Posts Tagged ‘Photo Notes

15
May
22

Exhibition: ‘After August Sander: People of the 21st Century’ at Museum für Gegenwartskunst Siegen

Exhibition dates: 28th January – 29th May 2022

Curator: Thomas Thiel

 

 

August Sander (German, 1876-1964) 'Der erdgebundene Mensch' 1912

 

August Sander (German, 1876-1964)
Der erdgebundene Mensch (The earthbound human) / Peasant Woman, Westerwald
1912
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

 

I am not sure any of these kinds of exhibition – supposed extrapolations on the work of an earlier famous photographer, in this case contemporary photographers responding in diverse ways to renowned German photographer August Sander (1876-1964), icon of 20th century photography – serve any kind of lasting useful purpose, other than perhaps to acknowledge the alleged and, in most cases, slight influence of the earlier photographer.

While the contemporary work is strong in its own right, too often it seems shoehorned into the concept of the exhibition, artistic positions exhibited in order to revitalise the work of August Sander both directly and indirectly. Sander does not need revitalising… nor do the contemporary artists need the prop of his fame nor his conceptualisation of German identity, family and life to succeed with their projects. Their changed views of life and new influences on the individual are cogent enough – clear, logical, and convincing – not to need a conceptual walking frame.

However, the exhibition does give us the ability to, once more, marvel at the apparent simplicity and directness of Sanders’ portraits and the monumentality of his project “People of the 20th Century”. Frontal, low depth of field, beautiful light, tightly framed photographs which portray individuals as true characters who have undeniable “presence” in the viewers eyes. When thinking about the human condition, nothing in the rest of the exhibition comes close to their insight and intensity…

Dr Marcus Bunyan

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

 

 

'After August Sander', Exhibition view, MGKSiegen

'After August Sander', Exhibition view, MGKSiegen

At second left, August Sander’s Pastry Cook 1928; at fifth left, Coal Delivery Man c. 1915; at seventh left, Handlanger (Bricklayer / Handyman) 1928; and at eighth right, Working-class Mother 1927

'After August Sander', Exhibition view, MGKSiegen

At left, Mother and daughter 1912; at third left, August Sander’s Village Band 1913; and at fourth left, Farmer on his Way to Church 1925-1926; and at right, Cretin 1924

 

After August Sander, Exhibition view, MGKSiegen
Work by August Sander, Portraits of People of the 20th Century, 1912-1932, printed 1961-1963
Contemporary Collection MGKSiegen
© Die Photographische Sammlung / SK Stiftung Kultur, Köln – August Sander Archiv; VG Bild-Kunst, Bonn, 2022
Photo: Philipp Ottendörfer

 

 

With his collection of portraits, “People of the 20th Century”, August Sander (1876-1964) produced a monumental life’s work that not only made photographic history but went on to influence generations of artists. The photographer, who was born in Herdorf near Siegen, depicted professional groups and social classes for several decades. Altogether he collected more than 600 images in forty-five portfolios, organising them into seven categories: The Farmer, The Skilled Tradesmen, The Woman, Classes and Professions, The Artists, The City (city dwellers), and The Last People, who were found on the fringes of society. A selection was first assembled in the publication “Face of Our Time” (1929). By working on a portrait of society during his time, Sander not only developed archetypal images but also aimed to study the nature of man in relation to his community.

“After August Sander” combines the work of the world-famous yet regionally-based photographer with a contemporary perspective of 13 artists. At the heart of the exhibition is a group of 70 large-format photographs that Sander compiled as late as the early 1960s, also for presentations in the Siegerland. As a gift from Barbara Lambrecht-Schadeberg to mark the MGKSiegen’s 20th birthday, these are now being shown here for the first time. Starting out from this important group of works, the exhibition directs attention towards portraits of people in the 21st century and initiates further examination of images showing contemporary types.

The artistic positions exhibited revitalise the work of August Sander both directly and indirectly. The deliberate leap in time of about 100 years visualises our changed views of life and new influences on the individual. Despite the historical reference, “After August Sander” does not stick exclusively to the medium of photography, but presents video installations and sculptures in a reflection of our times.

With contributions by August Sander, Mohamed Bourouissa, Alice Ifergan-Rey, Jos de Gruyter and Harald Thys, Hans Eijkelboom, Omer Fast, Soham Gupta, Sharon Hayes, Bouchra Khalili, Ilya Lipkin, Sandra Schäfer, Collier Schorr, Tobias Zielony and Artur Zmijewski.

Supported by Kunststiftung NRW

Text from the Museum für Gegenwartskunst Siegen website

 

 

Rooms 1 and 2

 

August Sander (German, 1876-1964) 'Bauernpaar – Zucht und Harmonie' 1912

 

August Sander (German, 1876-1964)
Bauernpaar – Zucht und Harmonie
1912
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Mother and Daughter' 1912

 

August Sander (German, 1876-1964)
Mother and Daughter
1912
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Village Band' 1913

 

August Sander (German, 1876-1964)
Village Band
1913
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Jungbauern' (Young Farmers) 1914

 

August Sander (German, 1876-1964)
Jungbauern (Young Farmers)
1914
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Coal Delivery Man' c. 1915

 

August Sander (German, 1876-1964)
Coal Delivery Man
c. 1915
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Polizeibeamter. Der Wachtmeister' (Police Officer) 1925

 

August Sander (German, 1876-1964)
Polizeibeamter. Der Wachtmeister (Police Officer)
1925
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Der Maler Anton Räderscheidt' (Painter Anton Räderscheidt) 1926

 

August Sander (German, 1876-1964)
Der Maler Anton Räderscheidt (Painter Anton Räderscheidt)
1926
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Zirkusartistin' (Circus performer) 1926-1932

 

August Sander (German, 1876-1964)
Zirkusartistin (Circus performer)
1926-1932
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Handlanger' (Bricklayer / Handyman) 1928

 

August Sander (German, 1876-1964)
Handlanger (Bricklayer / Handyman)
1928
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Pastry Cook' 1928

 

August Sander (German, 1876-1964)
Pastry Cook
1928
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Boxers. Paul Röderstein and Hein Hesse. Köln' c. 1928

 

August Sander (German, 1876-1964)
Boxers. Paul Röderstein and Hein Hesse. Köln
c. 1928
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

 

August Sander (German, 1876-1964)

The selection of large-format exhibition copies of People of the 20th Century being shown for the first time in the Museum für Gegenwartskunst was compiled from various portfolios by Sander himself in 1961/63. They were intended for presentations in the Siegerland region and printed by his son Gunther Sander under his own supervision. The occasion for this was provided by, amongst others, two exhibitions entitled Antlitz der Zeit (Face of Our Time), shown in Siegen in 1964 and in the fire station close to Herdorf town hall in 1965. Beyond its international significance, for several reasons August Sander’s work also has considerable regional identification value. Sander was born in Herdorf and spent his childhood between Siegerland and the Westerwald. Siegen-based photographers Friedrich Schmeck and Carl Siebel inspired the young Sander to take up photography. Photographs dating from before 1914 were taken in or near his hometown and were subsequently included in the well-known picture atlas. He frequently spent time in the Westerwald and moved his residence to Kuchhausen due to the war in 1942. This exhibition brings a circle to a close in the MGKSiegen. Works by August Sander can now be shown permanently and as part of the collection in Siegen for the first time since the museum’s opening in 2001.

