Posts Tagged ‘performance photography

07
Feb
20

Exhibition: ‘Dressing up: clothing and camera’ at the Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 23rd November 2019 – 9th February 2020

Curator: Gareth Syvret

Artists: Gordon Bennett, Polly Borland, Pat Brassington, Eric Bridgeman, Jeff Carter, Nanette Carter, Jack Cato, Zoë Croggon, Sharon Danzig, Rennie Ellis, Elizabeth Gertsakis, Christine Godden, Alfred Gregory, Craig Holmes, Tracey Moffatt, Derek O’Connor, Jill Orr, Deborah Paauwe, David Rosetzky, Damien Shen, Wesley Stacey, Christian Thompson, Lyndal Walker, Justene Williams, Anne Zahalka.

 

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation view of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne

 

 

Making an appearance

There are some stimulating and challenging works in this first exhibition curated by new MGA Associate Curator Gareth Syvret, who was parachuted into the project at the last moment. The curator has pulled together work that examines the complex interweaving of “cultural scenarios,” “interpersonal scripts,” and “intrapsychic scripts” that ground how the camera, and the photographer, picture our relationship to dressing up…. and how we see ourselves pictured by the camera.

In various ways, the works interrogate how clothes (or the lack of them) reinforce the postmodern fragmentation of the individual or group, the self being decentred and multiple, as when we change from work clothes, to drag, to leather, to wearing our footy beanie and scarf… and how these e/facements, these everyday performances (for that is what they are), camouflage or reveal our “true” nature. Do we dress up to fit in (to a tribe or group, or representation), or do we rebel against the status quo, as did that enfant terrible who refused all categorisation throughout his life, the Australian fashion pioneer Leigh Bowery. How do we turn our face towards, or away from, the camera? (turning away is a re/action to the power of representation, even if a negative one)

Firstly we must recognise that “cultural forms do not have single determinate meanings – people make sense of them in different ways, according to the cultural (including sub-cultural) codes available to them.” And secondly, we must acknowledge that, “the analysis of images always needs to see how any given instance is embedded in a network of other instances”1 through intertexuality – where we, reality, our representation, and the image, are just nodes within a network whose unity is variable and relative.

“Critical to understanding the construction of these constantly shifting networks in contemporary society are the concepts of weaving and intertexuality. Intertextuality is the concept that texts do not live in isolation, ‘caught up as they are in a system of references to other books, other texts, other sentences: it is a node within a network… Its unity is variable and relative’ (Foucault, 1973). In other words the network is decentred and multiple allowing the possibility of transgressive texts or the construction of a work of art through the techniques of assemblage [Deleuze and Guattari] – a form of fluid, associative networking that is now the general condition of art production.”2

This weaving of surfaces disrupts histories and memories that are already narrativised, already textualised. It disrupts this marking, the continual reiteration of norms, by weaving a lack of fixity into objects, namely how we see ourselves, how we pictures ourselves. Through dress, and the camera, through a constant process of reconceptualisation of space and matter, we can redefine the significations of the body of the animal in the fold of inscription, through a process of materialisation. The production of this materialisation (the matériel, or arms, of sartorial elegance) – of this signified – is open to struggle, the simulation “by virtue of its being referent-free invites a reading of a different order: it is a perpetual examination of the code.”3 A code which, Julia Kristeva notes, is not simply the product of a single author, but of its relationship to other texts and to the structures of language itself. “[A]ny text,” she argues, “is constructed of a mosaic of quotations; any text is the absorption and transformation of another.”4 And this is what is happening in this exhibition – work, and images, which are a mosaic of quotations fighting over unity and fragmentation, reality and representation… and the construction of identity.

What this exhibition, and this materialisation, does not, and cannot answer, is the critical question: why do we dress up in the first place? What is the overriding reason for this ritualistic, performative enactment, this action, which happens time after time, day after day. And what is that face that we present to the camera during this performance? As Roland Barthes lucidly observes in Camera Lucida, “The PORTRAIT-PHOTOGRAPH is a closed field of forces. Four image-repertoires intersect here, oppose and distort each other. In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art.”5

So, who I am?

Dr Marcus Bunyan

 

  1. Dyer, Richard. The Matter of Images: Essays on Representations. London: Routledge, 1993, pp. 2-3
  2. Foucault, Michel cited in Thumlert, Kurt. Intervisuality, Visual Culture, and Education. [Online] Cited 01/04/2011 no longer available online
  3. Tseëlon, E. The Masque of Femininity: The Representation of Women in Everyday Life. London: Sage, 1995, pp. 128-130
  4. Kristeva, Julia. “Word, Dialog and Novel”, in Moi, Toril (ed.,). The Kristeva Reader, New York: Columbia University Press, 1986, p, 37 quoted in Keep, Christopher; McLaughlin, Tim and Parmar, Robin. “Intertextuality,” on The Electronic Labyrinth website [Online] Cited 07/02/2020
  5. Barthes, Roland. Camera Lucida, London, 1984, p. 13

.
Many thankx to Monash Gallery of Art for allowing me to publish the photographs in the posting. All installation photographs proceed in a clockwise order around the exhibition. Please click on the photographs for a larger version of the image.

 

 

Dress and clothing are so much a part of the way people present themselves to the camera and this subject provides a strong theme through which to explore MGA’s extraordinary collection. Some photographs in the exhibition are well known, others have not previously been shown. All are equally compelling in showing the way photographers record and manipulate dress to tell their stories.

.
Gareth Syvret, MGA Associate Curator

 

As cultural hybrids, images are used as if they simultaneously block and unveil truth, reality, ways of seeing and understanding.

.
Ron Burnett. Cultures of Vision: Images, Media, & the Imaginary. Bloomington: Indiana University Press, 1995, p. 237

 

The meanings of clothes may usefully be divided into two types, ‘denotation’ and ‘connotation’, each working in its own way on its own level. … Denotation is sometimes called a first order of signification or meaning. It is the literal meaning of a word or image… Connotation is sometimes called a second order of signification or meaning. It may be described as the things that the word to the image makes a person think or feel, or as the associations that a word or an image has for someone…

.
Barnard, Malcolm. Fashion as Communication. London: Routledge, 1996

 

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne with at left, Gordon Bennett’s Self-portrait (Nuance II) (1994) and at right, Deborah Paauwe’s Foreign body (2004)

 

Gordon Bennett. 'Self-portrait (Nuance II)' 1994

 

Gordon Bennett
Self-portrait (Nuance II)
1994
Gelatin silver prints
50.8 x 40.6 cm (each)
Photographer: Leanne Bennett
Monash Gallery of Art, City of Monash Collection acquired 1995
Courtesy of the Estate of Gordon Bennett and Sutton Gallery (Melbourne)

 

 

Gordon Bennett’s Self -portrait (nuance II) performance was staged for the camera rather than a live audience. The artist prepared for the performance by painting his face with polyvinyl acetate glue. The process of peeling away the pale skin, created by the dry glue, was then documented in a series of photographs. This work is a subtle critique of simplistic oppositions between people who have light skin and people who have dark skin. Bennett discovered that he was of Aboriginal descent when he was 11 years old, but he resisted identifying as an Indigenous Australian for another 20 years. Conceived as a self-portrait, this work alludes to Bennett’s own process of ‘coming out’ as an Aboriginal man; removing his white mask. But, rather than representing this process in terms of a simple opposition, the photographs emphasise the nuanced ambiguities and transitory nature of identity.

 

Deborah Paauwe. 'Foreign body' 2004

 

Deborah Paauwe
Foreign body
2004
From the series Chinese whispers
Chromogenic print
120.0 x 120.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2004
Courtesy of the artist, GAGPROJECTS Greenaway Art Gallery (Adelaide) and Michael Reid (Sydney)

 

 

Deborah Paauwe’s photographs are loaded and coded psychosexual puzzles. In this photograph Foreign body, who are the subjects and what is their relation? What is the nature of the embrace Paauwe concocts: eroticism or comfort? In their opposition as clothed and naked Paauwe’s models perform a drama, on desire, for the camera in which dress is figured as a method for revealing or concealing the body as the border between eye and flesh.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Eric Bridgeman’s Woman from settlement with boobs (2010) and at right, two photographs from Tracey Moffatt’s series Scarred for life

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Tracey Moffatt. 'Job hunt' 1976 1994

 

Tracey Moffatt
Job hunt
1976 1994
From the series Scarred for life
Off-set print
80.0 x 60.0 cm
Monash Gallery of Art, City of Monash Collection acquired 1998
Courtesy of the artist and Roslyn Oxley9 Gallery (Sydney)

 

 

Scarred for life is a series of works based on true stories about traumatic childhood experiences. In response to each story, Moffatt has staged and photographed a scene that illustrates the tragic tale. The photographs have been made to look like snapshots from a family album, emphasising the everyday nature of the incidents and their ongoing significance as memories. The photographs have been presented in a way that mimics the format of the 1960s American magazine, Life, which was well known for publishing photo-essays in this captioned format. Moffatt often draws on the story-telling conventions of magazines, cinema and other popular forms of visual communication in ways that give her photographs a heightened sense of drama. In Job hunt the tension between the fictive nature of Moffatt’s artistry and the ordinariness of the subject’s dress as a schoolboy dramatises the everyday. This effect is explored further in The Wizard of Oz where the awkwardness of Moffatt’s casting of a boy in a dress as Dorothy in her own fiction is heightened by his father’s overblown gesture.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Christian Thompson’s Gods and kings (2015) and at right, Damien Shen’s Ventral aspect of a male #1 and #2 (2014)

 

Christian Thompson. 'Gods and kings' 2015

 

Christian Thompson
Gods and kings
2015
From the series Imperial relic
Chromogenic print
100.0 x 100.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2018
Courtesy of the artist and Michael Reid (Sydney + Berlin)

 

 

In this photograph by Christian Thompson the artist wears a makeshift hooded cape fashioned out of multiple maps of Australia charting different and conflicting Indigenous and colonial histories. The melding of these narratives through a careful but fragmented process of folding references the instrumentality of the map as a weapon of territoriality to challenge the idea of colonial power predicated on the designation of Australia as terra nullius. Describing his use of portraiture Thompson says, ‘I don’t think of them as being ‘myself’, because I think of my works as conceptual portraits. I’m really just the armature to layer ideas on top of … I really like the idea of wearing history, I like the idea of adorning myself in references to history.’ By wearing his cloak of maps, Thompson transfigures his body into a terrain where difficult histories are re-explored.

 

Damien Shen. 'Ventral aspect of a male #1' 2014

 

Damien Shen
Ventral aspect of a male #1
2014
From the series On the fabric of the Ngarrindjeri body – volume II
Pigment ink-jet print
59.4 x 42.0 cm
Photographer: Richard Lyons
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the artists and MARS Gallery (Melbourne)

 

 

This work is from Shen’s series On the fabric of the Ngarrindjeri body – volume II (2014), which comprises 12 black-and-white photographs showing the artist and his uncle, a Ngarrindjeri elder known as Major Sumner. Across the series, the two subjects are shown from different angles, either together or individually. Their bodies have been painted in the traditional Ngarrindjeri way and they perform in front of the camera in a studio setting. While the majority of the images were taken in front of the studio backdrop, four of the images document Major Sumner ‘behind the scenes’.

This series is typical of Shen’s practice in that it explores his Indigenous identity and family history through portraiture. For Shen this series is extremely personal, as it documents his uncle sharing his cultural knowledge and experience with him. However, the series was also created to more broadly document Ngarrindjeri culture and the history of his ancestors. Furthermore, Shen’s use of a plain studio backdrop and sepia toning, along with his prosaic titles, directly reference 19th-century ethnographic portraiture, drawing attention to the history of the representation of Indigenous people. The candid backstage images are not sepia toned and have been juxtaposed with the staged portraits in a way that further highlights the artificiality of the studio setting.

 

Damien Shen. 'Ventral aspect of a male #2' 2014

 

Damien Shen
Ventral aspect of a male #2
2014
From the series On the fabric of the Ngarrindjeri body – volume II
Pigment ink-jet print
59.4 x 42.0 cm
Photographer: Richard Lyons
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the artists and MARS Gallery (Melbourne)

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Jill Orr’s Lunch with the birds (1979) and at centre, Zoë Croggon’s Lucia (2018) and at centre right, Justene Williams Blue foto (2005)

 

Jill Orr. 'Lunch with the birds #3' 1979

 

Jill Orr
Lunch with the birds #3
1979
Ink-jet print, printed 2007
Photographer: Elizabeth Campbell
30.0 x 44.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2008
Courtesy of the artist

 

 

Jill Orr’s Lunch with the birds performance took place on St Kilda beach on a wintery day in 1979. It was conceived as a shamanistic ritual that would provide an antidote to the junk food that is often thrown to scavenging seagulls. Dressed in her mother’s wedding gown, Orr lay on the beach surrounded by a meal of whole bread, fresh fish and pure grain, and waited for the birds to come and commune with her on the foreshore. Apart from the photographer Elizabeth Campbell, who had been commissioned to document the event, there was no human audience on the beach. Like other performances that Orr has enacted in the landscape, nature itself is the primary audience for this ritual. All the same, Orr is quite conscious of using photography to share the performance with gallery audiences. Working with the photographic documentation after the event, Orr composed the images as a narrative sequence (from which these works are taken) and presented them on black mount boards to suggest a filmstrip.

 

Zoë Croggon. 'Lucia' 2018

 

Zoë Croggon
Lucia
2018
From the series Luce Rossa
Pigment ink-jet print
65.0 x 79.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2019
Courtesy of the artist and Daine Singer Gallery (Melbourne)

 

 

Zoë Croggon uses collage techniques to explore spatial relationships between the human form, architecture and the physical world. Her practice is informed by her experience of studying ballet and dance. In many of Croggon’s works, found photographs of the human body are cut out and re-placed, in tension, against surface and structure to explore the politics and poetics of space. For the series Lucia Rossa, the source materials are derived from Italian pornography, eroctica and fashion magazines. Although it is not overtly depicted, this work responds to the ways that the female body is ‘arranged, fragmented and presented for consumption…’ As such, ‘Lucia’ considers the condition of fabric, clothing and dress as a space for the body, laden with the politics of sexuality.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Justene Williams Blue foto (2005) and at right, Christine Godden’s photographs

 

Christine Godden. 'Untitled' 1976

 

Christine Godden
Untitled
1976
Gelatin silver print
15.3 x 22.8 cm
Monash Gallery of Art, City of Monash Collection acquired with the assistance of The Robert Salzer Foundation 2015
Courtesy of the artist

 

 

Christine Godden’s photographic work is a highly personal and poetic form of documentary practice, which is informed by a feminist interest in developing distinctly female perspectives on the world. Godden’s familiarity with the tradition of fine art photography in North America is evident in her commitment to high quality printing, which accentuates the sensuality of her subject matter. This photograph is from a body of Untitled works that was originally exhibited in 1976 at George Paton Gallery, Melbourne and the Australian Centre for Photography, Sydney. This tightly organised sequence of 44 photographs intended to show ‘how women see [and] how women think.’ The photographs present fragments or tightly cropped glimpses of textures and bodies (usually of women) that, with their combination of tenderness and formal rigour, take the appearance of being ‘female,’ while at the same time unpicking or unhinging the logic of a feminine imagery or style.

