predetermine my pictures…”

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Edward Burtynsky

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Predetermined weather music

The geometric images such as Navajo Reservation / Suburb (2011), Pivot Irrigation #11 (2011) and Pivot Irrigation / Suburb (2011) are of more interest here, with their juxtaposition of irrigation/habitation/nature. I especially like the Andreas Gursky-esque patterning of Benidorm #2 (2010) but I’m really over the abstract pattern of rivers, rice terraces and greenhouses covering the plane of view, mainly because so many photographers have done it and all in the same way. You only have to type in ‘Australian aerial landscape photographer’ into Google Images to see what I mean. Australia even has its own version in the West Australian photographer Richard Woldendorp. Bet you can’t tell the difference between the two photographers in a blind taste test!

These images are a bit like elevator music (also known as Muzak, piped music, weather music or lift music). Quite a nice analogy, weather music, as these photographs are generic, middle of the road easy listening abstraction, beauty, and formality – images with a simple melody that constantly loop back to the beginning, commonly played through speakers (in this case the institutions that laud such repetitive work).

While Burtynsky’s work seeks to explore the relationship between art and environment, “focusing on all the facets of people’s relationship with water, including ritual and leisure,” he offers evidence without argument. And there is the crux of the problem. When an artist promulgates an objective point of view without comment, they run the risk of saying very little with the work for they have nothing to say themselves. It’s like being part of Adolf Hitler’s exhibition in answer to the Entartete Kunst (Degenerate Art) exhibition of 1937, the photographs seemingly “officially sanctioned” by the earth and the artist with gravitas added through contemplation (muzak encourages you to slow down and browse!) Personally, I’m not buying what Burtynsky is selling.

There is nothing passionate, weak, decadent and impure here. Perhaps the artist needs to change the angle of attack for me to sit up and take notice. Otherwise the motion of the train has a somewhat soporific effect.

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Dr Marcus Bunyan for the Art Blart blog

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Many thankx to The New Orleans Museum of Art and the Contemporary Arts Center 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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NOMA CAC 

NOMA CAC is an ongoing exhibition and programming partnership between two of the most significant cultural institutions of New Orleans: the New Orleans Museum of Art and the Contemporary Arts Center. Edward Burtynsky: Water is the second initiative of this unique collaboration, which will draw on the strengths of both institutions to provide thought-provoking exhibitions and programming for a cross section of the community. The exhibition is presented in the second floor Lupin Foundation Gallery of the Contemporary Arts Center (CAC).

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Where I Stand: A Behind the Scenes Look at Edward Burtynsky’s Photographic Essay, Water

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Edward Burtynsky. 'Xiaolangdi Dam #1, Yellow River, Henan Province, China' 2011

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Edward Burtynsky
Xiaolangdi Dam #1, Yellow River, Henan Province, China
2011

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Edward Burtynsky. 'Cerro Prieto Geothermal Power Station, Baja, Mexico' 2012

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Edward Burtynsky
Cerro Prieto Geothermal Power Station, Baja, Mexico
2012

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Edward Burtynsky. 'Marine Aquaculture #1, Luoyuan Bay, Fujian Province, China' 2012

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Edward Burtynsky
Marine Aquaculture #1, Luoyuan Bay, Fujian Province, China
2012

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Edward Burtynsky. 'Rice Terraces #2, Western Yunnan Province, China' 2012

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Edward Burtynsky
Rice Terraces #2, Western Yunnan Province, China
2012

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Edward Burtynsky. 'Verona Walk, Naples, Florida, USA' 2012

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Edward Burtynsky
Verona Walk, Naples, Florida, USA
2012

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Edward Burtynsky. 'Thjorsá River #1, Iceland' 2012

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Edward Burtynsky
Thjorsá River #1, Iceland
2012

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Edward Burtynsky. 'Stepwell #4, Sagar Kund Baori, Bundi, Rajasthan, India' 2010

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Edward Burtynsky
Stepwell #4, Sagar Kund Baori, Bundi, Rajasthan, India
2010

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“NOMA CAC is proud to present Edward Burtynsky: Water, the world premiere of the latest body of work by internationally renowned photographer Edward Burtynsky, opening Saturday, October 5 in the second floor Lupin Foundation Gallery of the Contemporary Arts Center (CAC). This second initiative of the ongoing NOMA CAC programming partnership includes over 50 large-scale color photographs that form a global portrait of humanity’s relationship to water. Burtynsky’s images address several facets of the world’s vital resource, exploring the source, collection, control, displacement, and depletion of water. The exhibition opens on October 5, 2013 and runs through January 19, 2014.