 

August Sander (German, 1876-1964) 'Cretin' 1924

 

August Sander (German, 1876-1964)
Cretin
1924
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Farmer on his Way to Church' 1925-1926

 

August Sander (German, 1876-1964)
Farmer on his Way to Church
1925-1926
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Working-class Mother' 1927

 

August Sander (German, 1876-1964)
Working-class Mother
1927
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'Putzfrau' (Cleaning woman) 1928

 

August Sander (German, 1876-1964)
Putzfrau (Cleaning woman)
1928
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

August Sander (German, 1876-1964) 'The Industrialist' 1929

 

August Sander (German, 1876-1964)
The Industrialist
1929
Gelatin silver print
Contemporary Collection, MGKSiegen
© Die Photographische Sammlung/SK Stiftung Kultur, Köln – August Sander Archiv/VG Bild-Kunst, Bonn, 2022

 

 

Rooms 3 and 4

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen, Contemporary Collection MGKSiegen showing at left, a work by Sandra Schäfer Kontaminierte Landschaften, (2021); and at right, August Sander’s Bauernpaar – Zucht und Harmonie (1912) from “People of the 20th Century”, 1912-1932
© Die Photographische Sammlung / SK Stiftung Kultur, Köln – August Sander Archiv; ©  VG Bild-Kunst, Bonn, 2022
Photo: Philipp Ottendörfer

 

Sandra Schäfer (German, b. 1970) 'Westerwald: Eine Heimsuchung' 2021 (still)

 

Sandra Schäfer (German, b. 1970)
Westerwald: Eine Heimsuchung
2021
Still showing the cover of August Sander – Líchtbíldner folio Der Bauer (The farmer)
© Sandra Schäfer/VG Bild-Kunst, Bonn 2022

 

Sandra Schäfer (German, b. 1970) 'Sandra Schäfer, Kontaminierte Landschaften' 2021 (installation view)

 

After August Sander, Exhibition view, MGKSiegen
Work by Sandra Schäfer, Kontaminierte Landschaften, 2021, Courtesy the artist
© VG Bild-Kunst, Bonn 2022
Photo: Philipp Ottendörfer

 

 

Sandra Schäfer (German, b. 1970)

Sandra Schäfer’s artistic practice is concerned with the development of urban and geopolitical space and its history. Her works are often based on long-term research that involves a re-presentation of images, documents, and narratives. In her video installation Westerwald: Eine Heimsuchung (2021), Schäfer – starting out from August Sander’s series of Westerwald farmers and rural labourers – deals with the transformation of the rural region in which she grew up, and by which she has been strongly influenced. Her great-greatgreat- aunt Katharina Horn, born Schäfer, and her husband Adam Horn, were also the famous farming couple that Sander photographed as early as 1912. The artist juxtaposes August Sander’s perspective with her own, contemporary view in the form of a double projection and two photographs. Schäfer shows how the landscape depicted and its agricultural use have changed over the course of time. She talks to relatives and farmers, as well as to photographic curators about Sander, his photos and the situation in the village of Kuchhausen. She is also interested in the value and varying attributions that the images have experienced in the art world and in private memories. The artist questions existing pictorial orders and narratives with her work, and so ventures her own personal search for home.

 

Sandra Schäfer (German, b. 1970) 'Westerwald: Eine Heimsuchung' 2021 (installation view not at Museum für Gegenwartskunst Siegen)

 

Sandra Schäfer (German, b. 1970)
Westerwald: Eine Heimsuchung (installation view not at Museum für Gegenwartskunst Siegen)
2021
© Sandra Schäfer/VG Bild-Kunst, Bonn 2022

 

Sandra Schäfer (German, b. 1970) 'Westerwald: Eine Heimsuchung' 2021 (still)

 

Sandra Schäfer (German, b. 1970)
Westerwald: Eine Heimsuchung
2021
Still
© Sandra Schäfer/VG Bild-Kunst, Bonn 2022

 

 

Room 5

 

Hans Eijkelboom. 'Photo Notes' 1994-2022 (installation view)

 

After August Sander, Exhibition view, MGKSiegen
Work by Hans Eijkelboom, Photo Notes, 1994-2022, Courtesy the artist
© Die Photographische Sammlung / SK Stiftung Kultur, Köln – August Sander Archiv; VG Bild-Kunst, Bonn, 2022
Photo: Philipp Ottendörfer

 

Hans Eijkelboom (Dutch, b. 1949) 'Photo Note October 21, 2006 (Camouflage)'

 

Hans Eijkelboom (Dutch, b. 1949)
Photo Note October 21, 2006 (Camouflage)
2006
Courtesy the artist

 

Hans Eijkelboom (Dutch, b. 1949) 'Photo Note October 21, 2006 (Camouflage)' (detail)

 

Hans Eijkelboom (Dutch, b. 1949)
Photo Note October 21, 2006 (Camouflage) (detail)
2006
Courtesy the artist

 

 

Hans Eijkelboom (Dutch, b. 1949)

As early as 1981, Hans Eijkelboom realised an “Ode to August Sander” by asking and categorising citizens of Arnhem, where he lived at the time, on the basis of their distinguishing features and developing the results into a multi-part series of street photographs. Since the early 1990s, the artist has been taking photographs in the business districts of large cities around the world. Unnoticed, he analyses the pedestrians passing by and focuses on them according to formal criteria of their external appearance. Eijkelboom’s gaze – with a thoroughly benevolent sense of humour – falls on the people’s clothing. Fashion statements and similarities in behaviour interest him in formal terms, as uniform codes. He arranges his snapshot-like Photo Notes into groups according to the motif and date of the shot, and then presents them in wall-sized tableaus. Arranged in this way, the exclusively colour portraits direct the viewer’s attention towards the human need to distinguish oneself by means of external features and so underline one’s own identity. In Eijkelboom’s photographs, this striving for individuality is exposed as an illusion due to global trends and milieu-related codes.

 

Hans Eijkelboom (Dutch, b. 1949) 'Photo Note October 23, 2015 (Hoed)'

 

Hans Eijkelboom (Dutch, b. 1949)
Photo Note October 23, 2015 (Hoed)
2015
Courtesy the artist

 

Hans Eijkelboom (Dutch, b. 1949) 'Photo Note October 23, 2015 (Hoed)' (detail)

 

Hans Eijkelboom (Dutch, b. 1949)
Photo Note October 23, 2015 (Hoed) (detail)
2015
Courtesy the artist

 

 

Room 6

 

Omer Fast (Israeli, b. 1972) 'August' 2016 (still)

 

Omer Fast (Israeli, b. 1972)
August
2016
Still
Courtesy the artist
Photo: Stephan Ciupek/Filmgalerie 451

 

 

Omer Fast (Israeli, b. 1972)

In his films, Omer Fast frequently tells stories of trauma, war and relationships. His working method enables him to question current and historical events as well as the conventions of the cinematic narrator. The short film August (2016), shot in 3D, revolves around the life and work of August Sander, painting a fictional picture of his last days in the early 1960s. The cinematic flashbacks are oriented on biographical facts. In surreal dream sequences, Sander is haunted by memories: recalling his son Erich, who died as a victim of political persecution in a Nazi prison in 1944, as well as iconic motifs such as the Young Farmers or Workers hauling bricks. The film August shows both the visionary artist and the powerless man, scarred by personal loss and entangled in the political circumstances. Omer Fast deconstructs and at the same time contextualises the artist and man August Sander on the basis of his attitudes in an extremely difficult time politically, the late phase of the Weimar Republic and the transition to National Socialist Germany.