 

Christine Godden. 'Untitled' 1976

 

Christine Godden
Untitled
1976
Gelatin silver print
15.3 x 22.8 cm
Monash Gallery of Art, City of Monash Collection acquired with the assistance of The Robert Salzer Foundation 2015
Courtesy of the artist

 

Christine Godden. 'Untitled' 1976

 

Christine Godden
Untitled
1976
Gelatin silver print
15.3 x 22.8 cm
Monash Gallery of Art, City of Monash Collection acquired with the assistance of The Robert Salzer Foundation 2015
Courtesy of the artist

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Christine Godden’s photographs; at middle left David Rosetzky’s photographs; and at far right Sharon Danzig’s No escape (2004)

 

David Rosetzky. 'Hamish' 2004

 

David Rosetzky
Hamish
2004
Chromogenic prints
50.0 x 61.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2005
Reproduction courtesy of the artist and Sutton Gallery (Melbourne)

 

 

This work by David Rosetzky is an early examples of cut-out and collaged photographic portraits that he has been producing periodically since 2004. To create these images, Rosetzky produces slick studio portraits of young models, referencing the style of photography prevalent in advertising and fashion magazines. He then layers a number of portraits on top of each other before hand-cutting sections to reveal parts of the underlying prints. Through this method of image making he seeks to represent the identity of his subjects as multi-layered, shifting and often concealed.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Sharon Danzig’s No escape (2004) and at right, the work of Pat Brassington

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing work from Elizabeth Gertsakis’ series Innocent reading for origin (1987)

 

Elizabeth Gertsakis. 'Innocent reading for origin' 1987

 

Elizabeth Gertsakis
Innocent reading for origin
1987
Gelatin silver prints
74.0 x 48.5 cm (each)
Monash Gallery of Art, City of Monash Collection acquired 1994
Courtesy of the artist

 

 

For the series Innocent reading for origin, Elizabeth Gertsakis uses photographs of her family taken at the time of their migration to Australia from Florina, Greece, her birthplace, when she was an infant. These photographs are presented with typescripts of her readings and observations about the photographs. As viewers we are witness to how the images form the artist’s words and, placed alongside them, how her words form the images. The dress of the people in the photographs is particularly significant for their interpretation and description and the ways that these images operate on the artist and the viewer. Gertsakis is concerned here with how photographs transmit memory and meaning in private and public. By shifting the format and scale of family photographs from shoebox to gallery wall, Gertsakis calls into question the status of the medium as vernacular and/or fine art.

 

Elizabeth Gertsakis. 'Innocent reading for origin' 1987

 

Elizabeth Gertsakis
Innocent reading for origin
1987
Gelatin silver prints
74.0 x 48.5 cm (each)
Monash Gallery of Art, City of Monash Collection acquired 1994
Courtesy of the artist

 

 

As necessity or luxury, to integrate or rebel, in freedom or oppression, dress is the nexus of selfhood. Photography and dress are forever entwined; from its inception in the 1840s one of photography’s main objectives has been the making of portraits. Clothing has been imaged by photographers ever since. In documentary mode, photography provides a record of the ways we dress and how clothing has changed over time. As an instrument of empire photography was used for the purpose of recording the dress and appearance of Indigenous people. Since the early twentieth century the practice of fashion photographers has posed body and garment to create brands and promote lifestyle choices to sell us the clothes we wear.

This exhibition draws together photographs from the MGA collection that feature dress or clothing as a significant element in their making. Some of the photographers included have produced works with documentary intent. For many, a classification of their practice is not so clear cut. These artists photograph dress, clothing and the body to actively question appearances. They use photography as a tactic for testing the nature of consumer culture, challenging social norms or protesting histories of colonisation and discrimination. Shaping and shaped by the individual, our clothes can conceal, reveal and transform who we are. Like the photographs in this exhibition they are the bearers of memory, emotion and time.

Text from the Monash Gallery of Art website [Online] Cited 22/12/2019

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation view of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing the work of Polly Borland from her Bunny series (2004-05)

 

Polly Borland. 'Untitled XXIII' 2004-05

 

Polly Borland
Untitled XXIII
2004-05
From the series Bunny
Chromogenic print, printed 2008
25.3 x 17.1 cm
Monash Gallery of Art, City of Monash Collection acquired 2008
Courtesy of the artist and Murray White Room (Melbourne)

 

 

This photograph is from Polly Borland’s Bunny series, which consists of more than 50 images. Borland worked over an extended period of time in close collaboration with actress Gwendoline Christie as the subject of the photographs. The Bunny series plays upon the physicality of its model – who is extraordinarily tall – rendering tense, awkward and absurd poses. The surreal character of Bunny created through gestures of masking and dressing up acts as a darkly playful riposte to the objectification of the Playboy centrefold. Through a process of costuming explored between photographer and subject these images lampoon the fetishism of the glamour shot, supplanting it with their own fantasies both revealed and concealed.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left the work of Alfred Gregory, at centre the work of Jack Cato (1930s-1940s), and at right Lyndal Walker’s Lachlan sprucing by the hearth (2013) from the series Modern romance.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing the work of Jeff Carter at left: Saturday arvo, Cronulla Beach (1960) and Clan gathering, Wangaratta (1955); and at right, Rennie Ellis’ Richmond fans, Grand Final, MCG (1974)

 

Jeff Carter. 'Saturday arvo, Cronulla Beach' 1960

 

Jeff Carter
Saturday arvo, Cronulla Beach
1960
Gelatin silver print
26.8 x 38.0 cm
Monash Gallery of Art, City of Monash Collection acquired 1992
Courtesy of the artist

 

Jeff Carter. 'Clan gathering, Wangaratta' 1955

 

Jeff Carter
Clan gathering, Wangaratta
1955
Gelatin silver print
29.1 x 31.9 cm
Monash Gallery of Art, City of Monash Collection acquired 1992
Courtesy of the artist

 

Rennie Ellis. 'Richmond fans, Grand Final, MCG' 1974

 

Rennie Ellis
Richmond fans, Grand Final, MCG
1974
Chromogenic print
26.7 x 40.7 cm
Monash Gallery of Art, City of Monash Collection acquired 2007
Courtesy of the Rennie Ellis Photographic Archive (Melbourne)

 

 

This is one of the most famous photographs of the most important date in the Australian football calendar: Grand Final Day. Ellis turned his lens off the field onto the fans of the winning side on 28 September 1974, the Richmond Tigers. Ellis’s photograph encapsulates the centrality of clothing and colour to the tribalism of football fandom – in particular among ‘cheer squads’ – some of it official merchandise, some adapted or homemade. The image brilliantly exemplifies the unique ability of still photography to render human physicality and a moment in time.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Derek O’Connor’s Untitled (1981-84) and at right, four Rennie Ellis photographs (see below).

 

Rennie Ellis. 'Confrontation, Gay Pride Week Picnic, Botanical Gardens' 1973

 

Rennie Ellis
Confrontation, Gay Pride Picnic, Botanic Gardens
1973
Selenium-toned gelatin silver print
22.8 x 34.3 cm
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the Rennie Ellis Photographic Archive (Melbourne)

 

Rennie Ellis. 'Drag queens and security guard' 1973

 

Rennie Ellis
Drag queens and security guard
1973
Selenium-toned gelatin silver print
30.0 x 44.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the Rennie Ellis Photographic Archive (Melbourne)

 

 

In 1973 the Australian Gay Liberation movement instigated a series of Gay Pride festivals in Adelaide, Brisbane, Melbourne and Sydney. This was a time when homosexual sex was classified as a criminal act across Australia, and the Gay Pride events sought to challenge these repressive laws and openly celebrate gay and lesbian culture in public spaces.

Rennie Ellis, one of the most prolific photojournalists of Australian society during the 1970s and 1980s, documented Melbourne’s Gay Pride Week with his characteristic warmth and candour. Commissioned to photograph the event for the National Review, Ellis captured everything from transgressive cross-dressers and camped up political banners to same-sex couples enjoying romantic interludes on the lawns of the Botanic Gardens.

Ellis made the only substantial visual record of Melbourne’s first gay and lesbian festival. These photographs show the importance of dress as a method for open expression of gay and queer identities. Since the making of these photographs, significant progress has been made on this issue, most notably with the Marriage Amendment (Definition and Religious Freedoms) Bill, 2017 providing equal rights to same sex couples. Continued work and education towards the eradication of discrimination on the basis of sexual orientation, however, remains imperative.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Derek O’Connor’s Untitled (1981-84) and at right, two photographs by Wesley Stacey, both Untitled (1973) from the series Friends

 

Derek O'Connor. 'Untitled' 1981-84

 

Derek O’Connor
Untitled
1981-84
From the series Amata
Image 2 of a series of 4
Gelatin silver print
50.8 x 61.2 cm
Monash Gallery of Art, City of Monash Collection acquired 2007
Courtesy of the artist

 

 

Derek O’Connor took this series of photographs in the early 1980s while he was living at Amata, an Aboriginal community situated in the Anangu Pitjantjatjara / Yankunyjatjara Lands in the far northwest of South Australia. They show a group of Aboriginal youths congregating around a campfire on the outskirts of the township, casually incorporating various elements of capitalist culture into their own communal space: second-hand ’70s clothing, a portable cassette player, a tin can with a Hans Heysen label, and petrol.

Photographs of this sort, which represent Aboriginal people as fringe-dwellers on the margins of White Australia, date back to the nineteenth century. Early examples of this genre typically cast Aboriginal people as a dying race, whose way of life was rapidly being undermined by the colonial regime. In O’Connor’s photographs, however, the Aboriginal youths personify a sense of persistent vitality, in spite of their circumstances. As O’Connor explains, ‘there is no self-pity or passive resignation in the way they face the camera. Their quiet defiance has a palpable sense of integrity.’

 

 

Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
Phone: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 12pm – 5pm
Mon/public holidays: closed

Monash Gallery of Art website

LIKE ART BLART ON FACEBOOK

Back to top

26
Apr
16

Exhibition: ‘Roger Ballen’s Theatre of the Mind’ at SCA Galleries, Sydney College of the Arts, Sydney

Exhibition dates: 16th March – 7th May 2016

 

Taken as a whole, the artist Roger Ballen’s body of work is exceptionally strong. From his early documentary series Dorps (1986) and Platteland (1996) which featured alienated and poverty poverty stricken whites in South Africa struggling with their place in the world after Apartheid; through my favourite series Outland (2001), Shadow Chamber (2005) and Boarding House (2009) which portrayed down and out whites on the fringe of South African society in a surrealist, performative art; to the more recent Animal Abstraction (2011), I Fink U Freeky (2013) and Asylum of the Birds (2014) … through each of these series you can trace the development of this preternatural artist, whose work seems to exist almost beyond nature itself.

The move from documentary photographer to director/collaborator/actor/observer was critical to the development of Ballen’s art. As the text on the Outland web page on Roger Ballen’s website states, “Where previously his pictures, however troubling, fell firmly into the category of documentary photography, these pictures move into the realms of fiction. Ballen’s characters act out dark and discomfiting tableaux, providing images which are exciting and disturbing in equal measure. One is forced to wonder whether they are exploited victims, colluding directly in their own ridicule, or newly empowered and active participants within the drama of their representation.” From the videos included in this posting, it is obvious that the latter statement is the correct interpretation. Through this thematic development, the viewer may come to understand the nature of the artist’s collaboration with the people, places and things that he photographs. The empathy that these photographs and videos evidence, the interchangeable director/actor roles, and the connection that he has with his subject matter gives insight into the compassion of this man. He never judges anyone. He accepts them for who they are and works with them to create these challenging art works.

Apparently these photographs, “have a singular ability to cause disquiet to the viewer.” Personally, they have never caused me disquiet for I find them quite fascinating. They follow on from a long line of photographers who have observed the marginalised in society, from the circus freak show photographs, through Diane Arbus and Arthur Tress (who also has a book called Theater of the Mind) to Joel Peter-Witkin and Roger Ballen. Much like the earlier Robert Frank’s seminal book The Americans, which featured an outsider photographing a world from a different point of view, Ballen moved to South Africa from America in 1982 and has never fully lost that outsider status. As John McDonald observes, “He has been there long enough to be an insider, but retains the probing eye of an outsider, able to see a side of life that native-born can’t see, or don’t wish to see.” And that is the point: all of these artists, with their probing eyes, can perceive difference and accept it on its own terms. They portray the world through a horizontal consciousness (an equal “living field” if you like), not a heirarchical system of privilege, power and control, where some are better, more worthy than others.

But what nature is he investigating? Is it human nature and its ability to survive under the most dire circumstances? Is it the nature of the relationship of the body to its environment, or the human to animals, or the relationship between our souls and our subconscious? It’s all of these and more. Ballen probes these nexus, the strands that connect and link our lives together: our dreams, nightmares and desires. His photographs act as a form of binding together, bringing the periphery of society into the centre (of attention). He creates an extant reality in which we are asked to question: how do we feel towards these people and how do we feel about our own lives?

He achieves this creation through the use of what I call “heightened awareness” – both situationally and subconsciously. Ballen is fully aware and receptive towards the conditions of his environment and his dreams. Instead of a desire to possess the object of his longing and then to be possessed by that desire (desire to possess / possessed by desire) Ballen has learnt, as Krishnamurti did, not to make images out of every word, out of every vision and desire. Ballen understands that he must be attentive to the clarity of not making images – of desire, of prejudice, of flattery – because only then might you become aware of the world that surrounds us, just for what it is and nothing more. He accepts what he can create and what is given to him by being fully aware. Then you are sensitive to every occasion, it brings its own right action.1 His images become a blend of the space of intimacy and world-space as he strains toward, “communion with the universe, in a word, space, the invisible space that man can live in nevertheless, and which surrounds him with countless presences.”2

His photographs become an enveloping phenomenon in which the viewer is draped in their affect… this ‘wearing of images’ is both magical and all encompassing.

We are the people in his pictures. We are their dreams.

Dr Marcus Bunyan for Art Blart

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

  1. Concepts from KrishnamurtiBeginnings of Learning. Harmondsworth: Penguin Books, 1978, pp. 130-131.
  2. Bachelard, Gaston. The Poetics of Space. (trans Maria Jolas). Boston: Beacon Press, 1994, p. xxxv.

 

 

“Archetypal levels of the deeper subconscious pervade my photographs… When I create my photographs I often travel deep into my own interior, a place where dreams and many of my images originate. I see my photographs as mirrors, reflectors, connectors into the mind… The light comes from the dark.”

 

“These pictures are a very complex way of seeing, a very complex way of viewing the world and you know perhaps this went back to the time I was in my mother’s stomach… I can’t really say what exactly is the primary cause of what I do.”

 

“So the thing is is my pictures, my better pictures or a lot of my pictures, embed themselves deeply in the subconscious, because the mind isn’t ready for those photographs, they don’t have any corresponding experience in some way or another, so the pictures tend to have more of an impact on the person’s deeper mind than something we would normally think of as disturbing because the pictures get into the mind. People aren’t used to having things get in there and stay in there and threaten their image of themselves in some way or another and so that’s why they call them disturbing, they’re not actually disturbing a better way of saying it is that if somebody has some kind of consciousness they’re actually enlightening.”

.
Roger Ballen

 

 

 

 

 

 

 

“His raw, black & white images are alluring, fascinating and disturbing. He is one of the most important and exciting photographers of the 21st century. The intriguing work of Roger Ballen is coming to Australia, to Sydney College of the Arts (SCA), this March in the artist’s first major Sydney exhibition. Staged to coincide with the 20th Biennale of Sydney, Roger Ballen’s Theatre of the Mind is a provocative exhibition of 75 contemporary works created by the artist over the last two decades.

Professor Colin Rhodes, Dean of the University of Sydney’s contemporary art school and curator of the exhibition, said: “For a long time Roger Ballen’s photography has trodden a path where others are too timid to tread, toying with our innermost dreams, nightmares and desires. The raw, atmospheric exhibition spaces at Sydney College of the Arts [the site of the former Rozelle Psychiatric Hospital] are the ideal setting to articulate this core aspect of Ballen’s work.”

Born in New York in 1950, Ballen has lived in Johannesburg since the 1970s. His work as a geologist took him across the countryside and led him to explore, through the camera lens, the smaller South African towns. His early photographs of the hidden lives of people living on the fringes of society made considerable impact, receiving acclaim from American writer and filmmaker Susan Sontag among others.

Through the medium of black and white photography, Ballen has achieved a unique integration of drawing, painting and installation that have been compared to the masters of art brut. His peculiar and somewhat shocking imagery confronts the viewer and drags them into the work. Viewers are participants in the work – not merely observers – taking them on a journey into the recesses of their minds, as Ballen explores his own.

