Posts Tagged ‘photogram

27
Aug
17

Exhibition: ‘Lionel Wendt: Ceylon’ at Huis Marseille, Amsterdam

Exhibition dates: 10th June 2017 – 3rd September 2017

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

 

Glorious modernist photographs with avant-garde and surrealist overtones: the use of photomontage, double printing and solarisation is particularly effective.

The sensitive figure studies of males in classical pose carry an over current of barely surpressed desire evidencing a sexualised (post-colonial?) gaze falling on the exotic Other – even as Wendt was part of an emerging generation of artists documenting Sri Lanka’s culture and history from the inside.

More interesting than desire hiding through artistic ethnographic study are the landscapes, abstracts of coils of rope and the voluptuous female nudes. Stunning.

The media images were in such poor condition when I received them that I have spent a long time digitally cleaning and balancing them for your pleasure.

Marcus

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

 

 

“Lionel Wendt was the central figure of a cultural life torn between the death rattles of the Empire and a human appraisal of the untapped values of Ceylon.”

.
Pablo Neruda, Memoirs

 

“The proposition that confronted Wendt was that Sri Lanka had a way of life that was very old but which remained, in spite of poverty, squalor and apathy, a vital sense of life. He recognised that here man, living in traditional ways, had not become alienated from his environment… Evidence of his deep regard for Sri Lanka and its traditions are illustrated in the images he chose to capture with his camera, each being a tiny microcosm of a vast and magnificent tapestry. It was recognised by all those who knew him that Wendt had an endless capacity for work. He focussed on the country and the people with unerring judgement and relentless dedication, and in doing this, he stimulated a new consciousness among them and (just as pertinent) in some high places.”

.
Neville Weeraratne

 

“He never spoke much about his photography. I expect he wanted his images to speak for themselves and he never spoke of them or about himself. I suppose he was so critical of everybody else that he did not want to expose himself to the same treatment. He did not reveal himself. He was a very interior person. He showed no emotion though he expressed a great passion for things. Perhaps he was hypocritical.”

.
Lester James Peiris

 

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title (Self-portrait)
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

 

There is something special going on with regard to the oeuvre of Ceylonese photographer Lionel Wendt (1900-1944). After a period of relative obscurity, Wendt was rediscovered – or discovered, in fact – worldwide as a unique, individualistic photographer who availed himself of experimental techniques and modern compositions. Wendt’s choice of subjects was eclectic: from sensual and homo-erotic portraits to tropical images of Ceylon (now Sri Lanka), and from picturesque scenes to compositions for which he used modernist stylistic devices and experimental techniques. After Wendt’s premature death in 1944 his negatives were destroyed, but the work he left behind lives on. This consists of a collection of beautiful experimental prints, of which several are included in the renowned collections of such museums as Tate Modern in London and Rijksmuseum in Amsterdam. This year, Wendt’s work is being exhibited at Documenta 14 in Athens and, from 10 June till 3 September 2017, in a large-scale retrospective exhibit at Huis Marseille, which shines a spotlight on the fascinating work of this photographer in all its facets.

 

Who was Lionel Wendt?

Lionel Wendt was a concert pianist, author, patron of the arts, teacher and, above all, a first-class photographer. After having studied law and musical training as a concert pianist in Great Britain, Wendt returned to the city of his birth, Colombo in Ceylon, at the age of 24. It did not take long for him to dedicate himself fully to the arts after his return: piano, literature and the visual arts. It was particularly in photography that he found an ideal vehicle for expression. In 1934, he established the Photographic Society of Ceylon jointly with Bernard G. Thornley and P.J.C. Durrant, and started running Chitrafoto, the photographic studio of the Associated Newspapers of Ceylon and in which he also published a photographic column, in 1938. Wendt developed into a prominent avant-gardist – the ‘Oscar Wilde’ of the Ceylonese arts scene. His first solo exhibition took place in 1938 at the Camera Club in London, at the invitation of Ernst Leitz, the inventor and manufacturer of the Leica. Two years later, a solo exhibition followed in Colombo entitled Camera Work, probably in reference to Alfred Stieglitz’s avantgardist photography magazine of the same name.

 

Tropical modernism, masterful prints

Initially, Wendt used a Rolleiflex for his photography, which he quickly replaced by a Leica. From approximately 1933 onwards, he started to print his film in his own darkroom, where he soon showed himself to be a master. He made refined bromide and gelatine silver prints with subtle shades of grey and gradations of black, which gave his nudes and landscapes a velvet-like quality. Wendt allowed himself to be inspired by the ‘straight photography’ of Paul Strand and Edward Weston and the surrealistic experiments of Man Ray, and experimented with techniques such as photogram, photomontage, double printing and solarisation.

 

Homosexuality, hiding in plain sight

Wendt’s work includes spectacular images of Ceylon: its landscapes, cultural heritage and local population, photographed during everyday activities or traditional rituals. However, his sensual homoerotic nudes are particularly astounding. In a time and at a place where homosexuality was not accepted, Wendt had his male subjects (men and boys) pose in the landscape or in his studio. Through the traditional Ceylonese loincloths worn by his subjects, which leave little to the imagination, and the academic poses he asked them to take, he was able to express his homosexuality under the guise of art and ethnography. He also created portraits of the members of the island’s avant-garde movement. Wendt played a significant role in the development of modernist painting on Ceylon; he acted as a patron of the arts and his house was a meeting place for the ’43 Group, the artistic movement that was a predecessor of Ceylonese modernism.

 

A dormant legacy reawakens

Following Wendt’s early death in 1944 his work sank into oblivion. In the course of time the hundreds of prints that comprise his legacy came into the possession of several collectors, galleries and museums. After having led a dormant existence for several decades, Wendt’s work was once again brought to the attention of the public in 1994.