Edward Burtynsky (born 1955, St. Catharines, Ontario, Canada) has long been recognized for his ability to combine vast and serious subject matter with a rigorous, formal approach to picture making. The results are images that are part abstraction, part architecture, and part raw data. In producing Water, Burtynsky has worked across the globe – from the Gulf of Mexico to the shores of the Ganges – weaving together an ambitious representation of water’s increasingly fragmented lifecycle.

“The CAC is thrilled to be able to premiere an exhibition of this scale and quality through our partnership with NOMA,” said Neil Barclay, Executive Director of the Contemporary Arts Center. “Burtynsky’s work has long served as a commentary on the relationship between art and environment, and I believe the subject of these works will be of keen interest to anyone who has experienced life in New Orleans over the past decade.”

“Five years in the making, Water is at once Burtynsky’s most detailed and expansive project to date, with images of the 2010 Gulf oil spill, step wells in India, dam construction in China, aquaculture, farming, and pivot irrigation systems,” said Susan M. Taylor, Director of the New Orleans Museum of Art. In addition Water includes some of the first pure landscapes that Burtynsky has made since the early 1980s. These archaic, almost primordial looking images of British Columbia place the structures of water control in a historical context – tracing the story of water from the ancient to the modern, and back again.

While the story of water is certainly an ecological one, Burtynsky is more interested in presenting the facts on the ground than in declaring society’s motives good or bad. In focusing on all the facets of people’s relationship with water, including ritual and leisure, Burtynsky offers evidence without an argument. “Burtynsky’s work functions as an open ended question about humanity’s past, present, and future,” said Russell Lord, Freeman Family Curator of Photographs at the New Orleans Museum of Art. “The big question is: do these pictures represent the achievement of humanity or one of its greatest faults, or both? Each visitor might find a different answer in this exhibition, depending upon what they bring to it.”

The exhibition, organized by Russell Lord, is accompanied by a catalogue published by Steidl with over 100 color plates from Burtynsky’s water series. It includes essays by Lord and Wade Davis, renowned anthropologist and Explorer-in-Residence at the National Geographic Society.”

Press release from NOMA CAC

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Edward Burtynsky. 'Navajo Reservation / Suburb, Phoenix, Arizona, USA' 2011

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Edward Burtynsky
Navajo Reservation / Suburb, Phoenix, Arizona, USA
2011

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Edward Burtynsky. 'Pivot Irrigation #11, High Plains, Texas Panhandle, USA' 2011

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Edward Burtynsky
Pivot Irrigation #11, High Plains, Texas Panhandle, USA
2011

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Edward Burtynsky. 'Pivot Irrigation / Suburb, South of Yuma, Arizona, USA' 2011

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Edward Burtynsky
Pivot Irrigation / Suburb, South of Yuma, Arizona, USA
2011

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Edward Burtynsky. 'Benidorm #2, Spain' 2010

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Edward Burtynsky
Benidorm #2, Spain
2010

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Edward Burtynsky. 'Dryland Farming #2, Monegros County, Aragon, Spain' 2010

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Edward Burtynsky
Dryland Farming #2, Monegros County, Aragon, Spain
2010

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Edward Burtynsky. 'Dryland Farming #24, Monegros County, Aragon, Spain' 2010

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Edward Burtynsky
Dryland Farming #24, Monegros County, Aragon, Spain
2010

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Edward Burtynsky. 'Greenhouses, Almira Peninsula, Spain' 2010

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Edward Burtynsky
Greenhouses, Almira Peninsula, Spain
2010

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Contemporary Arts Center
900 Camp Street
New Orleans, LA 70130-3908

Opening hours:
Wednesday – Monday 11am – 5pm

Contemporary Arts Center website

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12
Jan
14

Exhibition: ‘Photography at NOMA’ at The New Orleans Museum of Art

Exhibition dates: 10th November 2013 – 19th January 2014

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There are some rare and beautiful photographs in this posting. I have never seen the Kertész (Leger’s Studio 1926 – 1927) with its wonderful structure and tonality nor the unusual Mapplethorpe (Staircase, 1140 Royal 1982). I particularly like the Bellocq (Bedroom Mantel, Storyville c. 1911-1913) with its complex medley of shapes and images.