Roger Ballen’s Theatre of the Mind consists of five sections that see people, birds, animal and inanimate subjects become the ‘cast’ in an exhibition that is hard-hitting, psychological theatre. The Sydney exhibition includes a new installation work created onsite at SCA by Ballen in response to the site’s mental health history, in the labyrinth of underground cells of the former Rozelle hospital.

The show includes Ballen’s award-winning music video ‘I Fink U Freeky’ (2012) by South African rap-rave group Die Antwoord, which has received over 76 million hits on YouTube and earned a cult following. In addition, the public will be able to access his equally remarkable video works Outland and Asylum of the Birds.

The worldwide impact of Ballen’s work was celebrated in major retrospective exhibition at Washington DC’s Smithsonian National Museum of African Art from 2013 to 2014. It was this exhibition that drove Rhodes’ interest to bring Ballen’s work to Australia.

“When I first saw Ballen’s work en masse, I was struck by the role of drawing in his photos and what seemed to me a relationship with Art Brut or Outsider Art. The artist’s interest in and knowledge of Outsider Art is a key part of understanding the growth of Ballen’s identity as an international artist,” said Professor Rhodes.

Roger Ballen will present a public talk in Sydney at SCA on 9 March, ahead of the official opening of his Sydney exhibition on Tuesday 15 March. Roger Ballen’s Theatre of the Mind is showing at SCA Galleries from 16 March to 7 May 2016. A 96-page book will accompany the exhibition featuring Ballen’s photography and an essay by Professor Rhodes.”

Press release from SCA Galleries

 

Roger Ballen. 'Caged' 2011

 

Roger Ballen
Caged
2011
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Bewitched' 2012

 

Roger Ballen
Bewitched
2012
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Untitled' 2015

 

Roger Ballen
Untitled
2015
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Twirling Wires' 2001

 

Roger Ballen
Twirling Wires
2001
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Mirrored' 2012

 

Roger Ballen
Mirrored
2012
Image courtesy of the artist and Stills Gallery

 

 

“Ballen has no qualms about creating dramatic scenarios in his search for “archetypal” symbols that speak to the viewer’s subconscious. He began as a documentary photographer but over the years his pictures have become filled with drawings, paintings and sculptural brac-a-brac, created by the artist himself, or by his subjects. In works such as Collision (2005) or Deathbed (2010), there are no figures, but the human presence is implied by a face drawn on a pillow or the broken head of a doll. The walls in both photos are covered in crude drawings and dirty marks – signs of previous occupation…

[Ballen] argues that these images are primarily psychological, not sociological. He wants to address that deep, dark part of the mind that Freud called “the Id”. As a concept it’s more poetic than biological – a shared repositary of instinctive drives that remains buried under the trappings of civilisation…

Despite the extreme nature of her work, Diane Arbus remained within the documentary tradition, whereas a figure such as Joel-Peter Witkin constructs his own theatrical tableaux in the studio. Ballen’s work is somewhere between these two poles. The subjects of his photographs are society’s misfits, but his approach is shamelessly theatrical. His figures are not posing passively, they are collaborating with someone who has won their trust, creating a form of ad hoc performance art in bare, filthy rooms…

It’s more interesting to ask what Ballen feels when he enters such environments. To take these photos he has immersed himself in a world of violence and madness. If he has built up a rapport with his subjects it is by treating them not as freaks, but as people with their own sense of dignity. He refuses to buy into conventional distinctions about what is normal and abnormal, presumably as a legacy of his early exposure to the counterculture and the anti-psychiatry movement.”

John McDonald. “Roger Ballen,” on the John McDonald website April 7, 2016 [Online] Cited 25/04/2016

 

Roger Ballen. 'Lunchtime' 2001

 

Roger Ballen
Lunchtime
2001
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Take off' 2012

 

Roger Ballen
Take off
2012
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Cat and Mouse' 2001

 

Roger Ballen
Cat and Mouse
2001
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'School Room' 2003

 

Roger Ballen
School Room
2003
Image courtesy of the artist and Stills Gallery

 

Roger Ballen. 'Portrait of sleeping girl' 2000

 

Roger Ballen
Portrait of sleeping girl
2000

 

Roger Ballen. 'Deathbed' 2010

 

Roger Ballen
Deathbed
2010

 

Roger Ballen. 'Three hands' 2006

 

Roger Ballen
Three hands
2006

 

Roger Ballen. 'Head inside shirt' 2001

 

Roger Ballen
Head inside shirt
2001

 

 

SCA Galleries
Sydney College of the Arts (University of Sydney)
Kirkbride Way, off Balmain Road, Lilyfield (enter opposite Cecily Street)
Tel: +61 2 9351 1008

Opening hours:
Monday to Friday, 11am – 5pm
Saturday, 11am – 4pm (during exhibitions)

SCA Galleries website

LIKE ART BLART ON FACEBOOK

Back to top

23
Nov
14

Review: ‘Polixeni Papapetrou: Lost Psyche’ at Stills Gallery, Sydney

Exhibition dates: 29th October – 29th November 2014

 

 

“Art does not reproduce the visible; rather, it makes visible.”

.
Paul Klee. Creative Credo [Schöpferische Konfession] 1920

 

When “facing” adversity, it is a measure of a person’s character how they hold themselves, what face they show to the world, and how their art represents them in that world. So it is with Polixeni Papapetrou. The courage of this artist, her consistency of vision and insightful commentary on life even while life itself is in the balance, are inspiring to all those that know her.

Papapetrou has always created her own language, integrating the temporal dissemination of the historical “case” into a two-dimensional space of simultaneity and tabulation (the various archetypes and ancient characters), into an outline against a ground of Cartesian coordinates.1 In her construction, in her observation and under her act of surveillance, Papapetrou moves towards a well-made description of the states of the body in the tables and classification of the psychological landscape. Her tableaux (the French tableau signifies painting and scene (as in tableau vivant), but also table (as in a table used to organize data)) are a classification and tabulation that is an exact “portrait” of “the” illness, the lost psyche of the title. Her images lay out, in a very visible way, the double makeover: of the outer and inner landscape.

These narratives are above all self-portraits. The idea that image, archetype and artist might somehow be one and the same is a potent idea in Papapetrou’s work. What is “rendered” visible in her art is her own spirit, for these visionary works are nothing less than concise, intimate, focused self-portraits. They speak through the mask of the commedia dell’ arte of a face half turned to the world, half immersed in imaginary worlds. The double skin (as though human soul, the psyche, is erupting from within, forcing a face-off) and triple skin (evidenced in the lack of depth of field of the landscape tableaux) propose an opening up, a revealing of self in which the anatomy (anatemnein: to tear, to open a body, to dissect) of the living is revealed. The images become an autopsy on the living and the dead: “a series of images, that would crystallize and memorize for everyone the whole time of an inquiry and, beyond that, the time of a history.”2

Papapetrou’s images become the “true retina” of seeing, close to a scientific description of a character placed on a two dimensional background (notice how the stylised clouds in The Antiquarian, 2014 match the fur hat trim). In the sense of evidence, the artist’s archetypes proffer a Type that is balanced on the edge of longing, poetry, desire and death, one that the objectivity of photography seeks to fix and stabilise. These images serve the fantasy of a memory: of a masked archetype in a made over landscape captured “exact and sincere” by the apparatus of the camera. A faithful memory of a tableau in which Type is condensed into a unique image: the visage fixed to the regime of representation,3 the universal become singular. This Type is named through the incorporated Text, the Legend: I am Day Dreamer, Immigrant, Merchant, Poet, Storyteller.

But even as these photographs seek to fix the Type, “even as the object of knowledge is photographically detained for observation, fixed to objectivity,”4 the paradox is that this kind of knowledge slips away from itself, because photography is always an uncertain technique, unstable and chaotic, as ever the psyche. In the cutting-up of bodies, cutting-up on stage, a staging aimed at knowledge – the facticity of the masked, obscured, erupting face; the corporeal surface of the body, landscape, photograph – the image makes visible something of the movements of the soul. In these heterotopic images, sites that relate to more stable sites, “but in such a way as to suspect, neutralize, or invert the set of relations that they happen to designate, mirror or reflect,”5 Papapetrou’s psyche, “creates the chain of tradition which passes a happening on from generation to generation.”6 In her commedia dell’ arte, an improvised comedy of craft, of artisans (a worker in a skilled trade), the artist fashions the raw material of experience in a unique way.7 We, the audience, intuitively recognise the type of person being represented in the story, through their half masks, their clothing and context and through the skilful dissemination of collective memory and experience.

Through her storytelling Papapetrou moves towards a social and spiritual transformation, one that unhinges the lost psyche. Her landscape narratives are a narrative of a recognisable, challenging, unstable non-linear art, an art practice that embraces “the speculative mystery of ancient roles…  They’re all souls with divided emotions, torn between dream and reality, who like us, converge on the collective stage that is the world.” They are archetype as self-portrait: portraits of a searching, erupting, questioning soul, brave and courageous in a time of peril. And the work is for the children (of the world), for without art and family, extinction.

Dr Marcus Bunyan for the Art Blart blog

 

Footnotes

1. Adapted from Didi-Huberman, Georges. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpetriere (trans. Alisa Hartz). Cambridge, Mass.: MIT Press, 2003, p. 24-25. I am indebted to the ideas of Georges Didi-Huberman for his analysis of the ‘facies’ and the experiments of Jean-Martin Charcot on hysteria at the Hôpital Salpêtrière in Paris in the 1880s.
2.
Ibid., p. 48
3. Ibid., p. 49
4. Ibid., p. 59
5. Foucault, Michel. “Of Other Spaces,” in Diacritics Spring 1986, p. 24 quoted in Fisher, Jean. “Witness for the Prosecution: The Writings of Coco Fusco,” in Fusco, Coco. The Bodies That Were Not Ours. London: Routledge, 2001, pp. 226-227
6. Fisher, Ibid., p. 227-228
7. “One can go on and ask oneself whether the relationship of the storyteller to his material, human life, is not in itself a craftsman’s relationship, whether it is not his very task to fashion the raw material of experience, his own and that of others, in a solid, useful, and unique way.”
Benjamin
, Walter. Illuminations (trans. by Harry Zohn; edited by Hannah Arendt). New York: Schocken Books, 1968 (2007), p. 108

 

Many thankx to Polixeni Papapetrou and Stills Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images copyright of the artist.

 

 

“For her, history indicates a view of culture that is more congruent with mortality, with the biological swell of great things arising and perishing, brilliant and melancholy, august and yet brittle. Without judgement, she reorients history as phenomenology: it contains a bracing dimension of loss which is congruent with that fatal sentiment lodged in our unconscious, that our very being – our psyche – is ultimately lost…

Lost Psyche is always about lost cultural innocence, where culture gets too smart and ends by messing with an earlier equilibrium. Papapetrou identifies these moments not to promote gloom but to recognize all the parallels that make for redemption. Parts of the psyche are undoubtedly lost; but Papapetrou proposes and proves that they can still be poetically contacted.”

.
Robert Nelson 2014

 

 

Polixeni Papapetrou. 'The Day Dreamer' 2014

 

Polixeni Papapetrou
The Day Dreamer
2014
Pigment print
100 x 150 cm

 

Polixeni Papapetrou. 'The Immigrant' 2014

 

Polixeni Papapetrou
The Immigrant
2014
Pigment print
100 x 150 cm

 

Polixeni Papapetrou. 'The Merchant' 2014

 

Polixeni Papapetrou
The Merchant
2014
Pigment print
100 x 150 cm

 

Polixeni Papapetrou. 'The Orientalist' 2014

 

Polixeni Papapetrou
The Orientalist
2014
Pigment print
100 x 150 cm

 

Polixeni Papapetrou. 'The Poet' 2014

 

Polixeni Papapetrou
The Poet
2014
Pigment print
100 x 150 cm

 

Polixeni Papapetrou. 'The Storyteller' 2014

 

Polixeni Papapetrou
The Storyteller
2014
Pigment print
100 x 150 cm

 

 

“In Lost Psyche, Polixeni Papapetrou portrays emblematic figures that have come to the end of their tradition, their rationale, their place in the world. These intriguing and charismatic characters – the poet, the tourist, the immigrant, among others – bring to life antique Victorian paper masks. Yet, despite being cast beyond our immediate reality, their costumes harking back to earlier times, their settings to fantastical places, these archetypal figures live on in the cultural imagination.

Internationally celebrated for an oeuvre that has consistently tested the boundaries of performance and photography, reality and fantasy, childhood and adulthood, Lost Psyche marks a significant return for Papapetrou. Having extensively explored the Australian landscape as a stage for her photographic fictions, and working in response to the natural and historical dramas of our country, this series takes us back into her studio and the expansive scope of imaginary worlds.

Expressive, luscious and knowingly naïve, the painted backdrops bring to mind the simple seduction of children’s storybooks. At the same time, they reference the painting heavyweights and photographic forerunners that are celebrated within art history. Papapetrou’s image The Duchess, for instance, echoes Goya’s commanding oil painting of the Duchess of Alba (1797). Yet, in this newly imagined version, the ‘role’ of Duchess is playfully acted not endured, and like the melodrama of theatre, the dark sky and downcast actor are softened to become illustrative and symbolic – a scene in a universal story. So too, The Orientalist evokes Felix Beato’s 19th Century photographic forays in Japan, recalling his hand-colouring techniques and depictions of social ‘types’.

Consciously foregrounding this ever-present potential for art to present stereotyped representations, Papapetrou reminds us how these social roles and ‘masks’ play out within our souls and psyche’s just as they do on the cultural stage. As a metaphor for the loss of childhood, a time in which we openly switch between characters, identities and roles, this work evokes the persistence of that imagination, as it lives on within the adult world.

In Lost Psyche, the speculative mystery of ancient roles enjoys a fantastical and touching afterlife. In the contemporary world we may also entertain the inner poet, the storyteller, the clown, the connoisseur, the courtesan, the day dreamer or the dispossessed. They’re all souls with divided emotions, torn between dream and reality, who like us, converge on the collective stage that is the world.

Polixeni Papapetrou is an internationally acclaimed artist. Her works feature in significant curated exhibitions, including recently the 13th Dong Gang International Photo Festival, Korea, the TarraWarra Biennale, VIC, Remain in Light, Museum of Contemporary Art, and Melbourne Now, National Gallery of Victoria. She exhibits worldwide, including in Paris, New York, Tokyo, Seoul, Athens and Berlin. Recent solo exhibitions include Under My Skin, Northern Centre for Contemporary Art, 2014, Between Worlds in Fotogràfica Bogotá, 2013, and A Performative Paradox, Centre for Contemporary Photography, 2013. Her work is held in numerous institutional collections, including the National Gallery of Australia, National Gallery of Victoria, Museum of Contemporary Art Australia, Monash Gallery of Art, Artbank, Fotomuseo, Colombia, and the Museum of Fine Arts, Florida, USA.”

Press release from Stills Gallery

 

Polixeni Papapetrou. 'The Antiquarian' 2014

 

Polixeni Papapetrou
The Antiquarian
2014
Pigment print
150 x 100 cm

 

Polixeni Papapetrou. 'The Duchess' 2014

 

Polixeni Papapetrou
The Duchess
2014
Pigment print
150 x 100 cm

 

Polixeni Papapetrou. 'The Summer Clown' 2014

 

Polixeni Papapetrou
The Summer Clown
2014
Pigment print
150 x 100 cm

 

Polixeni Papapetrou. 'The Troubadour' 2014

 

Polixeni Papapetrou
The Troubadour
2014
Pigment print
150 x 100 cm

 

 

Stills Gallery
36 Gosbell Street
Paddington NSW 2021
Australia
T: 61 2 9331 7775

Opening hours:
Tuesday – Saturday 11.00 am – 6.00 pm

Stills Gallery website

LIKE ART BLART ON FACEBOOK

Back to top

02
Oct
14

Exhibition: ‘A World of Its Own: Photographic Practices in the Studio’ at the Museum of Modern Art (MoMA), New York Part 1

Exhibition dates: 8th February – 2nd November 2014

The Edward Steichen Photography Galleries, third floor

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

 

A bumper two part posting on this fascinating, multi-dimensional subject: photographic practices in the studio, which may be a stage, a laboratory, or a playground. The exhibition occupies all MoMA’s six photography galleries, each gallery with its own sub theme, namely, Surveying the Studio, The Studio as Stage, The Studio as Set, A Neutral Space, Virtual Spaces and The Studio, from Laboratory to Playground.