 

Large-scale museum retrospective in the Netherlands

From 10 June through 3 September 2017, Huis Marseille is presenting the first museum solo exhibition of Lionel Wendt in the Netherlands, in collaboration with the Ton Peek Gallery (Utrecht) and Jhaveri Contemporary Gallery (London/Mumbai). Over 140 prints from various international private and museum collections have been brought together. Concurrent to the exhibition, the publishing house Fw:Books will be presenting the book Lionel Wendt. Ceylon featuring an overview of Wendt’s work (hardcover, 200 pages, design by Hans Gremmen). This is the first monograph since Lionel Wendt. A Centennial Tribute (2000), an extensive and revised version of the very first catalogue of Wendt’s oeuvre: Lionel Wendt’s Ceylon (1950).

Text from Huis Marseille

 

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

 

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam,

Exhibition: 'Lionel Wendt: Ceylon' at Huis Marseille, Amsterdam

 

Installation views of the exhibition Lionel Wendt: Ceylon at Huis Marseille, Amsterdam

 

Installation of photographs for the exhibition

Installation of photographs for the exhibition

Installation of photographs for the exhibition

Installation of photographs for the exhibition

 

Installation of photographs for the exhibition

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Courtesy Ton Peek (Utrecht)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

Lionel Wendt

 

Lionel Wendt (1900-1944)
No title
Nd
Private collection
Courtesy Jhaveri Contemporary (London/Mumbai)
© Lionel Wendt

 

'Lionel Wendt: Ceylon' book cover

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

'Lionel Wendt: Ceylon' book pages

 

Lionel Wendt: Ceylon book

 

 

Huis Marseille
Keizersgracht 401
1016 EK Amsterdam
T +31 20 531 89 89

Opening hours
Tue – Sun, 11 – 18 h

Huis Marseille website

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11
Oct
16

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

Exhibition dates: 16th May – 30th October 2016

 

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

Marcus

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

 

 

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

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

Text from the Metropolitan Museum of Art

 

 

Anselm Kiefer. 'Brünnhilde Sleeps' 1980

 

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

 

 

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

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

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

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

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

 

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

 

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

 

 

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

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

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

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

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

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

 

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

 

 

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

 

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

 

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

 

 

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

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

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

Text from the Metropolitan Museum of Art

 

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

 

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

 

 

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

 

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

 

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

 

 

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

 

 

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27
Aug
15

Exhibition: ‘Light, Paper, Process: Revolutionizing Photography’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 14th April – 6th September 2015

 

These days, photography can be anything your imagination, concept and process desires…

Whether that makes for interesting / lasting (ie. memorable) / good, (post)photographic outcomes is up to you to decide.

Marcus

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

 

 

Man Ray (Emmanuel Radnitsky) (American, 1890-1976) 'Untitled (Smoke)' 1928

 

Man Ray (Emmanuel Radnitsky) (American, 1890-1976)
Untitled (Smoke)
1928
Gelatin silver print
Image: 24.6 x 19.8 cm (9 11/16 x 7 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Man Ray Trust ARS-ADAG

 

Chargesheimer (Karl Heinz Hargesheimer) (German, 1924-1971) 'Picturesque' 1949

 

Chargesheimer (Karl Heinz Hargesheimer) (German, 1924-1971)
Picturesque
1949
Gelatin silver print
Image: 49.5 x 39.6 cm (19 1/2 x 15 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© Museum Ludwig, Cologne

 

Henry Holmes Smith (American, 1909-1986) 'Man and Woman' 1976

 

Henry Holmes Smith (American, 1909-1986)
Man and Woman
1976
Dye imbibition print
Image: 33.2 x 26.2 cm (13 1/16 x 10 5/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Smith Family Trust
© J. Paul Getty Trust

 

Edmund Teske (American, 1911-1996) 'Leaves on Glass, Topanga Canyon, California' 1952; print 1960s

 

Edmund Teske (American, 1911-1996)
Leaves on Glass, Topanga Canyon, California
1952; print 1960s
Gelatin silver duotone solarized print
Image: 35.4 x 27.9 cm (13 15/16 x 11 in.)
The J. Paul Getty Museum, Los Angeles
© Edmund Teske Archives/Laurence Bump and Nils Vidstrand, 2001

 

Alison Rossiter (American, born 1953) 'Gevaert Gevarto 47, exact expiration date unknown, about 1960s, processed 2013 (#37)' 2013

 

Alison Rossiter (American, born 1953)
Gevaert Gevarto 47, exact expiration date unknown, about 1960s, processed 2013 (#37)
2013
Four gelatin silver print
Each image: 10.8 x 8.3 cm (4 1/4 x 3 1/4 in.)
Courtesy of the artist and Yossi Milo Gallery, New York
© Alison Rossiter

 

Chris McCaw (American, born 1971) 'Sunburned GSP #202 (San Francisco Bay)' 2008

 

Chris McCaw (American, born 1971)
Sunburned GSP #202 (San Francisco Bay)
2008
Gelatin silver print
Image: 37.5 x 47.6 cm (14 3/4 x 18 3/4 in.)
Santa Barbara Museum of Art, Museum Purchase
© Chris McCaw

 

Pierre Cordier (Belgian, born 1933) 'Chemigram II' 1976

 

Pierre Cordier (Belgian, born 1933)
Chemigram II
1976
Gelatin silver print
Image: 23.8 x 17.9 cm (9 3/8 x 7 1/16 in.)
The J. Paul Getty Museum, Los Angeles
© 2015 Artists Rights Society (ARS), New York / SABAM, Brussels

 

 

“From its very beginnings in the 19th century, photography has been shaped by the desire of the artist to continually explore and expand its possibilities through experimentation. Taking that spirit of invention and discovery as a point of departure, some artists today have chosen to distill photography to its most essential components of light-sensitivity and the chemical processing of photographic papers, challenging viewers to see the medium anew. Light, Paper, Process: Reinventing Photography, on view at the Getty Center April 14-September 6, 2015, features the work of seven contemporary artists – Alison Rossiter, Marco Breuer, James Welling, Lisa Oppenheim, Chris McCaw, John Chiara, and Matthew Brandt – all of whom have created inventive photographs that reveal aspects of their making (or unmaking).