 

 

New Pictures: Omer Fast, Appendix exhibition video

This “New Pictures” exhibition [at the Minneapolis Institute of Art 2018] features two films by the Berlin-based Israeli artist Omer Fast (b. 1972), along with more than 20 portraits by the German photographer August Sander (1876-1964) from his series People of the Twentieth Century, selected from Mia’s and Minneapolis-based collections. Through reflections of Sander’s portraits, including Young Farmers (1914) and Bricklayer (1928), Fast’s latest film, August (2016), portrays Sander at the end of his life, tracing the photographer’s career during the transition from the Weimar Republic to Nazi Germany. Fast’s para-fictional (i.e., blending facts and fiction) film subverts the boundary between collective history and personal memory, questioning photography’s ability to tell the truth.

Text from the YouTube website

 

Omer Fast (Israeli, b. 1972) 'August' 2016 (still)

 

Omer Fast (Israeli, b. 1972)
August
2016
Still
Courtesy the artist
Photo: Stephan Ciupek/Filmgalerie 451

 

 

Room 7

 

Jos de Gruyter (Belgium, b. 1965) and Harald Thys (Belgium, b. 1966) 'Mondo Cane (The Town Crier)' 2019

 

Jos de Gruyter (Belgium, b. 1965) and Harald Thys (Belgium, b. 1966)
Mondo Cane (The Town Crier)
2019
Courtesy the artists and Galerie Isabella Bortolozzi, Berlin
Photo: Nick Ash

 

 

Jos de Gruyter (Beligian, b. 1965) and Harald Thys (Belgian, b. 1966)

Jos de Gruyter’s and Harald Thys’ works are devoted to the absurdity of the everyday. Their interest in the psychological state of societies leads them to create portraits of human existence both tragic and comical. The figures assembled here were part of the exhibition Mondo Cane (eng. Dog World) produced for the Belgian Pavilion at the 58th Venice Biennale in 2019. The presentation was conceived as a kind of folkloristic museum examining the human condition and its grotesque diversity. In the shape of partly mechanised, life-sized dolls, it gathered together simple artisans as well as madmen and outcasts. The doll heads were modelled on fictional characters as well as real people. Scattered throughout the exhibition rooms in Siegen we find a ventriloquist, a town crier, a Stasi spy and a French denunciator from the World War II era. As protagonists, they occupy the museum for the duration of the exhibition and interact with the other works. As representatives, the humorous and sinister characters refer to popular stereotypes as well as to historical attitudes and relationships within Europe.

 

 

Jos de Gruyter’s and Harald Thys’ work Mondo Cane (2019) at Biennale Arte 2019 – Belgium

 

Jos de Gruyter and Harald Thys. 'Madame Legrand' 2019

 

After August Sander, Exhibition view, MGKSiegen
Work by Jos de Gruyter and Harald Thys, Madame Legrand, 2019
Courtesy the artists and Galerie Micheline Szwajcer
Photo: Philipp Ottendörfer

 

 

Room 8

 

Sharon Hayes (American, b. 1970) 'Ricerche: one' 2019 (still)

 

Sharon Hayes (American, b. 1970)
Ricerche: one
2019
Still
Courtesy the artist and Tanya Leighton, Berlin

 

 

Sharon Hayes (American, b. 1970)

Sharon Hayes’ videos, performances and installations address the complex processes of shaping public opinion on politics, history, identity and language. Her film series Ricerche (engl. Research) began in 2013 and now consists of five parts. Her starting point was the documentary film Love Meetings (1964, ital. Comizi d’amore) by Pier Paolo Pasolini, who travelled through Italy to ask people of different ages and social backgrounds explicit questions about love, sexuality, and morality. Hayes follows the structure of the film and the conceptual idea of interviewing people outdoors and in groups. The video diptych Ricerche: one (2019) portrays two age groups: 5-8 year olds and young adults. All the participants in the video, shot in Provincetown (Massachusetts, USA), are children of queer parents. Depending on their age, they give fragmented or detailed insights into their complex family structures. The artist mirrors social understanding of gender dominated by the norm, sexuality and family constellations. She shows how present conditions shape national, religious and ethnic identities.

 

 

Biennale Arte 2013 – Sharon Hayes

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Sharon Hayes, Ricerche: one, 2019, Courtesy the artist and Tanya Leighton, Berlin
© VG Bild-Kunst, Bonn, 2022
Photo: Philipp Ottendörfer

 

 

Room 9

 

Mohamed Bourouissa and Alice Ifergan-Rey. 'Je vous raconte comment Mohamed Bourouissa a changé des chômeurs en sculpture dans un camion à Marseille' (I tell you how Mohamed Bourouissa changed unemployed people into sculpture in a truck in Marseille) 2019

 

Mohamed Bourouissa and Alice Ifergan-Rey
Je vous raconte comment Mohamed Bourouissa a changé des chômeurs en sculpture dans un camion à Marseille
I tell you how Mohamed Bourouissa changed unemployed people into sculpture in a truck in Marseille

2019
Still
© Mohamed Bourouissa /VG Bild-Kunst, Bonn 2022 and Alice Ifergan-Rey

 

 

L’Utopie d’August Sander, Mohamed Bourouissa, Alice Ïfergan-Rey

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Collier Schorr, Castle, 1994, Collier as Horst, 2021, Swimming Pool Eyes, 1996, A Possible Mutation, 1994, After Cindy Sherman, 1994
© the artist, Courtesy Stuart Shave/ Modern Art, London and 303 Gallery, New York
Photo: Philipp Ottendörfer

 

Collier Schorr (American, b. 1963) 'Swimming Pool Eyes' 1996

 

Collier Schorr (American, b. 1963)
Swimming Pool Eyes
1996
Black and white photograph
Courtesy the artist and Modern Art, London and 303 Gallery, New York

 

Collier Schorr (American, b. 1963) 'A Possible Mutation' 1994

 

Collier Schorr (American, b. 1963)
A Possible Mutation
1994
C-print
Courtesy the artist and Modern Art, London and 303 Gallery, New York

 

 

Collier Schorr (American, b. 1963)

Collier Schorr’s portraits can be positioned in the border area between documentation, staging and fiction. Her photographs explore the relationship between nationality, gender, and identity. For over 20 years, Schorr travelled to southern Germany every summer to visit the small town of Schwäbisch Gmünd. Her portraits of the town’s inhabitants taken against an authentic local backdrop reflect a fascination with a culture that was initially foreign to her. Collier Schorr places androgynous-looking teenagers in the German landscape, which she sees as pastoral. They are mostly male adolescents from her close environment, photographed in the garden, in front of and on trees, or in the forest. One of the main characters is Horst, and she adds a later self-portrait to this group: Collier as Horst (2021), wearing men’s underpants and gripping her crotch. These stagings, which dissolve gender boundaries by means of clothing, makeup and props, also include portraits of uniformed soldiers as pictorial subjects. In Matti at Attention (Durlangen) (2001), which shows a young man as a soldier in a forest clearing, the landscape takes on a symbolic charge and becomes a speculative space of remembrance. Aware of Sander’s photographic approach and the gaps in his reception, Schorr sets out to find her own Face of our Time that incorporates her Jewish origins and personal ideas of Germany.