The review of this exhibition “When a Form Is Given Its Room to Play” by Roberta Smith on the New York Times website (6th February 2014) damns with faint praise. The show is a “fabulous yet irritating survey” which “dazzles but often seems slow and repetitive.” Smith then goes on to list the usual suspects: “And so we get professional portraitists, commercial photographers, lovers of still life, darkroom experimenters, artists documenting performances and a few generations of postmodernists, dead and alive, known and not so, exploring the ways and means of the medium. This adds up to plenty to see: around 180 images from the 1850s to the present by some 90 photographers and artists. The usual suspects here range from Julia Margaret Cameron to Thomas Ruff, with Laszlo Moholy-Nagy, Lucas Samaras, John Divola and Barbara Kasten in between.” There are a few less familiar and postmodern artists thrown in for good measure, but all is “dominated by black-and-white images in an age when colour reigns.” The reviewer then rightly notes the paucity of “postmodern photography of the 1980s, much of it made by women, that did a lot to reorient contemporary photo artists to the studio. It is a little startling for an exhibition that includes so many younger artists dealing with the artifice of the photograph (Ms. Belin, for example) to represent the Pictures Generation artists with only Cindy Sherman, James Casebere and (in collaboration with Allan McCollum) Laurie Simmons” before finishing on a positive note (I think!), noting that the curators “had aimed for a satisfying viewing experience, which, these days, is something to be grateful for.”


SOMETHING TO BE GRATEFUL FOR… OH, TO BE SO LUCKY IN AUSTRALIA!

Just to have the opportunity to view an exhibition of this quality, depth and breadth of concept would be an amazing thing. Even a third of the number of photographs (say 60 works) that address this subject at any one of the major institutions around Australia would be fantastic but, of that, there is not a hope in hell.

Think Marcus, think… when was the last major exhibition, I mean LARGE exhibition, at a public institution in Australia that actually addressed specific ISSUES and CONCEPTS in photography (such as this), not just putting on monocular exhibitions about an artists work or exhibitions about a regions photographs? Ah, well… you know, I can’t really remember. Perhaps the American Dreams exhibition at Bendigo Art Gallery, but that was a GENERAL exhibition about 20th century photography with no strong investigative conceptual theme and its was imported from George Eastman House.

Here in Australia, all we can do is look from afar, purchase the catalogue and wonder wistfully what the exhibition actually looks like and what we are missing out on. MoMA sent me just 10 images media images. I have spent hours scouring the Internet for other images to fill the void of knowledge and vision (and then cleaning those sometimes degraded images), so that those of us not privileged enough to be able to visit New York may gain a more comprehensive understanding of what this exhibition, and this multi-faceted dimension of photography, is all about. It’s a pity that our venerable institutions and the photography curators in them seem to have had a paucity of ideas when it comes to expounding interesting critiques of the medium over the last twenty years or so. What a missed opportunity.

Dr Marcus Bunyan for the Art Blart blog

.
Many thankx to MoMA for allowing me to publish six of the photographs in the posting. The rest of the images were sourced from the Internet. Please click on the photographs for a larger version of the image.

 

 

Surveying the Studio

Bruce Nauman (American, born 1941) 'Composite Photo of Two Messes on the Studio Floor' 1967

 

Bruce Nauman (American, born 1941)
Composite Photo of Two Messes on the Studio Floor 
1967
Gelatin silver print
40 1/2″ x 10′ 3″ (102.9 x 312.4 cm)
Gift of Philip Johnson

 

Uta Barth (American, born 1958) 'Sundial (07.13)' 2007

 

Uta Barth (American, born 1958)
Sundial (07.13)
2007
Chromogenic color prints
each 30 x 28 1/4″ (76.2 x 71.8 cm)
The Photography Council Fund

 

Geta Brâtescu (Romanian, born 1926) 'The Studio. Invocation of the Drawing' (L'Atelier. Invocarea desenului) 1979

 

Geta Brâtescu (Romanian, born 1926)
The Studio. Invocation of the Drawing (L’Atelier. Invocarea desenului)
1979
Gelatin silver prints with tempera on paper
33 1/16 x 27 9/16″ (84 x 70 cm)
Modern Women’s Fund

 

Man Ray (American, 1890-1976) 'Laboratory of the Future' 1935

 

Man Ray (American, 1890-1976)
Laboratory of the Future
1935
Gelatin silver print
9 1/16 x 7″ (23.1 x 17.8 cm)
Gift of James Johnson Sweeney

 

Charles Sheeler (American, 1883-1965) 'Cactus and Photographer's Lamp, New York' 1931

 

Charles Sheeler (American, 1883-1965)
Cactus and Photographer’s Lamp, New York
1931
Gelatin silver print
9 1/2 x 6 5/8″ (23.5 x 16.6 cm)
Gift of Samuel M. Kootz

 

 

“Bringing together photographs, films, videos, and works in other mediums, A World of Its Own: Photographic Practices in the Studio examines the ways in which photographers and artists using photography have worked and experimented within the four walls of the studio space, from photography’s inception to today. Featuring both new acquisitions and works from the Museum’s collection that have not been on view in recent years, A World of Its Own includes approximately 180 works, by approximately 90 artists, such as Berenice Abbott, Uta Barth, Zeke Berman, Karl Blossfeldt, Constantin Brancusi, Geta Brătescu, Harry Callahan, Robert Frank, Jan Groover, Barbara Kasten, Man Ray, Bruce Nauman, Paul Outerbridge, Irving Penn, Adrian Piper, Edward Steichen, William Wegman, and Edward Weston.

The exhibition considers the various roles played by the photographer’s studio as an autonomous space; depending on the time period, context, and the individual motivations (commercial, artistic, scientific) and sensibilities of the photographer, the studio may be a stage, a laboratory, or a playground. Organized thematically, the display unfolds in multiple chapters. Throughout the 20th century, artists have explored their studio spaces using photography, from the use of composed theatrical tableaux (in photographs by Julia Margaret Cameron or Cindy Sherman) to neutral, blank backdrops (Richard Avedon, Robert Mapplethorpe); from the construction of architectural sets within the studio space (Francis Bruguière, Thomas Demand) to chemical procedures conducted within the darkroom (Walead Beshty, Christian Marclay); and from precise recordings of time and motion (Eadweard Muybridge, Dr. Harold E. Edgerton) to amateurish or playful experimentation (Roman Signer, Peter Fischli/David Weiss). A World of Its Own offers another history of photography, a photography created within the walls of the studio, and yet as groundbreaking and inventive as its seemingly more extroverted counterpart, street photography.”

Text from the MoMA website

 

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

1. Surveying the Studio

2. The Studio as Stage

3. The Studio as Set

4. A Neutral Space

5. Virtual Spaces

6. The Studio, from Laboratory to Playground

 

The Studio as Stage

George Platt Lynes (American, 1907-1955) 'Untitled' 1941

 

George Platt Lynes (American, 1907-1955)
Untitled
1941
Gelatin silver print
7 5/8 x 9 5/8″ (19.2 x 24.4 cm)
Anonymous gift

 

Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71

 

Lucas Samaras (American, born Greece 1936)
Auto Polaroid
1969-71
Eighteen black-and-white instant prints (Polapan), with hand-applied ink
each 3 3/4 x 2 15/16″ (9.5 x 7.4 cm)
overall 14 5/8 x 24″ (37.2 x 61 cm)
Gift of Robert and Gayle Greenhill

 

Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71 (detail)

Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71 (detail)

Lucas Samaras (American, born Greece 1936) 'Auto Polaroid' 1969-71 (detail)

 

Lucas Samaras (American, born Greece 1936)
Auto Polaroid (details)
1969-71
Eighteen black-and-white instant prints (Polapan), with hand-applied ink
each 3 3/4 x 2 15/16″ (9.5 x 7.4 cm)
overall 14 5/8 x 24″ (37.2 x 61 cm)
Gift of Robert and Gayle Greenhill

 

Julia Margaret Cameron (British, 1815-1879) 'Madonna with Children' 1864

 

Julia Margaret Cameron (British, 1815-1879)
Madonna with Children
1864
Albumen silver print
10 1/2 x 8 5/8″ (26.7 x 21.9 cm)
Gift of Shirley C. Burden

 

Julia Margaret Cameron (British, 1815-1879) 'Untitled (Mary Ryan?)' c. 1867

 

Julia Margaret Cameron (British, 1815-1879)
Untitled (Mary Ryan?)
c. 1867
Albumen silver print
13 3/16 x 11″ (33.5 x 27.9 cm)
Gift of Shirley C. Burden

 

Nadar (Gaspard-Félix Tournachon) (French, 1820-1910) Adrien Tournachon (French, 1825-1903) 'Pierrot Surprised' 1854-55

 

Nadar (Gaspard-Félix Tournachon) (French, 1820-1910)
Adrien Tournachon (French, 1825-1903)
Pierrot Surprised
1854-55
Albumen silver print
11 1/4 x 8 3/16″ (28.6 x 20.8 cm)
Suzanne Winsberg Collection. Gift of Suzanne Winsberg

 

Maurice Tabard (French, 1897-1984) 'Untitled' 1929

 

Maurice Tabard (French, 1897-1984)
Untitled
1929
Gelatin silver print
6 9/16 x 6 1/2″ (16.7 x 16.5 cm)
Gift of Robert Shapazian

 

Edward Steichen (American, born Luxembourg. 1879-1973) 'Anna May Wong' 1930

 

Edward Steichen (American, born Luxembourg. 1879-1973)
Anna May Wong
1930
Gelatin silver print
16 9/16 x 13 7/16″ (42.1 x 34.1 cm)
Gift of the artist

 

Cindy Sherman (American, born 1954) 'Untitled #131' 1983

 

Cindy Sherman (American, born 1954)
Untitled #131
1983
Chromogenic color print
35 x 16 1/2″ (89 x 41.9 cm)
Joel and Anne Ehrenkranz Fund

 

The Studio as Set

Barbara Kasten (American, born 1936) 'Construct I-F' 1979

 

Barbara Kasten (American, born 1936)
Construct I-F
1979
Color instant print (Polaroid Polacolor)
9 1/2 x 7 1/2″ (24.0 x 19.0 cm)
Acquired through the generosity of Wendy Larsen

 

Barbara Kasten (American, born 1936) 'Construct NYC 17' 1984

 

Barbara Kasten (American, born 1936)
Construct NYC 17
1984
Silver dye bleach print
29 3/8 x 37 1/16″ (74.7 x 94.1 cm)
Gift of Foster Goldstrom

 

James Casebere (American, born 1953) 'Subdivision with Spotlight' 1982

 

James Casebere (American, born 1953)
Subdivision with Spotlight
1982
Gelatin silver print
14 13/16 x 18 15/16″ (37.6 x 48.1 cm)
Purchase

 

Francis Bruguière (American, 1879-1945) 'Light Abstraction' c. 1925

 

Francis Bruguière (American, 1879-1945)
Light Abstraction
c. 1925
Gelatin silver print
9 15/16 x 7 15/16″ (25.2 x 20.2 cm)
Gift of Arnold Newman

 

Paul Outerbridge (American, 1896-1958) 'Images de Deauville' 1936

 

Paul Outerbridge (American, 1896-1958)
Images de Deauville
1936
Tri-color carbro print
15 3/4 x 12 1/4″ (40 x 31.1 cm)
Gift of Mrs. Ralph Seward Allen

 

Elad Lassry (Israeli, born 1977) 'Nailpolish' 2009

 

Elad Lassry (Israeli, born 1977)
Nailpolish
2009
Chromogenic color print
14 1/2 x 11 1/2″ (36.8 x 29.2 cm)
Fund for the Twenty-First Century

 

 

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

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

MoMA website

LIKE ART BLART ON FACEBOOK

Back to top

06
Sep
13

Review: ‘Ian Strange: SUBURBAN’ at NGV Studio, Melbourne

Exhibition dates: 27th July – 15th September 2013

.

It is disappointing when you invite friends from Melbourne and interstate to an opening and one of them turns to you and says, “Well, what was all the fuss about?” The trick is to go with no expectation and you will never be disappointed and may even be pleasantly surprised. Unfortunately, not in this case.

Despite all the years, not to mention money, that have gone into the Crewdson-esque production of this small body of work, what emerges in my mind at least are three interesting and beautiful images (a ying / yang black circle / white circle and a red painted house) and not much else. The three images are outstanding in their psychological excoriation of suburban belonging. Through use of colour and form the images interrogate a sense of home, place, identity and ‘fitting in’ that suburbia promotes, though under the surface there bubbles away the heart of the malcontent (the film American Beauty is a perfect example of this paradigm). In their Zen-like intensity these are incisive, insightful images.

And that’s it. The rest of the exhibition is stocking-filled with a couple more images that don’t really work, a series of stills of a house being set on fire from a film of the same thing. The photos and film of the house being set on fire mean nothing, take me nowhere.* In a word this exhibition is ‘THIN’ to say the least.

While the NGV is to be congratulated for promoting contemporary art, including street art, there has to be at least some basis of depth to an artist’s work, not just the fact that they are “now a noted contemporary artist with a developing international standing.” This is not enough. When you really look at this work it is obvious it needs more matter, more substance. Like a house of cards its foundation is built on shifting sands, foundations that need time to develop and solidify, thoughts that needed greater time to be delineated and teased out. There is no rush with this kind of investigation and that’s what it feels like here – an interesting idea, painted over, over produced and not fully developed to the point where it becomes unmissable, unmistakable.

.
Dr Marcus Bunyan for the Art Blart blog

* Look no further than Gregory Crewdson’s Untitled (House Fire) from the series ‘Beneath the Roses’ (2004), for the use of a burning building to create an interesting narrative about hope and despair in suburbia.

.
Many thankx to the National Gallery of Victoria for allowing me to publish some of the photographs in the posting. All the installation photographs © Marcus Bunyan. Please click on the photographs for a larger version of the image.

.

.

Ian Strange. 'Corrine Terrace' 2011

.

Ian Strange
Corrine Terrace
2011
Archival digital print
Collection of the artist, New York
© Ian Strange

.

Installation photograph of Ian Strange 'Corrine Terrace' 2011 taken at the opening of the exhibition © Marcus Bunyan

.

Installation photograph of Ian Strange Corrine Terrace 2011 taken at the opening of the exhibition
© Marcus Bunyan

.

Ian Strange. 'Lake Road' 2012

.

Ian Strange
Lake Road
2012
Archival digital print
© Ian Strange 2013

.

Ian Strange. 'Lake Road' (detail) 2012

.

Ian Strange
Lake Road (detail)
2012
Archival digital print
© Ian Strange 2013

.

.

“The remarkable work of New York-based Australian artist Ian Strange will take centre stage at NGV Studio from 27 July. Suburban is the culmination of Strange travelling for two and a half years through neighbourhoods in the US. Working on a massive scale across key cities, Strange painted directly on to the surfaces and facades of suburban homes, and in some cases burnt them to the ground, to create a moving statement around Western ideas of home.

These unique interventions staged across the cities of Ohio, Detroit, Alabama, New Jersey, New York and New Hampshire were documented with a film crew and volunteers and will be shared at NGV Studio as part of Strange’s multifaceted photographic, film and installation work.