The artists in the exhibition utilize an extensive array of practices – often achieved through trial and error, accident, or chance – that shift the understanding of photography from a medium that accurately records the world to one that revels in its materiality. Whether they use handmade cameras or none at all, work with expired papers or toxic chemicals, the images remain latent until processed, fixed, or otherwise coaxed from the paper.

“Each of the artists in this exhibition engages in some way with the process by which the photographic medium captures and transmutes light into a two-dimensional image on paper,” says Timothy Potts, director of the J. Paul Getty Museum. “But rather than seeing this process as something to be ‘perfected,’ or even neutralized, they exploit its ability to be manipulated and deconstructed, thus collapsing process and product into a single creative activity. I am particularly pleased that the Getty Museum Photographs Council has provided funds to acquire works by Matthew Brandt, Marco Breuer, John Chiara, and Allison Rossiter for our permanent collection that are included in the exhibition.”

The exhibition begins with an overview of 20th-century practices that were experimental in nature, featuring works by Man Ray, László Moholy-Nagy, Nathan Lerner, Edmund Teske, and others. The renewed interest of artists of this period in techniques such as camera-less photograms, chemigrams, and solarization serves as inspiration for today’s artists. Each of the subsequent galleries in the Getty Museum’s Center for Photographs will be dedicated to the work of one of the seven featured contemporary artists, and follows a progression from abstract, camera-less works to representative images made with custom-built cameras.

“This exhibition is an excellent opportunity to feature the work of living artists alongside earlier photographs from our permanent collection,” says Virginia Heckert, department head of the Getty Museum’s Department of Photographs and curator of the exhibition. “By focusing on work of a more experimental nature, visitors will be reminded that the exploration of materiality and process has been an important aspect of photography since its inception and continues to motivate and inspire artists working with the medium today.”

Alison Rossiter (American, born 1953) takes a minimalist approach to the materials she uses to create her photographic works. She does not use a camera, film, or light, but instead only uses unprocessed sheets of expired gelatin silver paper and photographic chemicals in the darkroom. Through the simple acts of immersing or dipping a sheet of paper in developer or pouring and pooling developer onto the paper’s surface, she achieves a rich array or results. Some suggest faint impressions of primitive mark-making, others resemble landscapes, and still others call to mind abstract painting of the mid-20th-century.

Working since the early 1990s without a camera or film, Marco Breuer (German, born 1966) subjects light-sensitive paper to various acts that abrade, burn, or scrape away the emulsion layer. Completely nonrepresentational, his “photographs” look like no others; they elicit the hues and textures of rare metals, mineral deposits, or oil spills, and display marks ranging from fine incisions and abrasions to scar-like burns and gashes. His deliberate misuse of black-and-white and photographic papers is the starting point for a negotiation between the paper as recording material, the hand, and the tools employed.

James Welling (American, born 1951) spent the first ten years of his career exploring painting, sculpture, performance art, video art, conceptual art, and installation before he committed to thinking of himself as a photographer. For the past four decades, he has explored photography, from documentary to experimental, with and without a camera, using black-and-white, color, and Polaroid films and papers, as well as digital files and printing. Since 1995 he has worked increasingly with color, filters, and camera-less photography. Three bodies of recent work presented in the exhibition include variations on the photogram, chemigram, and printing-out process.

Influenced by her background in structural/materialist filmmaking, Lisa Oppenheim (American, born 1975) is interested in exploring the ways in which a photograph can record both its subject and the process by which it was made. In three bodies of work dating from 2010 to present, she enlists the very entities depicted in the negatives – the sun, the moon, and smoke/fire – in the act of exposing them. Although they sound scientific, the titles of two of these bodies of work, Heliograms and Lunagrams, are made up, combining the name of the camera-less photogram technique and the source of light by which the enlarged negatives have been contact-printed.

Chris McCaw (American, born 1971) establishes an immediate, visceral relationship between his subject, the sun, and his process, which involves loading photographic paper directly into the camera. The photographs in his Sunburn series record the sun’s movement, which literally sears its path into the paper in the form of dots, lines, or arcs, depending on its position, the weather conditions, and the length of the exposure(s). McCaw uses customized cameras outfitted with vintage military lenses pointed directly at the sun to function like a magnifying glass that burns through the emulsion layer and paper base, leaving behind singe marks and solarized passages.

John Chiara’s (American, born 1971) large-scale color prints convey a hands-on – rather than pristine, mechanized – aesthetic. For the past decade his subjects have been both uninhabited landscapes and the built environment. He works with large custom-built cameras that he loads with color photographic paper that he then processes himself by pouring chemicals into a six-foot-long section of PVC sewer pipe, sealing the tube, and then rolling it back and forth on the floor. Irregular streaks and drips characterize his prints, as do areas of overexposure and underexposure, flare from light leaks, and unevenly saturated colors.

Matthew Brandt (American, born 1982) has created diverse bodies of work, some of which are realized with photographic means and others that are more tangentially related to photographic images, techniques, or ideas. He may begin with a photograph that he has made with a 4 x 5-inch view camera, a digital camera, or his iPhone, one that he has sourced from archives in public libraries, or one that he has clicked and dragged from Ebay. His fascination with early photographic processes has led him to experiment with salted paper prints, gum bichromate prints, and heliographs, examples of which will be on view. Brandt’s interest in both photographic/visual and the physical/material forms of representation has led him to bring the two together, incorporating physical elements from his subjects into his photographic representations of them.