 

After Horst

“I had these ideas about modern West Germany. It was silent. It was empty. The figures were small, or they were art students lined up in front of coloured squares of paper. Whatever I saw in the work of Andreas Gursky and Thomas Struth and Thomas Ruff was somewhat perfect, organised, static, airless. And frozen in time that looked like the 70’s. West Germany itself, a word I might see on a watch face or an Olympic memorial to the Israeli wrestlers killed by Palestinians in Munich. Somehow, I was there and not there. Dead, memorialised, alive and dead again.

I went to Germany in 1989. And again, for 20 summers. During the third summer I started taking photographs. I was convinced the German landscape held some truth other than the one I had seen in the large-scale imports I saw at 303 Gallery and Marian Goodman Gallery. Schwäbisch Gmünd was soft and pastoral. And the local boys seemed soft and pastoral. I would have never made photos in New York. Nan Goldin, Jack Pierson and Larry Clark already made them. But in Germany, I could take a figure of my imagination and place them in the landscape memorialised by the Düsseldorf School. And I could as they say now – queer the space. So I shot my girlfriend’s nephew Horst and a fusion of myself and him, of a young girl and of a young boy of a woman who looked like a boy. I wanted to make him suffer for his luxury… as if he knew he had this luxury which I can never know. Ultimately, it’s a simple proposition. An image of queerness in an open airfield, rather than a club or a closet or a tenement New York apartment or West Side street corner. One image is called After Cindy Sherman because of how I wished I could use myself to talk about myself. But to do that I would have to find my image bearable and I did not. I saw Germany as a very romantic place and I attacked it and was seduced by it every year. I took the one category in August Sander’s work that the Düsseldorf kids didn’t touch: the Nazi’s. I thought to myself, wow, they really left those soldiers out. Don’t they realise that’s the guts and the ghosts worth tearing apart? I began to enjoy the fact that my story about Germany, my Antlitz Der Zeit, was completely ignored. Too romantic, too gay but not authored by a gay male, too Jewish but not Jewish enough, too personal.

Now I look at Horst and I think about my own body naked on the cover of Frieze magazine and dancing in a ballet I’m making. And posing with Jordan Wolfson in Fantastic Man. The same face the same hair. Over 30 years difference. Suddenly acceptable. Perhaps because the queer figure has more presence agency representation. I still find Horst, with his Levis’s and sweat socks, the tropes of Christopher Street and his teenage girl make up somewhat radical. Because he looks like a living paper doll. Dressed and pasted into a landscape to disrupt the pristine crisis of a German photograph, transmounted, with a wide white border, expansive and somewhat toeing the line.”

Collier Schorr. “After Horst,” on the Modern Art website March 2021 [Online] Cited 02/04/2022

 

Collier Schorr (American, b. 1963) 'After Cindy Sherman' 1994

 

Collier Schorr (American, b. 1963)
After Cindy Sherman
1994
C-print
Courtesy the artist and Modern Art, London and 303 Gallery, New York

 

Collier Schorr (American, b. 1963) 'Wes Portrait' 2009-2018

 

Collier Schorr (American, b. 1963)
Wes Portrait
2009-2018
Black and white photograph
Courtesy the artist and Modern Art, London and 303 Gallery, New York

 

Room 10

 

Bouchra Khalili (Moroccan-French, b. 1975) 'The Tempest Society' 2017

 

Bouchra Khalili (Moroccan-French, b. 1975)
The Tempest Society
2017
Still
Courtesy mor charpentier, Paris
© VG Bild-Kunst, Bonn 2022

 

 

Bouchra Khalili (Moroccan-French, b. 1975)

In her films, photographs, installations and publications, Bouchra Khalili examines the effects of colonial history on migration and political self-image. She provides a voice for social minorities, repeatedly formulating the links between individual actions and collective history. For the video work The Tempest Society (2017), which was shown for the first time at documenta 14, a group of Athenians come together on the stage of a former factory to talk about Europe and their own homeland. It is a portrait of three people from different social backgrounds who joined together to form a theatre group called The Tempest Society. The title is homage to Al Assifa (arab: The Tempest), a project by North African workers and French students who founded an ensemble in Paris in the 1970s to address issues such as racism and social inequality. The individuals in Khalili’s The Tempest Society also address similar problems in contemporary society: Ghani, Katerina and Malek talk about their experiences as people living in Europe and share their stories with each other. At the same time, it is about sharing a collective space – both on stage and in life, and about how the European continent may provide a home.

 

 

Bouchra Khalili. The Tempest Society / Twenty-Two Hours 24. August – 21. Oktober 2018

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Bouchra Khalili, The Tempest Society, 2017, Courtesy the artist
© VG Bild-Kunst, Bonn 2022
Photo: Philipp Ottendörfer

 

 

Room 11

 

Artur Żmijewski (Polish, b. 1966) 'Dieter, Patricia, Ursula' 2007

 

Artur Żmijewski (Polish, b. 1966)
Dieter, Patricia, Ursula
2007
Still
Courtesy the artist, Galerie Peter Kilchmann, Zürich, and Foksal Gallery Foundation, Warschau

 

 

Artur Żmijewski (Polish, b. 1966)

Artur Żmijewski is known for his works investigating historical as well as current social orders – often in a radical way, employing mechanisms of power and oppression. The human body is an essential means of expression in his provocative works, which are mainly interviews, documentaries or experimental settings. The trilogies Dieter, Patricia, Ursula (2007) and Katarzyna, Barbara, Zofia (2012) belong to a ten-part series, for which Żmijewski observed people in Germany, Italy, Mexico and Poland with his camera – each for over 24 hours, as they carried out a simple but often physically strenuous activity. In this case, he accompanies an excavator driver, a snack vendor, a tram driver and three cleaners in their everyday lives – from the moment they get up in the morning until they go to bed. From the footage, Żmijewski created a 15-minute portrait of each person, following the artist’s narrative structure alone, and simply showing what happens without any commentary. Routine and moments of repetition are common to all the portraits. Apparently individual, they are also representative of a group within society. The artist therefore functions, on the one hand, as a sociological catalyst of snapshots; on the other hand, the medium of documentary filming operates as an objective instance.

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
From left, work by Tobias Zielony, Selection of: Curfew, 2001, Ha Neu, 2003, Quartier Nord, 2003, Big Sexyland, 2006, The Cast, 2007, Trona – Armpit of America, 2008, Manitoba, 2009-2011, Jenny Jenny, 2013, Golden, 2018, Courtesy the artist and KOW, Berlin; and at right, Artur Żmijewski’s Dieter, Patricia, Ursula, 2007 (still), © the artist, Courtesy Galerie Peter Kilchmann, Zürich and Foksal Gallery Foundation, Warschau
Photo: Philipp Ottendörfer

 

 

Room 12

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Ilya Lipkin, Untitled, 2019, Courtesy the artist and Lars Friedrich, Berlin
Photo: Philipp Ottendörfer

 

Ilya Lipkin (Latvian, b. 1982) 'Untitled' 2019

 

Ilya Lipkin (Latvian, b. 1982)
Untitled
2019
Courtesy the artist and Lars Friedrich, Berlin

 

 

Ilya Lipkin (Latvian, b. 1982)

In his work, Ilya Lipkin breaks with the conventions of applied and artistic photography, moving playfully between fashion and art, studio and street photography. His work is characterised by a self-reflective approach incorporating contemporary trends and styles. The series Untitled (2019) assembles a number of photographs of young women, all taken in public places in various cities around the world, including on Alexanderplatz in Berlin. Photographed with a fast-focus digital camera in burst mode, the images have been retouched and edited according to the usual standards of fashion photography. In some cases, the background was removed and replaced with bright red or neutral white. This immediacy reveals a generation of girls and young women who are extremely conscious of their own image, but also influenced visually by the clichéd image conventions of social media channels. Quite intuitively, they seem to deny us any insight into their inner selves. By means of clothing, style and technology, they express their desire to please in a global society rather than in specific subcultures.