Cinematic in both tone and scale, Suburban investigates the iconography surrounding the family home and its place in the current economic climate. Through the work, Strange articulates his own conflicted relationship with suburbia he experienced growing up in the Australian suburbs, juxtaposed with living in New York City and the United States. Strange’s exploration of suburban experience articulates a distinctively Australian sensibility to a global audience.

David Hurlston, Curator of Australian Art, NGV, said that Strange was fast becoming recognised, both locally and internationally, for his distinctive practice and, in particular, for this new and unique body of work.

“We are excited to be able to present this ground-breaking exhibition of work by Ian Strange. From his early work as a street artist in Australia he is now a noted contemporary artist with a developing international standing. Strange is one of the most exciting young artists to have emerged from the street art genre in recent times,” Mr Hurlston said.

Suburban considers the status of the family home in the United States and Australia through nine large-scale photographic works and a dramatic multi-channel, surround sound video installation. Carefully selected fragments of the original houses will also be on display in the exhibition as both sculptural objects and social artefacts. Exhibiting artist Ian Strange said that Suburban was a culmination of more than two years’ work.

“This project has been all consuming for the past two and a half years of my life. I wanted to create a body of work that reacted to the icon of the suburban home and to the suburbs as a whole. The suburbs have played an important role in shaping who I am as a person and an artist. The suburbs have always been home, but I have always found suburbia isolating. Suburban is my reaction to that,” Mr Strange said.

Strange’s early artistic career evolved as a teenager growing up in the suburbs of Perth. Here he took on the name Kid-Zoom and from the late 1990s played an active role in Australia’s street art movement. After relocating to New York in 2010 under the mentorship of Ron English, he participated in the now legendary underground exhibition The Underbelly Project, before his first solo exhibition and pop-up show in the Meatpacking district, This City Will Eat Me Alive, which generated critical acclaim and attention from the art world.  Now an internationally recognised artist living between the United States and Australia, Strange has more recently been exploring the notion of home and identity and exhibited in the inaugural Outpost Street Art Festival on Sydney Harbour’s Cockatoo Island with his work Home, a full-scale replication of his childhood house installed in the Turbine Hall.”

Press release from the National Gallery of Victoria

.

Ian Strange. 'Harvard St' 2012

.

Ian Strange
Harvard St
2012
Archival digital print
Collection of the artist, New York
© Ian Strange

.

Ian Strange. 'Harvard St' (detail) 2012

.

Ian Strange
Harvard St (detail)
2012 
Archival digital print
Collection of the artist, New York
© Ian Strange

.

Installation photograph of Ian Strange 'Harvard St' 2012 taken at the opening of the exhibition © Marcus Bunyan

.

Installation photograph of Ian Strange Harvard St 2012 taken at the opening of the exhibition
© Marcus Bunyan

.

On location in Detroit, July 2012

.

On location in Detroit, July 2012
Photo: Jedda Andrews

.

Graffiti crosses the picket line

Dan Rule

“Indeed, the works that populate the exhibition hardly fit the stylised representational or textual archetypes that have come to typify graffiti and street art. In this series, average suburban homes are immersed in monochrome-painted gestures and motifs or, in one case, flames. But while they bear a resemblance to impulse vandalism, their effect is allegorical rather than literal. In one work, a home in a Detroit street bears a bold, blood-red ”X”, which could be read as a metaphor for the wave of loan foreclosures and socio-economic turmoil that has supplanted the city’s suburban dream. Another residence is coated in black paint but for an unpainted circular vacuum, a window into the psychological and emotional underpinnings behind the ideal of the weatherboard home on the spacious block.

And that’s precisely the level on which Strange sees the work operating. ”There are some very strong political implications for this work … and I definitely acknowledge that,” he says. ”But I was really careful not to make works that were just about these broken-down suburbs and this ‘ruin porn’ thing. I know that in Detroit they’re really sensitive about that kind of thing, and we were really aware of keeping this project focused on the idea of being a reaction to the icon of the house in the suburbs, rather than a reaction to some of those socio-economic factors.”

Excerpt from the article, July 20, 2013 on The Age website

.

Ian Strange Film still from 'SUBURBAN'

.

Ian Strange
Film still from SUBURBAN
© Ian Strange 2013

.

Installation photograph of Ian Strange film still from 'SUBURBAN' © Marcus Bunyan

.

Installation photograph of Ian Strange film still from SUBURBAN
© Marcus Bunyan

.

Installation photograph of Ian Strange film stills from 'SUBURBAN' © Marcus Bunyan

.

Installation photograph of Ian Strange film stills from SUBURBAN
© Marcus Bunyan

.

.

NGV Studio
The Ian Potter Centre: NGV Australia, Federation Square

Opening hours:
Daily 10 am – 5 pm

National Gallery of Victoria website

LIKE ART BLART ON FACEBOOK

Back to top

25
Aug
13

Exhibition: ‘Lorna Simpson’ at Jeu de Paume, Paris

Exhibition dates: 28th May – 1st September 2013

.

Fascinating practice!

Identity, memory, gender, representation, the body, the subject, felt, text, images, video, gesture, reenactment, concept and performance, all woven together seamlessly like a good wig made of human hair…

Marcus

.

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

.

.

Lorna Simpson. 'Five Day Forecast [Prévisions à cinq jours]' 1988

.

Lorna Simpson
Five Day Forecast [Prévisions à cinq jours]
1988
5 gelatin silver prints in a frame, 15 plates engraved plastic
24 ½ x 97 in (62.2 x 246.4 cm) overall
Lillian and Billy Mauer Collection
© Lorna Simpson

.

Lorna Simpson. 'Stereo Styles [Styles stéréo]' 1988

.

Lorna Simpson
Stereo Styles [Styles stéréo]
1988
10 dye-diffusion black-and-white Polaroid prints, 10 engraved plastic plaques
57 ¾ x 125 ¼ x 1 3/8 in (146.7 x 318.1 x 3.5 cm) overall
Collection of Melva Bucksbaum and Raymond Learsy
© Lorna Simpson

.

Lorna Simpson. 'Wigs II' 1994-2006

.

Lorna Simpson
Wigs II
1994-2006
Serigraph on 71 felt panels (images and text)
98 x 265 in (248.9 x 673.1 cm) overall
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

.
Lorna Simpson surprised her audiences in 1994 when she began to print her photographs on felt, inspired by its materiality after seeing an exhibition of the sculpture of Joseph Beuys in Paris “where the piano and walls were covered for a beautiful installation.” Simpson questioned whether the medium might be appropriate in a far different way for her work given the perspective afforded her by the passage of time. With the felt pieces, Simpson turned away from photography’s traditional paper support, magnified the already larger-than-life-size of the images within her large photo-text pieces to extremely large-scale multi-part works, and, most critically, absented the figure, in particular, the black woman in a white shift facing away from the camera for which she had received critical acclaim.

Ever-present, nevertheless, were her thematic concerns. The first felts offered surrogates for the body in  a taxonomy of her own photographs of Wigs, with voicings “in and around gender,” and expanded upon the investigation of the role of coiffure in the construction of identity in Simpson’s photo-texts (such as Stereo Styles, Gallery 1). In the mid-1990s, such felts were succeeded by a series of photographs of interior and exterior scenes that were accompanied by long text passages printed on separate small felts. In these works the figure was replaced, as Okwui Enwezor wrote, “by the rumor of the body.”

.

Lorna Simpson. 'Please remind me of who I am' (detail) 2009

.

Lorna Simpson
Please remind me of who I am (detail)
2009
50 found photo booth portraits, 50 ink drawings on paper, 100 bronze elements
Overall installation dimensions variable
Collection of Isabelle and Charles Berkovic
© Lorna Simpson

.
For each multi-part photo-booth piece, Simpson sets in bronze frames these small inexpensive shots as well as her drawings of selected details of the photographs. Self-styled and performed, these photographs were used for a variety of purposes by their now anonymous sitters, ranging from sober, formal ID photos to glamorous, often theatrically playful mementos. Encompassing photo booth shots of different sizes from the 1920s to the 1970s (a few in color), Simpson’s constellations of many images for each work offer a collective portrait of self-portraiture (Gather, 2009) and continue her ongoing explorations of identity and memory, explicitly phrased in the title of one of them: Please remind me of who I am (2009).

.

Lorna Simpson. 'Waterbearer [Porteuse d'eau]' 1986

.

Lorna Simpson
Waterbearer [Porteuse d’eau]
1986
Gelatin silver print, vinyl letters
59 x 80 x 2 ½ in (149.9 x 203.2 x 5.7 cm) overall
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris / Brussels
© Lorna Simpson

.
Waterbearer shows a woman from the back, pouring water from an elegant silvery metallic pitcher in one hand and from an inexpensive plastic jug in the other, echoing art historical renderings of women at wells or in the domestic settings of Dutch still-life paintings. As if balancing the scales of justice, this figure also symbolically offers disjunctions of means and class. In the accompanying text, Simpson explicitly addresses memory and the agency of speakers: “She saw him disappear by the river, they asked her to tell what happened, only to discount her memory.”

.

.

For her first European retrospective, the Jeu de Paume presents thirty years of Lorna Simpson’s work. For this Afro-American artist, born in Brooklyn, New York, in 1960, the synthesis between image and text is profound and intimate. If one were to consider Lorna Simpson as a writer, the textual element of her works could have an autonomous life as prose poems, very short stories or fragments of scripts. And yet, her texts are inseparable from her images; there is a dynamic between the two that is both fragile and energising, which links them unfailingly. Lorna Simpson became known in the 1980s and 90s for her photographs and films that shook up the conventions of gender, identity, culture and memory.

Throughout her work, the artist tackles the complicated representation of the black body, using different media, while her texts add a significance that always remains open to the spectator’s imagination. In her recent work, Lorna Simpson has integrated archive images, which she reinvents by positioning herself in them as subject. As the artist underlines: “The theme I turn to most often is memory. But beyond this subject, the underlying thread is my relationship to text and ideas about representation.” (Lorna Simpson)

This retrospective reveals the continuity in her conceptual and performative research. In her works linking photography and text, as well as in her video installations, she integrates – while continually shaking them up – the genres of fixed and moving images, using them to ask questions about identity, history, reality and fiction. She introduces complexity through her use of photography and film, in her exploitation of found objects, in the processes she develops to take on the challenges she sets herself and to spectators.

The exhibition gathers her large format photo-texts of the mid 1980s, which brought her to the attention of the critics (Gestures / Reenactments, Waterbearer, Stereo Styles), her work in screenprints on felt panels since the 1990s (Wigs, The Car, The Staircase, Day Time, Day Time (gold), Chandelier), a group of drawings (Gold Headed, 2013), and also her “Photo Booths,” ensembles of found photos and drawings (Gather, Please remind me of who I am…). The exhibition is also an opportunity to discover her video installations: multivalent narratives that question the way in which experience is created and perceived more or less falsely (Cloudscape, 2004, Momentum, 2010), among them, Playing Chess, a new video installation made especially for the occasion.

.

About the exhibition

by Joan Simon

.
In her critically acclaimed body of work spanning more than thirty years, Lorna Simpson questions identity and memory, gender and history, fact and fiction, playing eye and ear in tandem if not in synchrony to prompt consideration of how meaning is constructed. That she has often described herself as an observer and a listener informs an understanding of both her approach and her subjects. In her earliest black-and-white documentary street photographs (1978-80), Simpson isolated gestures that bespoke an intimacy between those framed in her viewfinder, recording what was less a decisive moment than one of coming into relation. Some of these photographs seem to capture crossed glances, pauses in an ongoing conversation. Others are glimpses of occasions, transitional events identifiable by a white confirmation or wedding dress, which convey a sense of palpable silence in exchanges between people just out of earshot.

When Simpson began to stage her own photographs in 1985 and to write accompanying texts, she came in closer. She allowed us to see a carefully framed black body, abstracted in gesture and in white clothing, yet also permitted us to read seemingly overheard comments that redirected and recomplicated the view. While her images captured gestures, her narratives imbued these images frozen in a never-changing present with memory, a past. The title of her first photo-text work, made in 1985, and of the exhibition of that year in which it was first exhibited was Gestures / Reenactments, and one can argue that all Simpson’s work is built on the juxtaposition of gestures and reenactments, creating meaning in the resonant gap between the two. It is a gap that invites the viewer / reader to enter, all the while requiring an active reckoning with some inalienable truths: seeing is not necessarily believing, and what we might see is altered not only by our individual experiences and assumptions but also, critically, by what we might hear.

.

The exhibition

Whether for still or moving picture productions, Lorna Simpson (b. 1960) uses her camera as catalyst to question identity and gender, genres and history, race and class, fact and fiction, memory and meanings. Assumptions of photographic “truth” are challenged and qualified – indeed redirected – by the images she creates that are inseparable from the texts she writes to accompany them, by the soundings she chooses  for videos, or by her pairings of vintage photographs with newly made renderings. The Jeu de Paume presents lorna Simpson’s first large-scale exhibition in europe beginning with her earliest photo-text pieces of the 1980s through her newest video installation, Chess, 2013, which makes its debut in Paris.

Works in the exhibition show the artist drawing on traditional photo techniques such as gelatin silver prints in an intimate synthesis with speakerly texts (Gallery 1). They also show Simpson’s creation of new combines, among them serigraphs on felt with writings and images invoking film noir (Gallery 2), a video installation of three projections based on historic photographs and her own prior still photos (Gallery 3), constellations of recuperated photo-booth photos with her drawings isolating details from them as well as vintage photographs together with those re-staged by the artist (Gallery 4), and a video focusing on performance as well as time itself and its reversal (Gallery 5).

The exhibition’s parcours reveals turning points in Simpson’s oeuvre as well as thematic continuities. The earliest pieces in the show are Simpson’s performative proto-cinematic photo-texts, beginning with the 1985 Gestures/ Reeactments, a title literally evocative of the work’s visual/verbal aspect while also paradigmatically descriptive of what would be her conceptual practice for the next three decades. Simpson herself makes a rare appearance in her work in two related pieces in the show: the 2009 epic still photo work 1957-2009 (Gallery 4), for which the artist re-enacted scenes from vintage photos, and Chess, 2013, (Gallery 3), which features re-enactments of some of the same photos.

.
Gallery 1 introduces the artist’s signature, indeed iconic early images of the 1980s – a black figure in white clothing, face turned away from the camera or cropped out of the frame – accompanied by precisely crafted, allusive texts that recomplicate what is seen by what is heard in these voicings. The intention to deny a view of a face, as Simpson says, “was related to the idea that the one thing that people gravitate to in photography is the face and reading the expression and what that says about the person pictured, an emotional state, who they are, what they look like, deciphering and measuring. Who is being pictured, what is actually the subject? Photographing from the back was a way to get viewers’ attention as well as to consciously withdraw what they might expect to see.”

The performative photo-text works in Gallery 1 are Gestures/Reenactments, 1985 (created as part of her thesis project for her MFA at the University of California, San Diego), Waterbearer and Twenty Questions (A Sampler) (the first works that Simpson made when she moved to New York in 1986), as well as Five Day Forecast, 1988, and Stereo Styles, 1988. Beginning with Waterbearer, all of these except Gestures/Reenactments (which features a black male) show a black female in a white shift played by artist Alva Rogers, who was often mistaken for Simpson herself.

.
Gallery 2 marks important changes the artist made during the ’90s, most notably Simpson’s surprising shift to printing her photographs on felt and absenting the human figure. At first she used surrogates for the body, seen in the many and various wigs she photographed and which she accompanied with texts that continued to address ideas of identity and gender (Wigs, 1994-2006). She used photographs taken during her travels for the next series of felt works, which were interior and exterior scenes (The Car, 1995, The Rock, 1995, The Staircase, 1998) that in both imagery and texts invoked film noir. These works led almost inevitably to the start of Simpson’s film and video work in 1997. (Her earliest photo-texts will be recognized by the viewer as proto-cinematic with their multiple frames and conversational voices.)