Light, Paper, Process: Reinventing Photography, is on view April 14-September 6, 2015 at the J. Paul Getty Museum, Getty Center. The exhibition is curated by Virginia Heckert, department head of the Museum’s Department of Photographs. A related publication of the same title will be produced by Getty Publications.”

Press release from the J. Paul Getty Museum website

 

Alison Rossiter (American, born 1953) 'Haloid Platina, exact expiration date unknown, about 1915, processed 2010' 2010

 

Alison Rossiter (American, born 1953)
Haloid Platina, exact expiration date unknown, about 1915, processed 2010
2010
Gelatin silver print
Image (each): 21.6 x 16.5 cm (8 1/2 x 6 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Alison Rossiter (American, born 1953) 'Fuji gaslight, exact expiration date unknown, about 1920s, processed 2010' 2010

 

Alison Rossiter (American, born 1953)
Fuji gaslight, exact expiration date unknown, about 1920s, processed 2010
2010
Gelatin silver print
Image: 30.5 x 25.4 cm (12 x 10 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Alison Rossiter (American, born 1953) 'Kilbourn Acme Kruxo, exact expiration date unknown, about 1940s, processed 2013' 2013

 

Alison Rossiter (American, born 1953)
Kilbourn Acme Kruxo, exact expiration date unknown, about 1940s, processed 2013
2013
Gelatin silver print
Image: 12.7 x 17.8 cm (5 x 7 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Alison Rossiter

 

Marco Breuer (German, born 1966) 'Untitled (Heat/Gun)' 2001

 

Marco Breuer (German, born 1966)
Untitled (Heat/Gun)
2001
Gelatin silver paper, burned
Image: 27.9 x 21.6 cm (11 x 8 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Marco Breuer

 

Marco Breuer (German, born 1966) 'Untitled (C-62)' 2002

 

Marco Breuer (German, born 1966)
Untitled (C-62)
2002
Chromogenic paper, exposed and abraded
Image: 35.6 x 27.9 cm (14 x 11 in.)
Courtesy of the artist and Yossi Milo Gallery, New York
© Marco Breuer

 

Marco Breuer (German, born 1966) 'Spin (C-824)' 2008

 

Marco Breuer (German, born 1966)
Spin (C-824)
2008
Chromogenic paper, embossed and scratched
Image: 34.6 x 27 cm (13 5/8 x 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Marco Breuer

 

James Welling (American, born 1951) 'Water' 2009

 

James Welling (American, born 1951)
Water
2009
Chromogenic print
Image: 60.3 x 50.2 cm (23 3/4 x 19 3/4 in.)
Courtesy of the artist and Regen Projects, Los Angeles
© James Welling

 

James Welling (American, born 1951) 'Water' 2009

 

James Welling (American, born 1951)
Water
2009
Chromogenic print
Image: 58.7 x 49.5 cm (23 1/8 x 19 1/2 in.)
Courtesy of the artist and Regen Projects, Los Angeles
© James Welling

 

James Welling (American, born 1951) 'Chemical' 2013

 

James Welling (American, born 1951)
Chemical
2013
Chemigram on chromogenic paper
Image: 35.6 x 27.9 cm (14 x 11 in.)
Courtesy of the artist and David Zwirner, New York/London
© James Welling

 

Lisa Oppenheim (American, born 1975) 'Heliograms July 8, 1876 / October 16, 2011' 2011

 

Lisa Oppenheim (American, born 1975)
Heliograms July 8, 1876 / October 16, 2011
2011
Gelatin silver print exposed with sunlight, toned
Image: 30 x 27.9 cm (11 13/16 x 11 in.)
The J. Paul Getty Museum, Los Angeles
© Lisa Oppenheim

 

Lisa Oppenheim (American, born 1975) 'A Handley Page Halifax of No. 4 Group flies over the suburbs of Caen, France, during a major daylight raid to assist the Normandy land battle. 467 aircraft took part in the attack, which was originally intended to have bombed German strongpoints north of' 2012

 

Lisa Oppenheim (American, born 1975)
A Handley Page Halifax of No. 4 Group flies over the suburbs of Caen, France, during a major daylight raid to assist the Normandy land battle. 467 aircraft took part in the attack, which was originally intended to have bombed German strongpoints north of
2012
Gelatin silver print
Framed (approx.): 71.1 x 86.4 cm (28 x 34 in.)
The Museum of Modern Art, New York. Fund for the Twenty-First Century
Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY
© Lisa Oppenheim

 

Chris McCaw (American, born 1971) 'Sunburned GSP #609 (San Francisco Bay)' 2012

 

Chris McCaw (American, born 1971)
Sunburned GSP #609 (San Francisco Bay)
2012
Gelatin silver paper negatives
Each image: 76.1 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles

 

Chris McCaw (American, born 1971) 'Sunburned GSP #555 (San Francisco Bay)' 2012

 

Chris McCaw (American, born 1971)
Sunburned GSP #555 (San Francisco Bay)
2012
Gelatin silver paper negative
Image: 20.3 x 25.4 cm (8 x 10 in.)
Courtesy of Stephen Wirtz Gallery San Francisco
© Chris McCaw

 

Chris McCaw (American, born 1971) 'Poly-optic #10' 2012

 

Chris McCaw (American, born 1971)
Poly-optic #10
2012
Gelatin silver paper negative
Image: 20.3 x 25.4 cm (8 x 10 in.)
Collection of Leslie, Judith and Gabrielle Schreyer, Courtesy of Stephen Wirtz Gallery
© Chris McCaw

 

John Chiara (American, born 1971) 'Longview at Panorama' 2007

 