 

Ilya Lipkin (Latvian, b. 1982) 'Untitled' 2019

 

Ilya Lipkin (Latvian, b. 1982)
Untitled
2019
Courtesy the artist and Lars Friedrich, Berlin

 

Ilya Lipkin (Latvian, b. 1982) 'Untitled' 2019

 

Ilya Lipkin (Latvian, b. 1982)
Untitled
2019
Courtesy the artist and Lars Friedrich, Berlin

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Tobias Zielony, Selection of: Curfew, 2001, Ha Neu, 2003, Quartier Nord, 2003, Big Sexyland, 2006, The Cast, 2007, Trona – Armpit of America, 2008, Manitoba, 2009-2011, Jenny Jenny, 2013, Golden, 2018, Courtesy the artist and KOW, Berlin
Photo: Philipp Ottendörfer

 

Tobias Zielony (German, b. 1973) 'Jay' 2007

 

Tobias Zielony (Germany, b. 1973)
Jay
2007
Courtesy the Artist and KOW, Berlin

 

Tobias Zielony (German, b. 1973) 'Skandalous' 2007

 

Tobias Zielony (Germany, b. 1973)
Skandalous
2007
Courtesy the Artist and KOW, Berlin

 

 

Tobias Zielony (Germany, b. 1973)

In his photographs and videos, Tobias Zielony directs artistic attention towards youth subcultures and marginalised groups in society. His image cycles, developed over a long period of time and drawing on various means of pictorial reportage, are always characterised by a special intimacy and direct proximity. Social, media and subcultural changes provide the thematic framework for these photographs. In his work, Zielony has dealt frequently with the significance of origins, fashion, and the representation of identity. For this exhibition and with a view to August Sander’s portfolio work, he has now assembled a first selection of portraits from the last twenty years. On view are single, double, and group portraits ranging from the early series Curfew (2001), depicting youths in Bristol, to a more recent series, Golden, featuring Riga’s queer underground scene. The presentation highlights strategies of portraiture, masking as well as the increased intermingling of social and visual codes in global, mediatised cultural development. Zielony’s fascination with the people photographed reveals a fundamental human interest in the Other in the sense of experiencing foreignness and vibrancy apart from traditional social categories.

 

Tobias Zielony (German, b. 1973) 'Two boys' 2008

 

Tobias Zielony (Germany, b. 1973)
Two boys
2008
Courtesy the Artist and KOW, Berlin

 

Tobias Zielony (Germany, b. 1973) From the series 'Golden' 2018

 

Tobias Zielony (Germany, b. 1973)
From the series Golden
2018
Courtesy the Artist and KOW, Berlin

 

 

Room 13

 

'After August Sander', Exhibition view, MGKSiegen

 

After August Sander, Exhibition view, MGKSiegen
Work by Soham Gupta, Untitled, from the series Angst (2013-2017), Courtesy the artist
Photo: Philipp Ottendörfer

 

Soham Gupta (Indian, b. 1988) 'Untitled' from the series 'Angst' (2013-2017)

 

Soham Gupta (Indian, b. 1988)
Untitled
From the series Angst (2013-2017)
Collection Museum Folkwang Essen
Courtesy the artist

 

 

Soham Gupta (Indian, b. 1988)

As early as 10 years ago, Soham Gupta began photographing people he encountered in the darkness by Howrah Bridge in the Indian megacity, Calcutta. The bridge connects the two Indian cities of Calcutta and Howrah across the Hugli River. Nearby is Howrah Railway Station, one of the largest railway stations in India. His photographs in colour and black and white capture people across all age groups, who seem to belong to the lower class. The living spaces captured in the photographs leave no doubt about their poverty and their status as social outsiders, abandoned and cast out. While these snapshots – glaring flash images set against dark backdrops – have a certain fleeting character and convey the impression of spontaneous shots, they are in fact the partly staged results of a development in the relationship between the photographer and the respective sitter. These people – individuals, couples or small groups – look towards the camera, towards the artist or their bodies are angled in his direction. Sometimes, they assume poses that seem grotesque. The series Fear poses the question of the photographer’s ambivalent role between the apparent objectivity of documentary photography and the importance of a subjective perspective. In essence, Gupta’s photographs focus on the human condition and search for a connection with marginalised groups in a society.

 

Soham Gupta (Indian, b. 1988) 'Untitled' from the series 'Angst' (2013-2017)

 

Soham Gupta (Indian, b. 1988)
Untitled
From the series Angst (2013-2017)
Collection Museum Folkwang Essen
Courtesy the artist

 

Soham Gupta (Indian, b. 1988) 'Untitled' from the series 'Angst' (2013-2017)

 

Soham Gupta (Indian, b. 1988)
Untitled
From the series Angst (2013-2017)
Collection Museum Folkwang Essen
Courtesy the artist

 

Soham Gupta (Indian, b. 1988) 'Untitled' from the series 'Angst' (2013-2017)

 

Soham Gupta (Indian, b. 1988)
Untitled
From the series Angst (2013-2017)
Collection Museum Folkwang Essen
Courtesy the artist

 

 

Museum für Gegenwartskunst Siegen
Unteres Schloss 1
57072 Siegen
Phone: 0271 405 77 10

Opening hours:
Monday Closed
Tuesday 11am – 6pm
Wednesday 11am – 6pm
Thursday 11am – 8pm
Friday 11am – 6pm
Saturday 11am – 6pm
Sunday 11am – 6pm

Museum für Gegenwartskunst Siegen website

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09
Jun
13

Exhibition: ‘The Radical Camera: New York’s Photo League, 1936-1951’ at The Norton Museum of Art, West Palm Beach, Florida

Exhibition dates: 14th March – 16th June 2013

 

Alexander Alland. 'Untitled (Brooklyn Bridge)' 1938

 

Alexander Alland (Ukranian-American, 1902-1989, born Sevastopol, Ukraine)
Untitled (Brooklyn Bridge)
1938
Gelatin silver print
The Jewish Museum, New York
Purchase: William and Jane Schloss Family Foundation Fund

 

 

Conscience of the brave

Bradley Manning.
A slight, bespectacled, intelligent gay man.
A man who has the courage of his convictions.
He revealed truth at the heart of the world’s largest “democracy.”

There is something insidious about the American nation. Not its citizens, not its place, but its government. This government has perpetrated evil in the name of its people. Think of Iraq and Afghanistan, invasions in the name of freedom, the support of puppet governments, the assassinations, the military advisors on the ground, the profits made.