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Many thankx to The New Orleans Museum of Art 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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André Kertész (American, born Hungary, 1894-1985) 'Leger's Studio' 1926 - 1927

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André Kertész (American, born Hungary, 1894-1985)
Leger’s Studio
1926 – 1927
Gelatin silver print
Image: 3 1/8 x 4 1/4in. (8 x 10.8 cm)
Museum purchase, Women’s Volunteer Committee Fund

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Lee Friedlander (American, born 1934) 'Untitled (Self-Portrait Reflected in Window, New Orleans)' c. 1965

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Lee Friedlander (American, born 1934)
Untitled (Self-Portrait Reflected in Window, New Orleans)
c. 1965
Gelatin silver print
Image: 7 x 10 3/4in. (17.6 x 27.2 cm) Mount: 11 x 14 in. (27.9 x 35.5 cm)
Museum purchase through the National Endowment for the Arts Grant, 75.83

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Robert Frank (American, born 1924) 'Canal Street, New Orleans' 1955

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Robert Frank (American, born 1924)
Canal Street, New Orleans
1955
Gelatin silver print
Image: 11 x 13 4/5 in. (28 x 35.2 cm)
Museum purchase through the National Endowment for the Arts and Museum Purchase Funds

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Ilse Bing (American, 1899-1998) 'New York, The Elevated and Me' 1936

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Ilse Bing (American, 1899-1998)
New York, The Elevated and Me
1936
Gelatin silver print
Image: 7 15/16 x 11 in. (18.6 x 28 cm)
Museum purchase through the National Endowment for the Arts Matching Grant
© Estate of Ilse Bing

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Henri Cartier-Bresson (French, 1908-2004) 'Louisiana' 1947, printed circa 1975

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Henri Cartier-Bresson (French, 1908-2004)
Louisiana
1947, printed circa 1975
Gelatin silver print
Image: 9 5/8 x 14 3/16 in. (24.4 x 36 cm)Paper: 12 x 16 in. (30.3 x 40.4 cm)
Museum purchase, General Acquisition Fund, 80.129

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Theodore Lilienthal (American, 1829-1894) 'Charles Hotel, New Orleans' c. 1867

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Theodore Lilienthal (American, 1829-1894)
Charles Hotel, New Orleans
c. 1867
Albumen print
10 3/4 x 13 13/16 in. (27.2 x 35.1 cm) Mount: 17 x 22 1/4 in. (43.3 x 56.6 cm)
Museum Purchase, 2013.21

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“Featuring masterworks by photographers Edward Weston, William Henry Fox Talbot, André Kertész, Robert Mapplethorpe, and many more, the New Orleans Museum of Art’s upcoming exhibition, Photography at NOMA, explores the Museum’s rich permanent photography collection through a selection of some of its finest works from the early 1840s to the 1980s.

The first comprehensive presentation of works from NOMA’s collection since the 1970s, the exhibition includes over 130 of the most important photographs in the Museum’s collection and presents rare and unusual examples from throughout photography’s history. On view November 10, 2013 through January 19, 2014, the exhibition highlights the tremendous depth and breadth of the Museum’s collection and includes photographs made as works of art as well as advertising images, social documents, and more. The photographers featured in the exhibition range from some of the most recognizable names in the field, including Henri Cartier-Bresson, Robert Frank, and Lewis Hine, to unknown photographers—reflecting the vast spectrum of photographic activity since the medium’s inception in the 19th century.

“NOMA began collecting photographs seriously in the early 1970s when photography was not commonly found in American art museum collections. Today our holdings include nearly 10,000 works, representing a broad range of creative energy and achievement,” said Susan Taylor, NOMA’s Director. “Our collection has strong roots in New Orleans history. Our city has long been an epicenter for the work of established and emerging photographers and we are delighted to share this aspect of New Orleans history with our audiences.”

“Since its origins, photography has infiltrated every aspect of modern life, from art to war, and religion to politics and many of these applications are represented in NOMA’s extensive collection,” said Russell Lord, Freeman Family Curator of Photographs. “Despite the collection’s long history, it remains one of the best kept secrets in this country. Photography at NOMA is an opportunity to re-examine and bring to the fore the diverse range of works found in the collection.”

Since the 1970s, NOMA has built an extensive collection of photographs that represents a wide range of achievement in that medium from the 1840s to the present. Today the collection comprises nearly 10,000 works with images by some of the most significant photographic artists including Berenice Abbott, Ansel Adams, Diane Arbus, Ilse Bing, and Edward Steichen, among many others. The collection includes examples that reflect photography’s international scope, from an 1843 view from his hotel window in Paris by William Henry Fox Talbot to a view of Mount Fuji by Kusakabi Kimbei, but it is also strong in photographs made in and around New Orleans by regional and national photographers such as E. J. Bellocq, Walker Evans, Clarence John Laughlin, and Robert Polidori.