John Chiara (American, born 1971)
Longview at Panorama
2007
Dye destruction photograph on Ilfochrome paper
Image: 50.8 x 40.6 cm (20 x 16 in.)
Rose Gallery and Von Lintel Gallery
© John Chiara

 

John Chiara (American, born 1971) 'Grandview at Elysian' 2012

 

John Chiara (American, born 1971)
Grandview at Elysian
2012
Dye destruction photographs on Ilfochrome paper
Each image: 85.1 x 71.1 cm (33 1/2 x 28 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Trish and Jan de Bont
© John Chiara

 

John Chiara (American, born 1971) 'Starr King: 30th: Coral' 2013

 

John Chiara (American, born 1971)
Starr King: 30th: Coral
2013
Dye destruction photograph on Ilfochrome paper
Image: 83.8 x 71.1 cm (33 x 28 in.)
Kerstin Morehead
© John Chiara

 

John Chiara (American, born 1971) 'Sierra at Edison' 2012

 

John Chiara (American, born 1971)
Sierra at Edison
2012
Chromogenic photograph on Kodak Professional Endura Metallic paper
Image: 127 x 182.9 cm (50 x 72 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© John Chiara

 

Matthew Brandt (American, born 1982) '00036082-3 "Mathers Department Store, Pasadena, 1971"' 2013

 

Matthew Brandt (American, born 1982)
00036082-3 “Mathers Department Store, Pasadena, 1971”
2013
Gum bichromate print with dust from AT&T parking structure level 2
Image: 110.5 x 143.5 cm (43 1/2 x 56 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the artist and M+B
© Matthew Brandt, Source image courtesy of the Los Angeles Public Library Photo Collection

 

Matthew Brandt (American, born 1982) 'Rainbow Lake, WY A4' Negative 2012; print 2013

 

Matthew Brandt (American, born 1982)
Rainbow Lake, WY A4
Negative 2012; print 2013
Chromogenic print, soaked in Rainbow Lake water
Image: 76.2 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Matthew Brandt

 

Matthew Brandt (American, born 1982) 'Rainbow Lake, WY A20' Negative 2012; print 2013

 

Matthew Brandt (American, born 1982)
Rainbow Lake, WY A20
Negative 2012; print 2013
Chromogenic print, soaked in Rainbow Lake water
Image: 76.2 x 101.6 cm (30 x 40 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Matthew Brandt

 

 

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Saturday 10 am – 9 pm
Sunday 10 am – 9 pm
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04
Dec
14

Exhibition: ‘RealSurreal. Masterpieces of Avant-Garde Photography Das Neue Sehen 1920-1950. Siegert Collection’ at the Kunstmuseum Wolfsburg

Exhibition dates: 15th November 2014 – 6th April 2015

The artists
Eugène Atget – Herbert Bayer – Hans Bellmer – Aenne Biermann – Brassaï – František Drtikol – Jaromír Funke – Florence Henri – André Kertész – Germaine Krull – Herbert List – Man Ray – László Moholy-Nagy – Albert Renger-Patzsch – August Sander – Josef Sudek – Maurice Tabard – Raoul Ubac – Umbo – Wols – and others

 

Thought photography

Here are some names to conjure with (above). And what an appropriate word “conjure” is to illuminate these images:

: to charge or entreat earnestly or solemnly

: to summon by or as if by invocation or incantation

: to affect or effect by or as if by magic

: to practice magical arts

: to use a conjurer’s tricks

: to make you think of (something)

: to create or imagine (something)

 

For what is photography, if not magic?

These images are conjured from both the imagination of the artist… and reality itself. One cannot live, be magical, without the other. “Beneath the surface of visible things the irrational, the magical, and the contradictory could be discovered and explored.”

Still waters run deep.

 

Marcus

.
Many thankx to the Kunstmuseum Wolfsburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. Watch a 6 minute video about the exhibition on Vimeo (in German).

 

 

Albert Renger-Patzsch. 'Self-Portrait' 1926/27

 

Albert Renger-Patzsch
Self-Portrait
1926/27
Gelatin silver paper, 16.9 x 22.8 cm
photo: Christian P. Schmider, Munich
© Albert Renger-Patzsch Archiv / Ann and Jürgen Wilde / VG Bild-Kunst, Bonn 2014

 

Brassaï. 'Occasional Magic (Sprouting Potato)' 1931

 

Brassaï
Occasional Magic (Sprouting Potato)
1931
Gelatin silver paper
28.8 x 23 cm
Photo: Christian P. Schmider, Munich
© ESTATE BRASSAÏ – RMN

 

František Drtikol. 'Circular Segment (Arc)' 1928

 

František Drtikol
Circular Segment (Arc)
1928
Carbon print
21.3 x 28.7 cm
Photo: Christian P. Schmieder, Munich
© František Drtikol – heirs, 2014

 

Hans Bellmer. 'The Doll' 1935

 

Hans Bellmer
The Doll
1935
Gelatin silver paper
17.4 x 17.9 cm
Photo: Christian P. Schmieder, Munich
© VG Bild-Kunst, Bonn 2014

 

Grete Stern. 'The Eternal Eye' c. 1950

 

Grete Stern
The Eternal Eye
c. 1950
Photomontage on gelatin silver paper
39.5 x 39.5 cm
Photo: Christian P. Schmieder, Munich
© Estate of Grete Stern courtesy Galería Jorge Mara – La Ruche, Buenos Aires, 2014

 

Installation view of the exhibition 'RealSurreal' at the Kunstmuseum Wolfsburg

Installation view of the exhibition 'RealSurreal' at the Kunstmuseum Wolfsburg

Installation view of the exhibition 'RealSurreal' at the Kunstmuseum Wolfsburg

Installation view of the exhibition 'RealSurreal' at the Kunstmuseum Wolfsburg

 

Installation views of the exhibition RealSurreal at the Kunstmuseum Wolfsburg

 

 

“Is a photograph a true-to-life reproduction of reality, or is it merely a staged image? This year – the 175th anniversary of the invention of photography – the Kunstmuseum Wolfsburg responds to this question with a comprehensive survey of avant-garde photography between 1920 and 1950. The exhibition RealSurreal presents around 200 masterpieces from the eminent Siegert Collection in Munich. This collection, which has never been shown in its entirety, contains photographs from the Neues Sehen (New Vision) movement, covering everything from New Objectivity to Surrealism in Germany, France, and Czechoslovakia.