The torture. The deaths.

Bradley Manning revealed all of this because he has a mighty moral compass. He knows right from wrong. He was not afraid to expose the hypocrisy that for many years has beaten, unfettered, in the breast of a nation. The home of the brave and the free is sadly under attack from within. In the name of its people.

And why is this text relevant to this posting?
So often in the history of America, dissension is shut down because of some imagined menace, from within or without. Here another group of people (photographers documenting American social conditions) were persecuted for standing up for social causes, for the freedom to expose injustice where it lives. The paranoia of patriotism.

As Harold Pinter has so pithily observed,

“The crimes of the United States have been systematic, constant, vicious, remorseless, but very few people have actually talked about them. You have to hand it to America. It has exercised a quite clinical manipulation of power worldwide while masquerading as a force for universal good. It’s a brilliant, even witty, highly successful act of hypnosis.”

Except the hypnotist is a deranged psychopath, a divided split personality arraigning god, greed and guns. Out of one, many sins.

Dr Marcus Bunyan

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

 

 

“When the persecution of an individual who has exposed an evil is pursued so ruthlessly and yet the evil itself is studiedly ignored, all of us know that there is something very wrong with the way that our society is conducting itself. And if we do not protest in the strongest terms about what is being done in our name, then we become complicit.”

.
Alan Moore

 

“The US has shown remarkable energy in its pursuit of alleged whistleblowers. Has it investigated the deaths of those innocent civilians with the same vigour? With any vigour whatsoever? And which would you consider a crime? To conceal the deaths of innocent civilians, or to reveal them? I know what my answer would be.”

.
Les Barker

 

“To suggest that lives were put in danger by the release of the WikiLeaks documents is the most cynical of statements. Lives were put in danger the night we invaded the sovereign nation of Iraq, an act that had nothing to do with what the Bradley Mannings of this country signed up for: to defend our people from attack. It was a war based on a complete lie and lives were not only put in danger, hundreds of thousands of them were exterminated. For those who organised this massacre to point a finger at Bradley Manning is the ultimate example of Orwellian hypocrisy.”

.
Michael Moore

 

“Private Manning is the world’s pre-eminent prisoner of conscience, having remained true to the Nuremberg principle that every soldier has the right to ‘a moral choice.’ His suffering mocks the notion of the land of the free.”

.
John Pilger

 

 

Louis Stettner. 'Coming to America' c. 1951

 

Louis Stettner (American, b. 1922)
Coming  to America
c. 1951
Gelatin silver print The Jewish Museum, New York
Purchase: Photography Acquisitions Committee Fund

 

 

Louis Stettner (November 7, 1922 – October 13, 2016) was an American photographer of the 20th century whose work included streetscapes, portraits and architectural images of New York and Paris. His work has been highly regarded because of its humanity and capturing the life and reality of the people and streets. Starting in 1947, Stettner photographed the changes in the people, culture, and architecture of both cities. He continued to photograph New York and Paris up until his death. …

Back from the war Stettner joined the Photo League in New York. Stettner visited Paris in 1946 and in 1947 moved there. From 1947 to 1949 he studied at the “Institut des Hautes Études Cinématographiques” in Paris and received a Bachelor of Arts in Photography & Cinema. He went back and forth between New York and Paris for almost two decades and finally settled permanently in Saint-Ouen, near Paris, in 1990. Stettner still frequently returned to New York.

Stettner’s professional work in Paris began with capturing life in the post-war recovery. He captured the everyday lives of his subjects. In the tradition of the Photo League, he wanted to investigate the bonds that connect people to one another. In 1947 he was asked by the same Photo League to organise an exhibition of French photographers in New York. He gathered the works of some of the greatest photographers of the era, including Doisneau, Brassaï, Boubat, Izis, and Ronis. The show was a big success and was largely reviewed in the annual issue of U.S. Camera. Stettner had begun a series of regular meetings with Brassaï who was a great mentor and had significant influence on his work. In 1949, Stettner had his first exhibition at the “Salon des Indépendants” at the Bibliothèque Nationale, Paris.

In 1951 his work was included in the famous Subjektive Fotografie exhibition in Germany. During the 1950s he free-lanced for Time, Life, Fortune, and Du (Germany). While in Paris he reconnected with Paul Strand, who had also left New York because of the political intolerance of the McCarthy era – Strand had been a founder of the Photo League that would be blacklisted and then banned during those years.

In the 1970s Stettner spent more time in New York City, where he taught at Brooklyn College, Queens College, and Cooper Union.

Text from the Wikipedia website

 

Erika Stone (born 1924, Frankfurt, Germany) 'Lower Eastside Facade' 1947

 

Erika Stone (German, b. 1924)
Lower Eastside Facade
1947
Gelatin silver print
Columbus Museum of Art, Ohio, Photo League Collection
Museum purchase with funds provided by Elizabeth M. Ross, the Derby Fund,
John S. and Catherine Chapin Kobacker, and the Friends of the Photo League

 

 

Stone’s adroit cropping of this image emphasises the coy upward gaze of the woman in the advertisement, away from the laundry line (emblem of poverty), and suggests the social mobility of the postwar era.

 

Marvin E. Newman. 'Halloween, South Side' 1951

 

Marvin E. Newman (American, b. 1927)
Halloween, South Side
1951
Gelatin silver print
The Jewish Museum, New York
Purchase: Photography Acquisitions Committee Fund

 

 

Marvin Newman

Born in New York; Newman attended Brooklyn College, where he studied sculpture with Burgoyne Diller and photography with Walter Rosenblum. Following Rosenblum’s suggestion, he joined the Photo League in 1948, taking classes with John Ebstel. The Photo League, founded in 1936, blazed a trail for serious photographers for 15 years, providing a forum for ideas, cheap darkroom space, and the vision of using the art of picture taking to change the world. Newman then attended the Institute of Design, Chicago (1949-52), where, after studying with Harry Callahan and Aaron Siskind, he received one of the first MS degrees in photography (1952).

During this time, Newman won national contests, including one sponsored by American Photography (1950) and another by Time, Inc. (1951). His work appeared in the Always a Young Stranger exhibition at the Museum of Modern Art, New York, and in a one-man show at Roy De Carava’s A Photographer’s Gallery (1956). Well-known as a photojournalist, Newman has been a major contributor to Sports Illustrated since its inception (1953), as well as to Life, Look, Newsweek, and Smithsonian magazines. In addition, he has been the national president of the American Society of Magazine Photographers, authored or coauthored eight books on photography, and received the Art Director’s Gold Medal for Editorial Photography.

 

Ida Wyman (born 1926, Malden, Massachusetts) 'Spaghetti 25 Cents, New York' 1945

 

Ida Wyman (American, 1926-2019)
Spaghetti 25 Cents, New York
1945
Gelatin silver print
The Jewish Museum, New York
Purchase: Photography Acquisitions Committee Fund

 

 

This Italian restaurant was near the offices of Acme Newspictures, where Wyman became the company’s first female photo printer in 1943. After the war she lost her job at the agency. The “Ladies Invited” sign on the window is a reminder of a time when unescorted women were not always welcome in public dining establishments.