Photography at NOMA features works by Berenice Abbott, Ansel Adams, Diane Arbus, Henri Cartier-Bresson, Walker Evans, Robert Frank, Robert Mapplethorpe, William Henry Fox Talbot, and Edward Weston, among many others.”

Press release from the NOMA website

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Felix Moissenet (American, 19th century) 'Freeman' c. 1855

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Felix Moissenet (American, 19th century)
Freeman
c. 1855
Daguerreotype
Sixth plate, 3 1/4 x 2 3/4 in. (8 x 6.8 cm) Case (open): 3 5/8 x 6 3/8 in. (9.2 x 16.1 cm)
Museum purchase, 2013.22

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Thomas Augustine Malone (British, 1823-1867) 'Demonstration of the Talbotype' December 11, 1848

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Thomas Augustine Malone (British, 1823-1867)
Demonstration of the Talbotype
December 11, 1848
Calotype (Talbotype) negative
7 3/8 x 9 2/16 in. (18.8 x 23.3 cm)
Museum purchase, 2012.90

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Robert Mapplethorpe (American, 1946-1989) 'Staircase, 1140 Royal' 1982

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Robert Mapplethorpe (American, 1946-1989)
Staircase, 1140 Royal
1982
Gelatin silver print
Image: 15 1/5 x 15 1/5 in. (38.5 x 38.5 cm)Paper: 20 x 16 in. (50.6 x 40.4 cm)
Promised gift from H. Russell Albright, MD, EL.2001.120

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William Henry Fox Talbot (British, 1800-1877) 'View of the Paris Boulevards from the First Floor of the Hôtel de Louvais, Rue de la Paix' 1843

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William Henry Fox Talbot (British, 1800-1877)
View of the Paris Boulevards from the First Floor of the Hôtel de Louvais, Rue de la Paix
1843
Salted paper print from a paper negative
Image: 6 3/8 x 6 3/4 in. (16.2 x 17.1 cm) Paper: 7 1/2x 9 in. (19 x 23 cm)
Museum purchase, 1977 Acquisition Fund Drive, 77.66

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Paul Outerbridge (American, 1896-1958) 'Groom Detective Agency' 1923

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Paul Outerbridge (American, 1896-1958)
Groom Detective Agency
1923
Platinum print
Image: 4 1/2 x 3 1/2 in. (11.5 x 9 cm) Paper: 14 x 11 in. (35.5 x 28 cm)
Paul Outerbridge, Jr. © 2013 G. Ray Hawkins Gallery, Beverly Hills, CA

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Morton Schamberg (American, 1881-1918) 'Cityscape' 1916

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Morton Schamberg (American, 1881-1918)
Cityscape
1916
Gelatin silver print
Image: 9 1/2 x 7 1/2 in. (24 x 19 cm) Mount: 15 3/4 x 13 in. (40 x 33 cm)
Museum purchase, Women’s Volunteer Committee Fund, 73.231

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Clarence John Laughlin (American, 1905-1985) 'A Mangled Staircase (No. 2)' 1949

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Clarence John Laughlin (American, 1905-1985)
A Mangled Staircase (No. 2)
1949
Gelatin silver print
Image: 13 1/2 x 10 13/16 in. (34.2 x 27.5 cm) Mount: 17 x 14 in. (43 x 35.5 cm)
Bequest of Clarence John Laughlin, 85.118.59

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E. J. Bellocq (American, 1873-1949) 'Bedroom Mantel, Storyville' c. 1911-1913

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E. J. Bellocq (American, 1873-1949)
Bedroom Mantel, Storyville
c. 1911-1913
Glass negative
Plate: 10 x 8 in. (25.2 20.2 cm)
Museum purchase, 73.241

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Lewis Hine. '[Mechanic and Steam Pump]' c. 1930

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Lewis Hine
[Mechanic and Steam Pump]
c. 1930
Gelatin silver print
Image:9 1/2 x 7 in. (24.3 x 17.6 cm)Paper: 10 x 8 in.(25.2 x 20.3 cm)
Museum Purchase

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The New Orleans Museum of Art
One Collins Diboll Circle, City Park
New Orleans, LA 70124
T: (504) 658-4100

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

The New Orleans Museum of Art 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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