Das Neue Sehen (New Vision)

Notions about photography’s visual veracity are as old as the art itself. As early as the nineteenth century there were arguments as to whether or not photography – with its mechanical ability to record ‘reality’ – was better suited to portray life more comprehensively and truthfully than other visual arts of the period. An inevitable reaction to what were considered photography’s shortcomings was Pictorialism, which approached photography according to the conventions of painting, in an attempt to lend it more artistic credibility. But around 1920 a new generation of international photographers began reconsidering the specific characteristics of photography as tools for developing it into a more modern method of appropriating reality. Rapid progress in technologising modern society affected the adoption of and attitudes toward photography: convenient cameras that used rolls of film came onto the market in greater numbers, making it easy for even the greenest of amateurs to take photographs. Photographs were increasingly used as illustrations in mass media, and in advertising, leading to a rising demand for accomplished images and professional image makers. These developments also changed the public’s visual habits, so that the New Vision arose as an expression of the perception of this new media-fabricated reality. Positions ranged from the precise recordings of what was seen in portrait and industrial photography, via the use of new framings and perspectives at the Bauhaus, all the way to the photomontage and technical experiments such as the photogram and solarisation, as well as Surrealism’s staged images.

The Mechanical Eye

Photographers of the Neue Sachlichkeit (New Objectivity) movement wanted to show the world as it was. For Albert Renger-Patzsch, photography was the “most dependable tool” for objectively reproducing the visible things of this world, especially the results of modern technology, and in this respect, it was superior to the subjective perception of the human eye. László Moholy-Nagy went a step further, with his famous verdict that “the illiterate of the future will be the person ignorant of the use of the camera as well as the pen.” To the camera he attributed the crucial function of technically expanding human perception. Whilst adequately depicting machines, mass society, and modern metropolitan life: “the photographic apparatus can perfect or supplement our Photographs were increasingly used as illustrations in mass media.” Unusual aspects and viewpoints led to striking images. From a bird’s-eye perspective, buildings and streets became compositions made up of lines and planes, while a low-angle shot could create an unforeseen dynamic and greatly enlarging an object resulted in magical dissociations.

The Real and the Surreal

Ultimately, the Surrealists identified in the “realistic” recording tool of photography yet another artistic means of “écriture automatique,” which André Breton also described as “thought photography.” Beneath the surface of visible things the irrational, the magical, and the contradictory could be discovered and explored. Documentary photographers such as Eugène Atget and Karl Blossfeldt became inspirational figures in this movement. Their work was printed in the Surrealist magazines, because a plant, staged and isolated in a photograph, could trigger all kinds of magical associations beyond its botanical context. Meanwhile manipulated and staged photographs benefitted from the truthfulness of “this is the way it was,” since they could only reinforce their mysterious statements. One of Surrealism’s most important artistic means – the combinatory creation (including, of course, the photomontage) – was particularly effective because heterogeneous visual elements were joined to form new, surprising contexts of meaning. Like Brassaï’s photographs of a nocturnal Paris, Karel Teige’s collages have a surreal quality which can also be found in a different form in Man Ray’s dreamlike photograms. Both staged photography and – with many experiments with photographic techniques, such as multiple exposures, negative printing, and solarisation – strove to achieve the melding of dream and reality, a goal postulated by Breton in his first Surrealist manifesto. In New Vision photography this could generally result in images that could “go either way,” depending on the viewpoint of the real/surreal photographer and observer; they could be seen as sober, objective reproductions of the visible world, or as imaginary, subjective reflections of reality.

The exhibition RealSurreal leads the visitor through Neues Sehen in Germany, Surrealism in Paris, and the avant-garde in Prague, alongside themes such as portraits, nudes, objects, architecture, and experimental. Opening with a prologue of exemplary nineteenth-century photographs which are compared and contrasted with Neues Sehen, one can literally experience the Neues Sehen in the Kunstmuseum Wolfsburg via rare original prints by notable photographers, while rediscovering the broad spectrum and complexity of photographs from real to surreal. Besides approximately 200 photographs, the exhibition contains historical photography books and magazines, as well as rare artists’ books and examples of avant-garde cover design, making it possible to experience this new view of the world.

RealSurreal also features several famous clips from key films by Luis Buñuel, László Moholy-Nagy, Hans Richter, and others, shown continuously in a 45-minute loop, which highlight the fruitful interplay between avant-garde photography and the-then contemporary cinema. Important photographs and photo installations by Nobuyoshi Araki, Gilbert & George, Paul Graham, Andreas Gursky, Cindy Sherman, Jeff Wall, and James Welling, from the Kunstmuseum Wolfsburg’s collection, will also demonstrate that the artistic questions posed by Neues Sehen are still relevant today.”