 

Ida Wyman

When I began working in the 1940s, few women were doing magazine photography in a field that was almost exclusively male. As I progressed from box camera to Speed Graphic (my first professional camera), and then to a Rolleiflex, I stopped thinking about the mechanics of film speed, f-stops, shutter speed, and began focusing on subject matter that interested me. What interested me so much were ordinary people and their everyday activities. Early on, I had documented children’s games and unusual architectural details in my Bronx neighbourhood. I decided to expand, to go elsewhere, taking the subway to Harlem, Chinatown, and lower Manhattan, exploring those neighbourhoods and looking for photos.

I became a member of the Photo League in 1946. I considered myself a documentary photographer and the League’s philosophy of honest photography appealed to me. I also began to understand the power of photos to help improve the social order by showing the conditions under which many people lived and worked. Even after leaving the League the following year, I continued to emphasise visual and social realities in my straightforward photographs.

Beginning with my earliest photos seeing New York City with my feet, and in whatever part of the country I was in, I continued my own walkabout, learning the area, engaging my subject, listening, and respecting their dignity. This continued to be my approach when taking photos. My photographs depicted daily life in America’s modern metropolitan centres, including Chicago and Los Angeles as well as New York.

 

Aaron Siskind. 'The Wishing Tree' 1937

 

Aaron Siskind (American, 1903-1991)
The Wishing Tree
1937, printed later
from Harlem Document, 1936-40
Gelatin silver print
The Jewish Museum, New York
Purchase: Lillian Gordon Bequest

 

 

Harlem’s legendary Wishing Tree, bringer of good fortune, was once a tall elm that stood outside a theatre at 132nd Street and Seventh Avenue. When it was cut down in 1934 Bill “Bojangles” Robinson, the celebrated tap dancer, moved the stump to a nearby block and planted a new Tree of Hope beside it to assume wish granting duties. A piece of the original trunk is preserved in the Apollo Theatre on 125th Street, where performers still touch it for luck before going onstage.

 

Sonia Handelman Meyer. 'Hebrew Immigration Aid Society' c. 1946

 

Sonia Handelman Meyer (American, b. 1920, Lakewood, New Jersey)
Hebrew Immigration Aid Society
c. 1946
Gelatin silver print
The Jewish Museum, New York
Purchase: Mimi and Barry J. Alperin in memory of Max Alperin

 

 

The efforts of the New York­ based Hebrew Immigration Aid Society (HIAS) to rescue European Jews during the war were severely hampered by US immigration laws. After the war it aided in the resettlement of some 150,000 displaced persons, including, presumably, these three, whom Handelman Meyer has chosen to photograph in close-­up. She conveys both their common suffering and their individuality, emphasising differences in body language and dress.

 

Sonia Handelman Meyer

I first heard of the Photo League from Lou Stoumen in Puerto Rico in 1942. I was working for the U.S. Army Signal Corps and Lou was preparing to join Yank Magazine. When I returned to New York City, I walked up the rickety stairs to League Headquarters and took a beginners class with Johnny Ebstel. I bought a used Rolleicord for a precious $100, and dared to go out on the city streets to photograph the life around me. Soon the guys began to come back from the war and the heady life of Photo League workshops, exhibits, lectures, photo hunts, and committee assignments intensified. I took eye-heart-soul opening workshops with Sid Grossman, worked as the paid (!) secretary for a year or so, and worked on the Lewis Hine Committee under Marynn Ausubel.

I photographed in Spanish Harlem, Greenwich Village, midtown Manhattan, at the Hebrew Immigration Aid Society, at an anti-lynching rally in Madison Square Park, at a Jehovah’s Witness convention in Yankee Stadium, and on Coney Island. Mostly, I photographed children and reflections of my city – rough-edged, tender, and very beautiful in its diversity. Some of this work was shown in the major 1949 exhibition, This is the Photo League.

The heartbreaking end of the League coincided with a huge change in my personal life. I got married and my husband began to go to college and we were out of NY for a while. And then the biggest change: our own family arrived and the joys of our son, and later our daughter, absorbed my time. Prints and negatives were stashed away in boxes and I lost track of all the old friends at the League. After so many years of being in the shadows, you can imagine my pleasure, at 90+ years of age, to have my photographs out of their boxes and onto walls where they can be seen, thought about, and enjoyed – and perhaps again take their place in the history of the Photo League.

 

Arthur Leipzig. 'Chalk Games, Prospect Place, Brooklyn' 1950

 

Arthur Leipzig (American, 1918-2014)
Chalk Games, Prospect Place, Brooklyn
1950
Gelatin silver print
The Jewish Museum, New York
Purchase: Rictavia Schiff Bequest

 

Arnold Eagle. 'Chatham Square Platform, New York City' c. 1939

 

Arnold Eagle (Hungarian-American, 1909-1992)
Chatham Square Platform, New York City
c. 1939
Silver gelatin print

 

Joe Schwartz. 'Slums Must Go! May Day Parade, New York' c. 1936

 

Joe Schwartz (American, 1913-2013)
Slums Must Go! May Day Parade, New York
c. 1936
Gelatin silver print
Columbus Museum of Art, Ohio, Photo League Collection
Museum Purchase with funds provided by Elizabeth M. Ross, the Derby Fund, John S. and Catherine Chapin
Kobacker, and the Friends of the Photo League

 

Morris Huberland. 'Union Square, New York' c. 1942

 

Morris Huberland (Polish-American, 1909-2003 born Warsaw, Poland)
Union Square, New York
c. 1942
Gelatin silver print
The Jewish Museum, New York
Purchase: Mimi and Barry J. Alperin Fund

 

 

The Norton Museum of Art’s newest special exhibition, The Radical Camera: New York’s Photo League, 1936 – 1951, is a formidable survey of the League’s history, and its artistic, cultural, social, and political significance. Opening March 14 and on view through June 16, 2013, this striking exhibition includes nearly 150 vintage photographs from Photo League collections at the Columbus Museum of Art, Ohio, and The Jewish Museum in New York City.

The exhibition is organised by Mason Klein, Curator of Fine Arts at The Jewish Museum and Catherine Evans, the William and Sarah Ross Soter Curator of Photography of the Columbus Museum of Art. It premiered in at The Jewish Museum in 2011 to rave reviews. The New York Times called The Radical Camera a “stirring show,” and the New York Photo Review hailed it as “nothing short of splendid.” The New Yorker named the exhibition one of the top 10 photography exhibitions of 2011. The Norton is the final venue on the exhibition’s tour.

The exhibition explores the fascinating blend of aesthetics and social activism at the heart of the Photo League. League members were known for capturing sharply revealing, compelling moments from everyday life. The League focused on New York City and its vibrant streets – a shoeshine boy, a brass band on a bustling corner, a crowded beach at Coney Island. Many of the images are beautiful, yet harbour strong social commentary on issues of class, race, and opportunity. The organisation’s members included some of the most noted photographers of the mid-20th century – W. Eugene Smith, Weegee (Arthur Fellig), Lisette Model, Berenice Abbott and Aaron Siskind, to name a few.