This gallery also reveals how Simpson continues to use her felt medium and returns to her own archive of images   as well as found objects. Three related works, though no longer using text, nevertheless “comment” on each other:  a video of a performance (Momentum, 2010) inspired by an early 1970s performance at Lincoln Center generated felt works based on vintage photographs of this famous New York theater – Chandelier, 2011, Daytime, 2011, and Daytime (gold), 2011- as well as the Gold Headed (2013) drawings, based on the dancers costumed head to foot in gold. Drawings are perhaps the least known medium in Simpson’s practice, and while they reveal the fluid gestures of her hand, visitors will recognize in these gold heads turned from the viewer an echo of the position of the figures  in Gallery 1.

.
Gallery 3 is devoted to Simpson’s newest video, Chess, 2013, which is based on historic photos as well as her own earlier photographic piece, 1957-2009 (Gallery 4), in which she restaged found vintage photographs. Chess and 1957-2009 mark the rare instances in which Simpson has herself appeared in her work.

.
Gallery 4 presents reenactments that use quotidian photographic genres to explore constructions of identity   and that offer a collective portrait of photographic portraiture over time. All of the works in this gallery are based on found photographs Simpson purchased on eBay and each depicts anonymous subjects performing for the camera. 1957-2009 is based on photographs in a vintage album; Gather and Please remind me of who I am are constellations of bronze-framed found photo-booth images (from the 1920s to the 1970s) accompanied by Simpson’s similarly framed drawings of details from the photographs.

.
Gallery 5 offers Simpson’s video installation Cloudscape, 2004, which focuses on performance itself and the soundings of a body, that of artist Terry Adkins whistling a hymn. Embodying memory (and the distortions of it) as she did in her earliest photo-works but playing also with the particularities of video, Simpson loops the video to play forward and backward. In this process a new melody is created even as the stationary figure appears same but different.

.

Lorna Simpson. 'Chess [Échecs]' 2013

.

Lorna Simpson
Chess [Échecs]
2013
HD video installation with three projections, black & white, sound
10:25 minutes (loop)
Score and performance by Jason Moran
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

.

Lorna Simpson. 'Chess [Échecs]' 2013

.

Lorna Simpson
Chess [Échecs]
2013
HD video installation with three projections, black & white, sound
10:25 minutes (loop)
Score and performance by Jason Moran
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

.
“Gestures” and “reenactments” could both be described as the underlying methods of Simpson’s practice for the decades to follow. Whether working with photographs she herself staged, found photographs, or archival film footage, her images captured gestures (as in her earliest documentary photographs of 1978-1980) while her series of multiple images, accompanied by texts, proposed simultaneous (if not synchronous) reenactments. This method also applied to works in which she replicated found images, whether turning images from her films into drawings, or using herself to re-play roles depicted by anonymous figures she had discovered in vintage photographs, either for staged still photographs (as in 1957-2009, 2009), or for moving pictures (as in the video Chess, 2013).

Chess, 2013, Simpson’s video installation made expressly for this exhibition, draws on images from 1957- 2009, her still photograph ensemble of 2009 (on view in Gallery 4). For both, in a departure from her earlier videos and prior staged photographs, Simpson herself performs. In 1957-2009, by reenacting scenes from found vintage prints with which they are shown, Simpson is “mirroring both the male and  the female character, in dress, pose, expression, and setting. When I would mention the idea of working with mirrors [for the Chess video] people would often mention the famous portraits of Picasso and  Picabia taken at a photo studio in New York by an anonymous photographer who placed the subject   at a table in front of two mirrored panels at seventy-degree angles. The result is a five-way portrait that includes views that are not symmetrical and that offer slightly different angles: a surrealist trope of trick photography.”

Though the artist first rejected the idea of working with the mirror device used in these historic portraits, which she had seen many times, she decided to take it on fully and reconstruct it in her studio for this new video project after  art historian and sociologist Sarah Thornton sent her “a beautiful image of an unknown man of African descent in a white straw hat, which had been in an exhibition at MoMA [catalogue page 61]. It was a five-way portrait probably taken by the same photographer who had taken the portraits of Picasso and Picabia. I could no longer resist or dis- miss this idea. I felt that it was demanding my attention.”

Shot in Simpson’s studio over the weekend of December 8, 2012, Chess is comprised of three video projections. For two of them Simpson again plays both female and male chess-players, and with the help of makeup and hair assistants, she now allows her characters to age. The third projection shows pianist Jason Moran performing his improvised score for this project, which was inspired by discussions between artist and composer about “mirroring in music,” especially “in the work of musician Cecil Taylor, who employs mirroring in his compositions.”

.

Lorna Simpson. 'The Car' 1995

.

Lorna Simpson
The Car
1995
Serigraph on 12 felt panels with felt text panel
102 x 104 in (259.1 x 264.2 cm)
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

.

Lorna Simpson. 'The Car' (detail) 1995

.

Lorna Simpson
The Car (detail)
1995
Serigraph on 12 felt panels with felt text panel
102 x 104 in (259.1 x 264.2 cm)
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

.

Lorna Simpson. '1957-2009' (detail) 2009

.

Lorna Simpson
1957-2009 (detail)
2009
299 gelatin silver prints, framed
5 x 5 in. (12.7 x 12.7 cm) each (image size)
Rennie Collection, Vancouver
© Lorna Simpson

.
While collecting photo booth images on eBay, Simpson found the first of the vintage photographs – a woman in a tight sweater-dress leaning on a car – that would generate 19572009 (2009). The artist subsequently bought the entire album and in 2009 restaged these photographs of an anonymous black woman and sometimes a man performing for their camera between June and August 1957 in Los Angeles, which they may have done in the hope of gaining movie work in Hollywood or as an independent project of self-invention. For 1957-2009, Simpson reenacted both female and male roles, and the 299 images are comprised of both the 1957 originals and Simpson’s 2009 remakes. Simpson again reenacted a selection of these vignettes for her video installation Chess, 2013.

.

Lorna Simpson. 'Cloudscape [Paysage nuageux]' 2004

.

Lorna Simpson
Cloudscape [Paysage nuageux]
2004
Video projection, black & white, sound
3:00 minutes (loop)
Centre national des arts plastiques, purchase in 2005
Photo courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson/Centre national des arts plastiques

.
Lorna Simpson’s video installation Cloudscape (2004) isolates one man, Simpson’s friend, the artist and musician Terry Adkins, in a dark room, spotlighted as he whistles a hymn and is enveloped in fog. Focusing on the ephemerality of performance, the artist employs a technique afforded by her medium to play with time as well. Simpson runs the video forward and then also backward in a continuous loop, creating new visual and oral/aural permutations of gesture and reenactment. In the reversal of the time sequence, the image remains somewhat familiar while the tune turns into something else, a different melody.

.

Lorna Simpson. 'Momentum' 2010

.

Lorna Simpson
Momentum
2010
HD video, color, sound
6:56 minutes
Courtesy the artist; Salon 94, New York; and Galerie Nathalie Obadia, Paris/Brussels
© Lorna Simpson

.
As Simpson explored new mediums, such as film and video starting in 1997 or found photographs in  the late 1990s, she continued to work in parallel with her felt serigraphs. In this gallery are three related sets of works that, unlike her earlier photo-text pieces, are all based on a personal memory: performing as a youngster, age 12, in gold costume, wig, and body paint in a ballet recital at New York’s Lincoln Center. Simpson re-staged such a performance for her video Momentum (2010).

.

.

Jeu de Paume
1, Place de la Concorde
75008 Paris
métro Concorde
T: 01 47 03 12 50

Opening hours:
Tuesday: 12.00 – 21.00
Wednesday – Friday: 12.00 – 19.00
Saturday and Sunday: 10.00 – 19.00
Closed Monday

Jeu de Paume website

Lorna Simpson website

LIKE ART BLART ON FACEBOOK

Back to top

21
Apr
13

Exhibition: ‘The Shaping of New Visions: Photography, Film, Photobook’ at the Museum of Modern Art (MoMA), New York

Exhibition dates: 18th April 2012 – 29th April 2013

.

Another fascinating exhibition and a bumper posting to boot (pardon the pun!)

A panoply of famous photographers along with a few I had never heard of before (such as Georges Hugnet) are represented in this posting. As the press blurb states, through “key photographic projects, experimental films, and photobooks, ‘The Shaping of New Visions’ offers a critical reassessment of photography’s role in the avant-garde and neo-avant-garde movements, and in the development of contemporary artistic practices.”

The large exhibition seems to have a finger in every pie, wandering from the birth of the 20th-century modern metropolis, through “New Vision” photography in the 1920s, experimental film, Surrealism, Constructivism and New Objectivity, Dada, Rayographs, photographic avant-gardism, photocollages, photomontages, street photography of the  1960s, colour slide projection performance, through New Topographics, self-published books, and conceptual photography, featuring works that reevaluate the material and contextual definitions of photography. “The final gallery showcases major installations by a younger generation of artists whose works address photography’s role in the construction of contemporary history.”

Without actually going to New York to see the exhibition (I wish!!) – from a distance it does seem a lot of ground to cover within 5 galleries even if there are 250 works. You could say this is a “meta” exhibition, drawing together themes and experiments from different areas of photography with rather a long bow. Have a look at the The Shaping of New Visions exhibition checklist to see the full listing of what’s on show and you be the judge. There are some rare and beautiful images that’s for sure. From the photographs in this posting I would have to say the distorted “eyes” have it…

Dr Marcus Bunyan for the Art Blart blog

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

.

.

.

László Moholy-Nagy
Ein Lichtspiel: schwarz weiss grau (A Lightplay: Black White Gray) (excerpt)
1930

.
This short film made by László Moholy-Nagy is based on the shadow patterns created by his Light-Space Modulator, an early kinetic sculpture consisting of a variety of curved objects in a carefully choreographed cycle of movements. Created in 1930, the film was originally planned as the sixth and final part of a much longer work depicting the new space-time.

.

.

Paul Strand and Charles Sheeler
Manhatta
1921
Film
Courtesy of the Museum of Modern Art, New York
© Aperture Foundation Inc., Paul Strand Archive

.
In 1920 Paul Strand and artist Charles Sheeler collaborated on Manhatta, a short silent film that presents a day in the life of lower Manhattan. Inspired by Walt Whitman’s book Leaves of Grass, the film includes multiple segments that express the character of New York. The sequences display a similar approach to the still photography of both artists. Attracted by the cityscape and its visual design, Strand and Sheeler favored extreme camera angles to capture New York’s dynamic qualities. Although influenced by Romanticism in its view of the urban environment, Manhatta is considered the first American avant-garde film.

.

.

Dziga Vertov
Chelovek s kinoapparatom (Man with a Movie Camera)
1929
Film
1 hr 6 mins 49 secs

.
Excerpt from a camera operators diary
ATTENTION VIEWERS:
This film is an experiment in cinematic communication of real events
Without the help of Intertitles
Without the help of a story
Without the help of theatre
This experimental work aims at creating a truly international language of cinema based on its absolute separation from the language of theatre and literature

.

Eleanor Antin. '100 Boots' 1971 - 1973

Eleanor Antin. '100 Boots' 1971 - 1973

Eleanor Antin. '100 Boots' 1971 - 1973

.

Eleanor Antin
100 Boots
1971 – 1973
Photographed by Philip Steinmetz
Halftone reproductions on 51 cards
4 ½ x 7 in. each
Courtesy Ronald Feldman Fine Arts, New York
© Eleanor Antin

.

Josef Albers. 'Marli Heimann, Alle während 1 Stunde (Marli Heimann, All During an Hour)' 1931

.

Josef Albers
Marli Heimann, Alle während 1 Stunde (Marli Heimann, All During an Hour)
1931
Twelve gelatin silver prints
Overall 11 11/16 x 16 7/16″ (29.7 x 41.8 cm)
The Museum of Modern Art, New York. Gift of The Josef Albers Foundation, Inc.
© 2012 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York

.

August Sander. 'Das rechte Auge meiner Tochter Sigrid (The Right Eye of My Daughter Sigrid)' 1928

.

August Sander
Das rechte Auge meiner Tochter Sigrid (The Right Eye of My Daughter Sigrid)
1928
Gelatin silver print
7 1/16 x 9″ (17.9 x 22.9 cm)
The Museum of Modern Art, New York. Gift of the photographer
© 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

.

Dziga Vertov. 'Chelovek s kinoapparatom (Man with a Movie Camera)' (still) 1929

.

Dziga Vertov
Chelovek s kinoapparatom (Man with a Movie Camera) (still)
1929
35mm film
65 min ( black and white, silent)
The Museum of Modern Art, New York. Department of Film

.

Man Ray. 'Rayograph' 1922

.

Man Ray
Rayograph
1922
Gelatin silver print (photogram)
9 3/8 x 11 3/4″ (23.9 x 29.9 cm)
The Museum of Modern Art, New York. Gift of James Thrall Soby
© 2012 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris

.

William Klein (American, born 1928) 'Gun, Gun, Gun, New York' 1955

.

William Klein (American, born 1928)
Gun, Gun, Gun, New York 
1955
Gelatin silver print
10 1/4 x 13 5/8″ (26 x 34.6 cm)
Gift of Arthur and Marilyn Penn

.

Georges Hugnet (French, 1906-1974) 'Untitled [Surrealist beach collage]' c. 1935

.

Georges Hugnet (French, 1906-1974)
Untitled [Surrealist beach collage]
c. 1935
Collage of photogravure, lithograph, chromolithograph and gelatin silver prints on gelatin silver print
11 7/8 x 9 7/16″ (30.2 x 24 cm)
Gift of Timothy Baum in memory of Harry H. Lunn, Jr.

.

Martha-Rosler-Red-Stripe-Kitchen-from-the-series-House-Beautiful-Bringing-the-War-Home-1967-1972

.

Martha Rosler
Red Stripe Kitchen
1967-1972
From the series Bringing the War Home: House Beautiful 
Pigmented inkjet print, printed 2011
23 3/4 x 18 1/8″ (60.3 x 46 cm)
Purchase and The Modern Women’s Fund

.

.

“The Museum of Modern Art draws from its collection to present the exhibition The Shaping of New Visions: Photography, Film, Photobook on view from April 18, 2012, to April 29, 2013. Filling the third-floor Edward Steichen Photography Galleries, this installation presents more than 250 works by approximately 90 artists, with a focus on new acquisitions and groundbreaking projects by Man Ray, László Moholy-Nagy, Aleksandr Rodchenko, Germaine Krull, Dziga Vertov, Gerhard Rühm, Helen Levitt, Robert Frank, Daido Moriyama, Robert Heinecken, Edward Ruscha, Martha Rosler, Bernd and Hilla Becher, Philip-Lorca diCorcia, Paul Graham, and The Atlas Group/Walid Raad. The exhibition is organized by Roxana Marcoci, Curator, Department of Photography, The Museum of Modern Art.

Punctuated by key photographic projects, experimental films, and photobooks, The Shaping of New Visions offers a critical reassessment of photography’s role in the avant-garde and neo-avant-garde movements, and in the development of contemporary artistic practices. The shaping of what came to be known as “new vision” photography in the 1920s bore the obvious influence of “lens-based” and “time-based” works. The first gallery begins with photographs capturing the birth of the 20th-century modern metropolis by Berenice Abbott, Edward Steichen, and Alfred Stieglitz, presented next to the avant-garde film Manhatta (1921), a collaboration between Paul Strand and Charles Sheeler.

The 1920s were a period of landmark constructions and scientific discoveries all related to light – from Thomas Edison’s development of incandescent light to Albert Einstein’s theory of relativity and light speed. Man Ray began experimenting with photograms (pictures made by exposing objects placed on photosensitive paper to light) – which he renamed “rayographs” after himself – in which light was both the subject and medium of his work. This exhibition presents Man Ray’s most exquisite rayographs, alongside his first short experimental film, Le Retour à la raison (Return to Reason, 1923), in which he extended the technique to moving images.