Press release from the Kunstmuseum Wolfsburg website

 

Erwin Blumenfeld. 'Skull' 1932/33

 

Erwin Blumenfeld
Skull
1932/33
Solarisation on gelatin silver paper
29.6 x 24 cm
Photo: Christian P. Schmieder, Munich
© The Estate of Erwin Blumenfeld

 

Josef Sudek. 'Plaster Head' c. 1947

 

Josef Sudek
Plaster Head
c. 1947
Gelatin silver paper
23.5 x 17.5 cm
Photo: Christian P. Schmieder, Munich
© Estate of Josef Sudek

 

Herbert Bayer. 'Lonely Metropolitan' 1932/1969

 

Herbert Bayer
Lonely Metropolitan
1932/1969
Photomontage on gelatin silver paper
35.3 x 28 cm
Photo: Christian P. Schmieder, Munich
© VG Bild-Kunst, Bonn 2014

 

Herbert Bayer. 'Self-Portrait' 1932

 

Herbert Bayer
Self-Portrait
1932
Photomontage on gelatin silver paper
35.3 x 27.9 cm
Photo: Christian P. Schmieder, Munich
© VG Bild-Kunst, Bonn, 2014

 

Man Ray. 'Electricity' 1931

 

Man Ray
Electricity
1931
Photogravure
26 x 20.6 cm
Photo: Christian P. Schmieder, Munich
© Man Ray Trust, Paris/ VG Bild-Kunst, Bonn 2014

 

May Ray. 'Rayography (spiral)'1923

 

May Ray
Rayography (spiral)
1923
Photogram on gelatin silver paper
26.6. x 21.4 cm
Photo: Christian P. Schmieder, München
© Man Ray Trust, Paris/ VG Bild-Kunst, Bonn 2014

 

Florence Henri. 'Portrait Composition (Erica Brausen)' 1931

 

Florence Henri
Portrait Composition (Erica Brausen)
1931
Gelatin silver paper
39.9 x 29 cm
Photo: Christian P. Schmieder, Munich
© Galleria Martini & Ronchetti, Genova, Italy

 

Atelier Manassé. 'My Little Bird' c. 1928

 

Atelier Manassé
My Little Bird
c. 1928
Gelatin silver paper
21 x 16 cm
Photo: Christian P. Schmieder, Munich
© IMAGNO/Austrian Archives

 

Genia Rubin. 'Lisa Fonssagives. Gown: Alix (Madame Grès)' 1937

 

Genia Rubin
Lisa Fonssagives. Gown: Alix (Madame Grès)
1937
Gelatin silver paper
30.3 x 21.5 cm
Photo: Christian P. Schmieder / Siegert Collection, Munich
© Sheherazade Ter-Abramoff, Paris

 

 

Kunstmuseum Wolfsburg
Abteilung Kommunikation
Hollerplatz 1 38440
Wolfsburg
T: +49 (0)5361 2669 69

Opening hours:
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Tuesday 11 am – 8 pm
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08
May
14

Exhibition: ‘Brancusi, Rosso, Man Ray – Framing Sculpture’ at Museum Boijmans Van Beuningen, Rotterdam

Exhibition dates: 8th February – 11th May 2014

 

What a magnificent exhibition. We all know Brancusi and Man Ray but it is the work of Medardo Rosso that surprises and delights here, an artist I admit I knew nothing about before this posting. What a revelation, both his sculptures and photographs. I must try and do a whole posting just on his photographs!

The two self-portraits of the artists in the studio are telling… Rosso, pensive, brooding, with a stack of chopped wood surrounding him, face wreathed in shadow, head titled slightly down and hands stuffed in pockets; Brancusi, seated on a plinth, legs crossed, swarthy arms folded replete with large hands, staring directly at the camera and surrounded by his work. Rosso in malleable darkness, Brancusi in towering light. The photographs reflect their respective personalities and inform the art which represents them.

Marcus

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Many thankx to Museum Boijmans Van Beuningen for allowing me to publish the art work in the posting. Please click on the image for a larger version of the art.

 

Alessio delli Castelli considers the Italian sculptor’s photographic legacy.

“Medardo Rosso was born in Turin in 1858 and died in Milan 1928. However, he spent most of his life away from Italy, in Paris especially, from where he travelled to all the major European capitals. It was in Paris that, towards the close of the 19th century, he emerged alongside Auguste Rodin as a serious contender for the title of father of modern sculpture. Yet it was Rodin who achieved universal recognition. In spite of Rosso’s influence on sculptors such as Constantin Brancusi – whose Sleeping Muse (1909-10), with its radically abstracted features of a female head, is strongly reminiscent of Rosso’s Madame X (1896) – he was long held hostage by a provincial criticism which saw his practice confined, chronologically, thematically and formally, to the 19th century. Although it is true that Rosso only created two original sculptural works in the 20th century, to claim that he was no longer a practicing artist would be to overlook the variations he made of his sculptures, and the copies from antiquity. More importantly, it would be to dismiss his photographic work of that period merely as images of sculptures that already existed. This would mean ignoring the fact that his photography showed all the signs of rigorous artistic investigation – and was not, as critics in the 20th century often declared, indicative of either an accident that injured his leg and made him weak or a more general creative block.

It is only in recent years that Rosso’s photographs have acquired the status of art objects in and of themselves…”

Read more on the Frieze Magazine website

 

 

Installation photographs of the exhibition 'Brancusi, Rosso, Man Ray - Framing Sculpture' at Museum Boijmans Van Beuningen, 2014

Installation photographs of the exhibition 'Brancusi, Rosso, Man Ray - Framing Sculpture' at Museum Boijmans Van Beuningen, 2014

Installation photographs of the exhibition 'Brancusi, Rosso, Man Ray - Framing Sculpture' at Museum Boijmans Van Beuningen, 2014

Installation photographs of the exhibition 'Brancusi, Rosso, Man Ray - Framing Sculpture' at Museum Boijmans Van Beuningen, 2014

Installation photographs of the exhibition 'Brancusi, Rosso, Man Ray - Framing Sculpture' at Museum Boijmans Van Beuningen, 2014

Installation photographs of the exhibition 'Brancusi, Rosso, Man Ray - Framing Sculpture' at Museum Boijmans Van Beuningen, 2014

 

In mythology, Leda is a girl who is seduced by Zeus who turns her into a swan. In the Brancusi sculpture, Leda (foreground, above) is that metamorphosis. The swan is an animal whose body is often associated with a hybrid identity between male and female. His neck is close to a phallic shape while her body has feminine attributes. The bird and woman, male and female mingle in the same sculptural movement. This transfiguration is reflected in the complex forms of sculpture, asymmetrical contours, the offset top shape intersecting with the lower form, giving rise to multiple passages and perceptions.