In 1936, a group of young, idealistic photographers, most of them Jewish, first-generation Americans, formed an organisation in Manhattan called the Photo League. Their solidarity centred on a belief in the expressive power of the documentary photograph, and on a progressive alliance in the 1930s of socialist ideas and art. (The Photo League also helped validate photography as a fine art, presenting student work and guest exhibitions by established photographers.) The Radical Camera presents the development of the documentary photograph during a tumultuous period that spanned the New Deal reforms of the Depression, World War II, and the Cold War. Offering classes, mounting exhibitions, and fostering community, members of the Photo League focused on social reform and the power of the photograph to motivate change. At the height of their influence, their membership included the most important photographers of their day including Berenice Abbot, Aaron Siskind, Barbara Morgan, Sid Grossman, Weegee (Arthur Fellig), and Lisette Model. Featuring more than 175 works by these artists as well as many more Photo League members, The Radical Camera traces the organisation’s interests, attitudes toward photography, and impact during its 15-year lifespan.

The innovative contributions of the Photo League during its 15-year existence (1936-1951) were significant. As it grew, the League mirrored monumental shifts in the world starting with the Depression, through World War II, and ending with the Red Scare. Born of the worker’s movement, the Photo League was an organisation of young, idealistic, first-generation American photographers, most of them Jewish, who believed in documentary photography as an expressive medium and powerful tool for exposing social problems. It was also a school with teachers such as Sid Grossman, who encouraged students to take their cameras to the streets and discover the meaning of their work as well as their relationship to it. The League had a darkroom for printing, published an acclaimed newsletter called Photo Notes, offered exhibition space, and was a place to socialise.

The Photo League helped validate photography as a fine art, presenting student work and guest exhibitions by established photographers such as Eugène Atget, Henri Cartier-Bresson, and Edward Weston, among others. These affecting black and white photographs show life as it was lived mostly on the streets, sidewalks and subways of New York. Joy and playfulness as well as poverty and hardship are in evidence. In addition to their urban focus, “Leaguers” photographed rural America, and during World War II, took their cameras to Latin America and Europe. The exhibition also addresses the active participation of women who found rare access and recognition at the League. The Radical Camera presents the League within a critical, historical context. Developments in photojournalism were catalysing a new information era in which photo essays were appearing for the first time in magazines such as Life and Look. As time went on, its social documentary roots evolved toward a more experimental approach, laying the foundation for the next generation of street photographers.

In 1947, the League came under the pall of McCarthyism and was blacklisted for its alleged involvement with the Communist Party. Ironically, the Photo League had just begun a national campaign to broaden its base as a “Center for American Photography.” Despite the support of Ansel Adams, Beaumont and Nancy Newhall, Paul Strand, and many other national figures, this vision of a national photography centre could not overcome the Red Scare. As paranoia and fear spread, the Photo League was forced to disband in 1951. The Radical Camera: New York’s Photo League, 1936-1951 has been organised by The Jewish Museum, New York, and the Columbus Museum of Art, Ohio. Major support was provided by the Phillip and Edith Leonian Foundation, the National Endowment for the Arts, and Limited Brands Foundation.”

Press release from The Norton Museum of Art website

 

Sy Kattelson. 'Untitled (Subway Car)' 1949

 

Sy Kattelson (American, 1923-2018)
Untitled (Subway Car)
1949
Gelatin silver print
The Jewish Museum, New York
Purchase: The Paul Strand Trust for the benefit of Virginia Stevens Gift

 

Jerome Liebling. 'Butterfly Boy, New York' 1949

 

Jerome Liebling (American, 1924-2011)
Butterfly Boy, New York
1949
Gelatin silver print
The Jewish Museum, New York, Purchase: Mimi and Barry J. Alperin Fund
© Estate of Jerome Liebling

 

Lee Sievan. 'Salvation Army Lassie in Front of a Woolworth Store' c. 1940

 

Lee Sievan (American, 1907-1990)
Salvation Army Lassie in Front of a Woolworth Store
c. 1940
Gelatin silver print
The Jewish Museum, New York
Purchase: Horace W. Goldsmith Foundation Fund

 

 

This is a classic photograph. Look at the triangle that forms the central part of the image, from the girl at left looking with disdain at the matriarch singing then down to the look on the organ players face. Notice the girl at right covering her ears so she cannot hear the racket. Imagine the legs of the organ player going up and down, pumping air into the organ; and finally observe the shadow of a man’s face captured by reflection in the shop window as he walks past the scene. Magic.

 

Rosalie Gwathmey. 'Shout Freedom, Charlotte, North Carolina' c. 1948

 

Rosalie Gwathmey (American, 1908-2001)
Shout Freedom, Charlotte, North Carolina
c. 1948
Gelatin silver print
The Jewish Museum, New York
Purchase: Gay Block and Malka Drucker Fund of the Houston Jewish Community Foundation

 

Weegee (Arthur Fellig). 'Max Is Rushing in the Bagels to a Restaurant on Second Avenue for the Morning Trade' c. 1940

 

Weegee (Arthur Fellig) (American, born Ukraine, 1899-1968)
Max Is Rushing in the Bagels to a Restaurant on Second Avenue for the Morning Trade
c. 1940
Gelatin silver print
The Jewish Museum, New York
Purchase: Joan B. and Richard L. Barovick Family Foundation and Bunny and Jim Weinberg Gifts

 

Bernard Cole. 'Shoemaker’s Lunch' 1944

 

Bernard Cole (1911-1992, born London, England)
Shoemaker’s Lunch
1944
Gelatin silver print
The Jewish Museum, New York,
Purchase: The Paul Strand Trust for the benefit of Virginia Stevens Gift

 

Rebecca Lepkoff. 'Broken Window on South Street, New York' 1948

 

Rebecca Lepkoff (American, 1916-2014)
Broken Window on South Street, New York
1948
Gelatin silver print
The Jewish Museum, New York
Purchase: Esther Leah Ritz Bequest

 

Arthur Leipzig. 'Ideal Laundry' 1946

 

Arthur Leipzig (American, 1918-2014)
Ideal Laundry
1946
Gelatin silver print
The Jewish Museum, New York
Purchase: Esther Leah Ritz Bequest

 

Consuelo Kanaga. 'Untitled (Tenements, New York)' c. 1937

 

Consuelo Kanaga (American, 1894-1978)
Untitled (Tenements, New York)
c. 1937
Gelatin silver print
The Jewish Museum, New York
Purchase: The Paul Strand Trust for the benefit of Virginia Stevens Gift

 

 

Leftist political activism was a strong element in Kanaga’s work, beginning with her photographs of a labor strike in San Francisco in 1934. She provided photographs for progressive publications such as New Masses, Labor Defender, and Sunday Worker. Underlying this formal study of tenement laundry lines (a common motif in League imagery) is Kanaga’s empathy for the living conditions of the working class.

 

Ruth Orkin, 'Boy Jumping into Hudson River' 1948

 

Ruth Orkin (American, 1921-1985)
Boy Jumping into Hudson River
1948
Gelatin silver print The Jewish Museum, New York
Purchase: Horace W. Goldsmith Foundation Fund

 

Sol Prom (Solomon Fabricant). 'Untitled (Dancing School)' 1938

 

Sol Prom (Solomon Fabricant) (American, 1906-1989)
Untitled (Dancing School)
1938
from Harlem Document, 1936-40
Gelatin silver print
The Jewish Museum, New York
Purchase: Horace W. Goldsmith Foundation Fund

 

 

Mary Bruce opened a dancing school in Harlem in 1937. For fifty years she taught ballet and tap, giving free lessons to those who could not afford them. Her illustrious pupils included Katherine Dunham, Nat King Cole, Ruby Dee, and Marlon Brando.

 

 

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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, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor 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.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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