In 1925, two years after he joined the faculty of the Bauhaus school in Weimar Germany, László Moholy-Nagy published his influential book Malerei, Fotografie, Film (Painting, Photography, Film) – part of a series that he coedited with Bauhaus director Walter Gropius – in which he asserted that photography and cinema are heralding a “culture of light” that has overtaken the most innovative aspects of painting. Moholy-Nagy extolled photography and, by extension, film as the quintessential medium of the future. Moholy-Nagy’s interest in the movement of objects and light through space led him to construct Light-Space Modulator, the subject of his only abstract film, Ein Lichtspiel: schwarz weiss grau (A Lightplay: Black White Gray, 1930), which is presented in the exhibition next to his own photographs and those of Florence Henri.

The rise of photographic avant-gardism from the 1920s to the 1940s is traced in the second gallery primarily through the work of European artists. A section on Constructivism and New Objectivity features works by Paul Citroën, Raoul Hausmann, Florence Henri, Germaine Krull, El Lissitzky, Albert Renger-Patzsch, and August Sander. A special focus on Aleksandr Rodchenko underscores his engagement with the illustrated press through collaborations with Vladimir Mayakovsky and Sergei Tretyakov on the covers and layouts of Novyi LEF, the Soviet avant-garde journal of the “Left Front of the Arts,” which popularized the idea of “factography,” or the manufacture of innovative aesthetic facts through photomechanical processes. Alongside Rodchenko, film director Dziga Vertov redefined the medium of still and motion-picture photography with the concept of kino-glaz (cine-eye), according to which the perfectible lens of the camera led to the creation of a novel perception of the world. The exhibition features the final clip of Vertov’s 1929 experimental film Chelovek s kinoapparatom (Man with a Movie Camera), in which the eye is superimposed on the camera lens to form an indivisible apparatus fit to view, process, and convey reality, all at once. This gallery also features a selection of Dada and Surrealist works, including rarely seen photographs, photocollages, and photomontages by Hans Bellmer, Claude Cahun, George Hugnet, André Kertész, Jan Lukas, and Grete Stern, alongside such avant-garde publications as Documents and Littérature.

The third gallery features artists exploring the social world of the postwar period. On view for the first time is a group of erotic and political typo-collages by Gerhard Rühm, a founder of the Wiener Gruppe (1959-60), an informal group of Vienna-based writers and artists who engaged in radical visual dialogues between pictures and texts. The rebels of street photography – Robert Frank, William Klein, Daido Moriyama, and Garry Winogrand – are represented with a selection of works that refute the then prevailing rules of photography, offering instead elliptical, off-kilter styles that are as personal and controversial as are their unsparing views of postwar society. A highlight of this section is the pioneering slide show Projects: Helen Levitt in Color (1971-74). Capturing the lively beat, humor, and drama of New York’s street theater, Levitt’s slide projection is shown for the first time at MoMA since its original presentation at the Museum in 1974.

Photography’s tradition in the postwar period continues in the fourth gallery, which is divided into two sections. One section features “new topographic” works by Robert Adams, Bernd and Hilla Becher, Stephen Shore, and Joel Sternfeld, along with a selection of Edward Ruscha’s self-published books, in which the use of photography as mapmaking signals a conceptual thrust. This section introduces notable works from the 1970s by artists who embraced photography not just as a way of describing experience, but as a conceptual tool. Examples include Eleanor Antin’s 100 Boots (1971-73), Mel Bochner’s Misunderstandings (A theory of photography) (1970), VALIE EXPORT’s Einkreisung (Encirclement) (1976), On Kawara’s I Got Up… (1977), and Gordon Matta-Clark’s Splitting (1974), all works that reevaluate the material and contextual definitions of photography. The other section features two major and highly experimental recent acquisitions: Martha Rosler’s political magnum opus Bringing the War Home (1967-72), developed in the context of her anti-war and feminist activism, for which the artist spliced together images of domestic bliss clipped from the pages of House Beautiful with grim pictures of the war in Vietnam taken from Life magazine; and Sigmar Polke’s early 1970s experiments with multiple exposures, reversed tonal values, and under-and-over exposures, which underscore the artist’s idea that “a negative is never finished.” The unmistakably cinematic turn that photography takes in the 1980s and early 1990s is represented with a selection of innovative works ranging from Robert Heinecken’s Recto/Verso (1988) to Philip-Lorca diCorcia’s breakthrough Hustler series (1990-92).

The final gallery showcases major installations by a younger generation of artists whose works address photography’s role in the construction of contemporary history. Tapping into forms of archival reconstitution, The Atlas Group/Walid Raad is represented with My Neck Is Thinner Than a Hair: Engines (1996-2004), an installation of 100 pictures of car-bomb blasts in Beirut during the Lebanese civil war (1975-1990) that provokes questions about the factual nature of existing records, the traces of war, and the symptoms of trauma. A selection from Harrell Fletcher’s The American War (2005) brings together bootlegged photojournalistic pictures of the U.S. military involvement in Southeast Asia, throwing into sharp focus photography’s role as a documentary and propagandistic medium in the shaping of historical memory. Jules Spinatsch’s Panorama: World Economic Forum, Davos (2003), made of thousands of still images and three surveillance video works, chronicles the preparations for the 2003 World Economic Forum, when the entire Davos valley was temporarily transformed into a high security zone. A selection of Paul Graham’s photographs from his major photobook project a shimmer of possibility (2007), consisting of filmic haikus about everyday life in today’s America, concludes the exhibition.”

Press release from the MOMA website
Online slideshow of images

.

On Kawara. 'I Got Up At...' 1974-75

.

On Kawara
I Got Up At…
1974-75
(Ninety postcards with printed rubber stamps)
.
The semi autobiographical I Got Up At… by On Kawara is a series of postcards sent to John Baldessari. Each card was sent from his location that morning detailing the time he got up. The time marked on each card varies drastically from day to day, the time stamped on each card is the time he left his bed as opposed to actually waking up. Kawara’s work often acts to document his existence in time, giving a material form to which is formally immaterial. The series has been repeated frequently sending the cards to a variety of friends and colleagues.

.

Philip-Lorca diCorcia. 'Marilyn; 28 Years Old; Las Vegas, Nevada; $30' 1990-92

.

Philip-Lorca diCorcia
Marilyn; 28 Years Old; Las Vegas, Nevada; $30
1990-92
Chromogenic color print
24 x 35 15/16″ (61 x 91.4 cm)
The Museum of Modern Art, New York. E.T. Harmax Foundation Fund
© 2012 Philip-Lorca diCorcia, courtesy David Zwirner, New York

.

Helen Levitt. 'Projects: Helen Levitt in Color' (detail) 1971-74

Helen Levitt. 'Projects: Helen Levitt in Color' (detail) 1971-74

.

Helen Levitt
Projects: Helen Levitt in Color (detail)
1971-74
40 color slides shown in continuous projection
Originally presented at The Museum of Modern Art, New York, September 26-October 20, 1974

.

Atlas Group, Walid Raad. 'My Neck is Thinner Than a Hair: Engines' (detail) 1996-2004

.

Atlas Group, Walid Raad
My Neck is Thinner Than a Hair: Engines (detail)
1996-2004
100 pigmented inkjet prints
9 7/16 x 13 3/8″ (24 x 34 cm) each
Fund for the Twenty-First Century

.

Daido Moriyama. 'Entertainer on Stage, Shimizu' 1967

.

Daido Moriyama
Entertainer on Stage, Shimizu
1967
Gelatin silver print
18 7/8 x 28″ (48.0 x 71.2 cm)
The Museum of Modern Art, New York. Gift of the photographer
© 2012 Daido Moriyama

.

VALIE EXPORT. 'Einkreisung (Encirclement)' 1976

.

VALIE EXPORT
Einkreisung (Encirclement)
1976
From the series Körperkonfigurationen (Body Configurations)
Gelatin silver print with red ink
14 x 23 7/16″ (35.5 x 59.6 cm)
The Museum of Modern Art, New York. Carl Jacobs Fund
© 2012 VALIE EXPORT / Artists Rights Society (ARS), New York / VBK, Austria

.

Grete Stern. No. 1 from the series Sueños (Dreams) 1949

.

Grete Stern
No. 1 from the series Sueños (Dreams)
1949
Gelatin silver print
10 1/2 x 9″ (26.6 x 22.9 cm)
Latin American and Caribbean Fund through gift of Marie-Josée and Henry R. Kravis in honor of Adriana Cisneros de Griffin
© 2012 Horacio Coppola

.

Sigmar Polke. 'Untitled (Mariette Althaus)' c. 1975

.

Sigmar Polke
Untitled (Mariette Althaus)
c. 1975
Gelatin silver print (red toned)
9 1/4 x 11 13/16″ (23.5 x 30 cm)
The Museum of Modern Art, New York. Acquired through the generosity of Edgar Wachenheim III and Ronald S. Lauder
© 2012 Estate of Sigmar Polke / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Germany

.

Martha Rosler. 'Hands Up / Makeup' 1967-1972

.

Martha Rosler
Hands Up / Makeup
1967-1972
From the series Bringing the War Home: House Beautiful
Pigmented inkjet print, printed 2011
23 3/4 x 13 15/16″ (60.4 x 35.4 cm)
The Museum of Modern Art, New York. Purchase and The Modern Women’s Fund
© 2012 Martha Rosler

.

Robert Heinecken. 'Recto/Verso #2' 1988

.

Robert Heinecken
Recto/Verso #2
1988
Silver dye bleach print
8 5/8 x 7 7/8″ (21.9 x 20 cm)
The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund
© 2012 The Robert Heinecken Trust

.

Berenice Abbott. 'Portrait of the Artist as a Young Woman' Negative c. 1930/Distortion c. 1950

.

Berenice Abbott
Portrait of the Artist as a Young Woman
Negative c. 1930/Distortion c. 1950
Gelatin silver print, 12 3/4 x 10 1/8″ (32.6 x 25.7 cm)
The Museum of Modern Art, New York. Frances Keech Fund in honor of Monroe Wheeler
© 2012 Berenice Abbott/Commerce Graphics

.

Raoul Hausmann. 'Untitled' February 1931

.

Raoul Hausmann
Untitled
February 1931
Gelatin silver print
5 3/8 x 4 7/16″ (13.6 x 11.2 cm)
The Museum of Modern Art, New York. Thomas Walther Collection. Gift of Thomas Walther
© 2012 Raoul Hausmann / Artists Rights Society (ARS), New York / ADAGP, Paris

.

Claude Cahun. 'Untitled' c. 1928

.

Claude Cahun
Untitled
c. 1928
Gelatin silver print
4 9/16 x 3 1/2″ (10 x 7.6 cm)
The Museum of Modern Art, New York. Purchase and anonymous promised gift
© 2012 Estate of Claude Cahun

.

Aleksandr Rodchenko. 'Sovetskoe foto (Soviet Photo)' No. 10 October 1927

.

Aleksandr Rodchenko
Sovetskoe foto (Soviet Photo) No. 10
October 1927
Letterpress
10 3/8 x 7 1/4″ (26.3 x 18.4 cm)
Publisher: Ogonek, Moscow
The Museum of Modern Art, New York. Gift of the Judith Rothschild Foundation

.

.

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

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

MoMA website

My Favourite Cindy Sherman at MOMA

LIKE ART BLART ON FACEBOOK

Back to top

11
Dec
12

Exhibition: ‘Janina Green: Ikea’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: 28th November 28 – 15th December 2012

 

Installation photograph of 'Ikea' by Janina Green at Edmund Pearce Gallery, Melbourne

 

Installation photograph of Ikea by Janina Green at Edmund Pearce Gallery, Melbourne

 

 

“It is necessary to revisit what Walter Benjamin said of the work of art in the age of its mechanical reproducibility. What is lost in the work that is serially reproduced, is its aura, its singular quality of the here and now, its aesthetic form (it had already lost its ritual form, in its aesthetic quality), and, according to Benjamin, it takes on, in its ineluctable destiny of reproduction, a political form. What is lost is the original, which only a history itself nostalgic and retrospective can reconstitute as “authentic.” The most advanced, the most modern form of this development, which Benjamin described in cinema, photography, and contemporary mass media, is one in which the original no longer even exists, since things are conceived from the beginning as a function of their unlimited reproduction.”

.
Jean Baudrillard. ‘Simulacra and Simulation’. 1981 (English translation 1994)

 

“To apprehend myself as seen is, in fact, to apprehend myself as seen in the world and from the standpoint of the world. The look does not carve me out in the universe; it comes to search for me at the heart of my situation and grasps me only in irresolvable relations with instruments. If I am seen as seated, I must be seen as “seated-on-a-chair,” … But suddenly the alienation of myself, which is the act of being-looked-at, involves the alienation of the world which I organise. I am seated on this chair with the result that I do not see it at all, that it is impossible for me to see it …”

.
Jean-Paul Satre. ‘Being and Nothingness’ (trans. Hazel Barnes). London: Methuen, 1966, p. 263.

 

“It must be possible to concede and affirm an array of “materialities” that pertain to the body, that which is signified by the domains of biology, anatomy, physiology, hormonal and chemical composition, illness, age, weight, metabolism, life and death. None of this can be denied. But the undeniability of these “materialities” in no way implies what it means to affirm them, indeed, what interpretive matrices condition, enable and limit that necessary affirmation. That each of those categories [BODY AND MATERIALITY] have a history and a historicity, that each of them is constituted through the boundary lines that distinguish them and, hence, by what they exclude, that relations of discourse and power produce hierarchies and overlappings among them and challenge those boundaries, implies that these are both persistent and contested regions.”

.
Judith Butler. ‘Bodies That Matter’. New York: Routledge, 1993, pp. 66-67.

 

 

Fable = invent (an incident, person, or story)

Simulacrum = pretends to be a faithful copy, but it is a copy with no original

Performativity = power of discourse, politicisation of abjection, ritual of being

Body / identity / desire = imperfection, fluidity, domesticity, transgression, transcendence

 

Intimate, conceptually robust and aesthetically sensitive.
The association of the images was emotionally overwhelming.
An absolute gem. One of the highlights of the year.

Dr Marcus Bunyan

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

 

Janina Green. 'Waterfall' 1990

 

Janina Green (Australian, born Germany 1944)
Waterfall
1990
Silver gelatin print on Kentmere Parchment paper, tinted with coffee and photo dyes
58 x 48cm
Vintage print

 

Janina Green. 'Pink vase' 1990 reprinted 2012

 

Janina Green (Australian, born Germany 1944)
Pink vase
1990 reprinted 2012
Silver gelatin print on fibre based paper, hand tinted with pink photo dye
85 x 70cm

 

Janina Green. 'Blue vase' 1990 reprinted 2012

 

Janina Green (Australian, born Germany 1944)
Blue vase
1990 reprinted 2012
Silver gelatin print on fibre based paper, hand tinted with blue photo dye
85 x 70cm

 

Janina Green. 'Nude' 1986

 

Janina Green (Australian, born Germany 1944)
Nude
1986
Silver gelatin print on fibre based paper, hand tinted with blue photo dye
60 x 45cm
Vintage print

 

 

My photographs are always about the past.

The Barthesian slogan, “this has been,” is for me, “I was there.” This series of images of a vase from Ikea consists of silver gelatin prints tinted in different coloured photographic dyes; photographs of a simple mass produced vase – its form the familiar vessel which so dominates Art History. “Ikea” for me is symbolic of the useful homely object and of the ideal home. The vase from Ikea no longer exists. The picture of that vase stands in for the vase that once existed. The photograph can be seen now – at this moment. It will continue to exist in the future. Its representation crosses time barriers.

My photographs are always documentations of a private performance.

Every photograph records what is in front of the camera, but my interest is in the occasion and the complex conditions of the making of the photograph – first the negative then the print. Each photograph ends up being a documentation of my state of mind during this intensely private moment as well as something for other people to look at. Because of changing conditions, every one of these prints from that same negative is different. For me each analogue print is an unsteady thing. They are now relics from another era, as is the vase.

As a counterpoint to the repetition of the vase prints, I have selected four vintage works from my archive.

Artists statement by Janina Green

Janina is represented by M.33

 

Janina Green. 'Orange vase' 1990 reprinted 2012

 

Janina Green (Australian, born Germany 1944)
Orange vase
1990 reprinted 2012
Silver gelatin print on fibre based paper, hand tinted with orange photo dye
85 x 70cm

 

Janina Green. 'Green vase' 1990 reprinted 2012

 

Janina Green (Australian, born Germany 1944)
Green vase
1990 reprinted 2012
Silver gelatin print on fibre based paper, hand tinted with green photo dye
85 x 70cm

 

Janina Green. 'Interior' 1992

 

Janina Green (Australian, born Germany 1944)
Interior
1992
C Type print
38 x 30cm
Vintage print / edition of 5

 

Janina Green. 'Telephone' 1986 reprinted 2010

 

Janina Green (Australian, born Germany 1944)
Telephone
1986 reprinted 2010
Silver gelatin print on fibre based paper, tinted with coffee
58 x 48cm

 

Janina Green. 'Yellow vase' 1990 reprinted 2012

 

Janina Green
Yellow vase
1990 reprinted 2012
Silver gelatin print on fibre based paper, hand tinted with yellow photo dye
85 x 70cm

 

 

Edmund Pearce Gallery

This gallery is now closed.

Edmund Pearce Gallery website

LIKE ART BLART ON FACEBOOK

Back to top

30
Nov
12

Exhibition: ‘Jeff Wall Photographs’ at The Ian Potter Centre: National Gallery of Victoria Australia, Melbourne

Exhibition dates: 30th November 2012 – 17th March 2013

 

Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at right, 'The Destroyed Room' 1978

 

Installation view of Jeff Wall Photographs at NGV Australia showing, at right, The Destroyed Room 1978

 

 

Installation shots of the new Jeff Wall exhibition at NGV Australia. Review to follow in due course.

Many thankx to Jemma Altmeier and all the media team at NGV for all their wonderful help and congratulations to the curators, Susan van Wyk and Dr Isobel Crombie, for their restrained yet contemporary installations and for getting the exhibitions to Melbourne. They look magnificent. Well done!

Marcus

.
Many thankx to the NGV for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All photographs © Marcus Bunyan © National Gallery of Victoria. May not be reproduced without permission.

 

 

 

Jeff Wall & Thomas Demand: In Conversation, National Gallery of Victoria

 

Jeff Wall. 'The Destroyed Room' 1978 (detail)

 

Jeff Wall (Canadian, b. 1946)
The Destroyed Room (detail)
1978
Transparency in light box, AP
159.0 x 234.0cm
Collection of the artist © Jeff Wall

 

Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at left, 'The Destroyed Room' 1978, and at right, 'Double Self-Portrait' 1979

 

Installation view of Jeff Wall Photographs at NGV Australia showing, at left, The Destroyed Room 1978, and at right, Double Self-Portrait 1979

 

Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at right, 'Double Self-Portrait' 1979

 

Installation view of Jeff Wall Photographs at NGV Australia showing, at right, Double Self-Portrait 1979

 

Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at left, 'Doorpusher' 1984, and at right, 'Polishing' 1998

 

Installation view of Jeff Wall Photographs at NGV Australia showing, at left, Doorpusher 1984, and at right, Polishing 1998

 

Jeff Wall. 'Polishing' 1998 (detail)

 

Jeff Wall (Canadian, b. 1946)
Polishing (detail)
1998
Transparency in light box, 1/2
162.0 x 207.0cm
State Art Collection, Art Gallery of Western Australia Purchased with assistance from the Art Gallery of Western Australia Foundation, 1999
© Jeff Wall

 

Jeff Wall. 'Doorpusher' 1984 (detail)

 

Jeff Wall (Canadian, b. 1946)
Doorpusher
(detail)
1984
Transparency in lightbox
249 x 122cm
© Jeff Wall

 

Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at centre, 'Doorpusher' 1984, and at right, 'Polishing' 1998

 

Installation view of Jeff Wall Photographs at NGV Australia showing, at centre, Doorpusher 1984, and at right, Polishing 1998

 

Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at left, 'Diagonal Composition' 1993, and at right, 'Doorpusher' 1984

 

Installation view of Jeff Wall Photographs at NGV Australia showing, at left, Diagonal Composition 1993, and at right, Doorpusher 1984

 

Jeff Wall. 'Diagonal Composition' 1993

 

Jeff Wall (Canadian, b. 1946)
Diagonal Composition
1993
Transparency in light box, AP
40.0 x 46.0cm
Collection of the artist © Jeff Wall

 

Jeff Wall. 'Pipe Opening' 2002 (detail)

 

Jeff Wall (Canadian, b. 1946)
Pipe Opening (detail)
2002
Transparency in light box, AP
40.0 x 46.0cm
Collection of the artist © Jeff Wall

 

Installation view of 'Jeff Wall Photographs' at NGV Australia showing, at right, 'A view from an apartment' 2004-05

 

Installation view of Jeff Wall Photographs at NGV Australia showing, at right, A view from an apartment 2004-05

 

Installation view of 'Jeff Wall Photographs' at NGV Australia showing 'After 'Invisible Man' by Ralph Ellison, the Prologue' 1999-2000

 

Installation view of Jeff Wall Photographs at NGV Australia showing After ‘Invisible Man’ by Ralph Ellison, the Prologue 1999-2000

 

Jeff Wall Canadian 1946- 'After 'Invisible Man' by Ralph Ellison, the Prologue' 1999-2000 (detail)

 

Jeff Wall (Canadian, b. 1946)
After ‘Invisible Man’ by Ralph Ellison, the Prologue (detail)
1999-2000
Transparency in light box, AP
174.0 x 250.5cm
Collection of the artist © Jeff Wall

 

Jeff Wall Canadian 1946- 'A view from an apartment' 2004-05 (detail)

 

Jeff Wall (Canadian, b. 1946)
A view from an apartment (detail)
2004-05
Transparency in light box, 1/2
167.0 x 244.0 cm Tate, London Purchased with assistance from the American Fund for the Tate Gallery and Tate Members, 2006
© Jeff Wall

 

Installation view of 'Jeff Wall Photographs' at NGV Australia showing 'A sudden gust of wind (after Hokusai)' 1993

 

Installation view of Jeff Wall Photographs at NGV Australia showing A sudden gust of wind (after Hokusai) 1993

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
Daily 10am – 5pm

National Gallery of Victoria website

LIKE ART BLART ON FACEBOOK

Back to top

29
Nov
12

Exhibition: ‘Thomas Demand’ at the National Gallery of Victoria International, Melbourne

Exhibition dates: 30th November 2012 – 17th March 2013

 

Installation view of 'Thomas Demand' at NGVI showing, at right, 'Lichtung / Clearing' 2003

 

Installation view of Thomas Demand at NGVI showing, at right, Lichtung / Clearing 2003
Photo: Marcus Bunyan

 

 

You saw it here first on Art Blart!

Beautiful installation shots of the new Thomas Demand exhibition at NGVI. Jeff Wall installation photographs to follow in the next posting on Saturday. Reviews to follow in due course.

These are all cardboard models created in Thomas Demand’s studio and then photographed. The models are destroyed afterwards leaving the photographs as artefacts and remembrances, both a performance in their own right, but also a record of another performance, that of the creation of the models. Double self, double performativity, double ritual.

Many thankx to Jemma Altmeier and all the media team at NGV for all their wonderful help and congratulations to the curators, Susan van Wyk and Dr Isobel Crombie, for their restrained yet contemporary installations and for getting the exhibitions to Melbourne. They look magnificent. Well done!

Dr Marcus Bunyan

.
Many thankx to the NGV for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All photographs © Marcus Bunyan © National Gallery of Victoria. May not be reproduced without permission.

 

Thomas Demand is regarded as one of the world’s leading contemporary artists whose work in photography and, most recently stop-animation films, is at the forefront of contemporary art. Demand initially worked as a sculptor who used photography to document his ephemeral creations. From 1993 his creative practice changed and, from then on, he made sculptures for the sole purpose of photographing them. Demand begins with an image, often taken from media sources and frequently dealing with traumatic or politically important events, and creates a life-size replica of the image using paper and cardboard. The effect of these uncanny reconstructions is to destabilise our understanding of the sites which we ‘know’ so well through reproduction. This exhibition features a selection of photographs and 35mm films as chosen by the artist.

 

 

 

Jeff Wall & Thomas Demand: In Conversation, National Gallery of Victoria

 

Thomas Demand (German, b. 1964) 'Lichtung' / 'Clearing' 2003

 

Thomas Demand (German, b. 1964)
Lichtung / Clearing
2003
C-Print / Perspex
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Installation view of 'Thomas Demand' at NGVI showing, at left, 'Badezimmer / Bathroom' 1997 and, at right, 'Labor / Laboratory' 2000

 

Installation view of Thomas Demand at NGVI showing, at left, Badezimmer / Bathroom 1997 and, at right, Labor / Laboratory 2000
Photo: Marcus Bunyan

 

Thomas Demand. 'Laboratory (77-E-217)' 2000

 

Thomas Demand (German, b. 1964)
Labor / Laboratory
2000
C-Print / Perspex
180.0 × 268.0cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Installation view of 'Thomas Demand' at NGVI showing 'Badezimmer / Bathroom' 1997

 

Installation view of Thomas Demand. Badezimmer / Bathroom 1997 at NGVI
Photo: Marcus Bunyan

 

Thomas Demand. 'Badezimmer / Bathroom' 1997

 

Thomas Demand (German, b. 1964)
Badezimmer / Bathroom
1997
C-Print / Perspex
160.0 × 122.0cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Installation view of 'Thomas Demand' at NGVI showing 'Copyshop' 1999

 

Installation view of Thomas Demand at NGVI showing Copyshop 1999
Photo: Marcus Bunyan

 

Thomas Demand (German, b. 1964) 'Copyshop' 1999

 

Thomas Demand (German, b. 1964)
Copyshop
2009
C-Print / Perspex
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Installation view of 'Thomas Demand' at NGVI showing 'Parlament / Parliament' 2009

 

Installation view of Thomas Demand at NGVI showing Parlament / Parliament 2009
Photo: Marcus Bunyan

 

Thomas Demand (German, b. 1964) 'Parlament / Parliament' 2009

 

Thomas Demand (German, b. 1964)
Parlament / Parliament
2009
C-Print / Perspex
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

 

When you step through the door into the Thomas Demand exhibition you enter a realm that was conceived, meticulously planned, and built to his exacting specifications. Demand designed every aspect of this exhibition. Having selected the photographs and films that he wanted to show in Melbourne, he then went on to design the exhibition space itself.

He was quite specific that the secondary walls had to be full height to create a sense of beautiful rooms rather than a space that has been partitioned. Once this was done he began work on the layout of the show. He carefully planned the sequence in which you would encounter each work, setting up an interesting play between the works. How we read these is an entirely individual experience. Recently someone said to me that they thought the placement of Lichtung / Clearing next to Paneel / Pegboard was an interesting comment on forest clearing and the devastating impact that pulp mills can have on the environment. Until then I had never seen those works in that way.

In conversation during the installation, Thomas explained that he was not interested in putting together an exhibition that then toured around the world. The usual practice of curating an exhibition and then ‘fitting’ it into different exhibition spaces in a number of venues holds little interest for him. So each time you see a Thomas Demand exhibition it has been curated, designed and installed for that particular space.

This is perhaps most obvious when you enter the rooms where the films are showing. From the brightly lit first room you can see through the door way into a darkened room lined with floor to ceiling curtains, but not really. What you see is a darkened room hung with wallpaper that the artist made to look like the kind of sweeping curtains that you might find in a cinema or theatre. It’s theatrical and spectacular but once you enter this space the real treat is Demands films.

Susan van Wyk, 6 February 2013 on the NGV website [Online] Cited 05/09/2020

 

Thomas Demand (German, b. 1964) 'Tribute' 2011

 

Thomas Demand (German, b. 1964)
Tribute
2011
C-Print / Perspex
166 x 125 cm, edition of 6
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Installation view of 'Thomas Demand' at NGVI showing, at right, 'Space Simulator' 2003

 

Installation view of Thomas Demand at NGVI showing, at right, Space Simulator 2003
Photo: Marcus Bunyan

 

Installation view of 'Thomas Demand' at NGVI showing, at left, 'Grotte / Grotto' 2006 and, at right, 'Space Simulator' 2003

 

Installation view of Thomas Demand at NGVI showing, at left, Grotte / Grotto 2006 and, at right, Space Simulator 2003
Photo: Marcus Bunyan

 

Thomas Demand. 'Space Simulator' 2003

 

Thomas Demand (German, b. 1964)
Space Simulator
2003
C-Print / Perspex
300.0 × 429.4cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Installation view of 'Thomas Demand' at NGVI showing, at right, 'Grotte / Grotto' 2006

 

Installation view of Thomas Demand at NGVI showing, at right, Grotte / Grotto 2006
Photo: Marcus Bunyan

 

Thomas Demand. 'Grotte / Grotto' 2006 (detail)

 

Thomas Demand (German, b. 1964)
Grotte / Grotto (detail)
2006
C-Print / Perspex
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

 

One of the world’s most influential contemporary artists, Thomas Demand, will be the subject of a new exhibition announced by the National Gallery of Victoria.

The exhibition will be the first major Australian survey of the artist’s work and will comprise large scale photographs and films never before shown in Australia.

NGV Director, Tony Ellwood said the addition of Thomas Demand to the NGV’s exhibition schedule is part of an exciting and ambitious summer program.

“When the opportunity came up to hold an exhibition of Thomas Demand’s work this summer, it was just too good to miss. Thomas Demand will be part of a great summer program at the NGV and has been timed to coincide with the Jeff Wall Photographs exhibition being held at NGV Australia.

“We are offering a two-for-one ticket for Thomas Demand and Jeff Wall Photographs, so visitors to the NGV can experience the work of two major artists of international contemporary photography for one ticket price,” said Mr Ellwood.

Works in the exhibition will span the artist’s career from 1997 to 2012. Recent works presented in the exhibition include Control Room (pictured below), which depicts the Fukushima Daiichi nuclear power plant and Tribute, a work based on images taken at the site of tragic mass panic at Europe’s biggest rave party.

Susan van Wyk, NGV Curator of Photography said Thomas Demand is widely regarded as one of the world’s leading contemporary artists.

“Thomas has a unique style in which he creates paper models of objects and scenes, often taken from media sources like flickr or newspaper reports. These intricate life size models are then photographed.

“The results are disquieting images that subvert our understanding of reality and fiction and draws attention to how we engage with the media and modern technologies,” said Ms Van Wyk.

Press release from the NGV website

 

Installation view of 'Thomas Demand' at NGVI showing, at left, 'Vault' 2012 and, at centre, 'Kontrollraum / Control Room' 2011

 

Installation view of Thomas Demand at NGVI showing, at left, Vault 2012 and, at centre, Kontrollraum / Control Room 2011
Photo: Marcus Bunyan

 

Thomas Demand. 'Kontrollraum / Control Room' 2011

 

Thomas Demand (German, b. 1964)
Kontrollraum / Control Room
2011
C-Print / Perspex
200.0 × 300.0 cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

Installation view of 'Thomas Demand' at NGVI showing 'Vault' 2012

 

Installation view of Thomas Demand at NGVI showing Vault 2012
Photo: Marcus Bunyan

 

Thomas Demand. 'Vault' 2012 (detail)

 

Thomas Demand (German, b. 1964)
Vault (detail)
2012
C-Print / Perspex
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

 

 

NGV International
180 St Kilda Road

Opening hours:
Open daily 10am – 5pm

National Gallery of Victoria website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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

Join 2,686 other followers

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

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

September 2020
M T W T F S S
 123456
78910111213
14151617181920
21222324252627
282930  

Archives

Categories