In 1932, Brancusi sculpture adds a large polished steel disc which suggests the presence of water and Leda is reflected in the mirror which changes its shape. Modifications qu’accentuera still provide a motor and a ball bearing arranged in the circular plate. Within the workshop, the body of Leda is in a state of constant metamorphosis. The shimmer of light on the surface of polished bronze sculpture blends with its reflection in the steel circle and absorbs its environment. Leda becomes a pure luminous presence. Weight and lightness, balance and imbalance are the same event within a continuous time duration in the sculptures of Constantin Brancusi. (Translated from the French on the Constantin Brancusi web page of the Centre Pompidou website).

 

Installation photographs of the exhibition 'Brancusi, Rosso, Man Ray - Framing Sculpture' at Museum Boijmans Van Beuningen, 2014

 

Installation photographs of the exhibition Brancusi, Rosso, Man Ray – Framing Sculpture
Museum Boijmans Van Beuningen, 2014
Foto / Photos: Gert-Jan de Rooij, Amsterdam

 

 

“In the spring of 2014 Museum Boijmans Van Beuningen brings together works from all over the world by three artists who were decisive for the development of modern art. This is the first exhibition to combine sculptures by Brancusi, Rosso and Man Ray together with their photographs, affording a unique insight into the artists’ working methods.

Masterpieces that have rarely or never been seen in the Netherlands will be lent by important museums such as the Centre Pompidou, MoMA and Tate. Museum Boijmans Van Beuningen will show more than 40 sculptures and hundred photographs by Constantin Brancusi (Hobita 1876 – Paris 1957), Medardo Rosso (Turin 1858 – Milan 1928) and Man Ray (Philadelphia 1890 – Paris 1976). The exhibition will feature sculptures such as Brancusi’s Princesse X (1915-1916) and Rosso’s Ecce Puer (1906) alongside works by Man Ray from the museum’s collection, including the sculpture L’Énigme d’Isidore Ducasse (1920/1971). Presenting the sculptures together with the artists’ photographs of their sculptures reveals their often-surprising perspectives on their own works.

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Framing Sculpture

Brancusi, Rosso and Man Ray employed photography not so much as a means of recording their work. The photographs show how they interpreted their sculptures and how they wanted them to be seen by others. Brancusi is considered the father of modern sculpture with his highly simplified sculptures of people and animals. In his photographs he experimented with light and reflection so that his sculptures absorb their environment and appear to come to life. Rosso is the artist who introduced impressionism in sculpture. The indistinct contours of his apparently quickly modelled figures in plaster and wax make them appear to fuse with their surroundings. Rosso cut up the soft-focus photographs of his work, made them into collages and reworked them with ink so that the sculptures appear even flatter and more contourless. Man Ray is best known as a photographer but was also a painter and sculptor. His choice of materials was unconventional: he combined existing objects to create new works, comparable to the ‘readymades’ of his friend Marcel Duchamp. Man Ray’s experimental use of photography led him to make photographs without the use of a camera. He made these so-called ‘rayographs’ by placing objects directly on photographic paper and exposing them briefly to light, leaving behind a ghostly impression.

Press release from the Museum Boijmans Van Beuningen

 

06-WEB

 

Man Ray
L’Énigme d’Isidore Ducasse (The Riddle of Isidore Ducasse)
1920 (1971)
Iron, textile, rope, cardboard
45.4 x 60 x 24 cm
Collection Museum Boijmans Van Beuningen
© Man Ray Trust / ADAGP, c/o Pictoright Amsterdam 2013.

 

07-WEB

 

Man Ray
L’Énigme d’Isidore Ducasse (The Riddle of Isidore Ducasse)
1920 (1975)
Gelatin silver print
47.5 x 59 cm
Courtesy Fondazione Marconi, Milan
© Man Ray Trust / ADAGP, c/o Pictoright Amsterdam 2013

 

12-WEB

 

Medardo Rosso
Enfant à la Bouchée de pain (Child in the soup kitchen)
1897 (1892-1893)
Wax over plaster
46 x 49 x 37 cm
Galleria Nazionale d’Arte Moderna e Contemporanea, Rome

 

13-WEB

 

Medardo Rosso
Enfant à la Bouchée de pain in the Cézanne room at the Salon d’Automne
1904
Felatin silver print
12.3 x 15.5 cm
Private collection

 

The Italian sculptor Medardo Rosso (1858-1928) is the oldest and most traditional of the three artists. He stands in the Impressionist tradition of French sculptor August Rodin. Rosso has made many portraits of children, which he adored. They were one of his favorite subjects. Rosso kept working on the same pieces throughout his career, making changes to their titles, shapes or materials. Sometimes he combined materials or poured another substance over the original. A work of plaster then became a wax sculpture. Other times he made two different versions of the same image, using different materials…

Rosso… used his camera to present his art in the way he preferred. By taking pictures and displaying them next to the actual sculptures he could show the audience what was, in his opinion, the right angle to look at his piece. Of course, everyone is free to walk around the sculpture, but the photographs show what the artist had in mind when he created it. Many times he would cut up his pictures, tear away corners or color them with ink. This way he even reinterpreted his interpretations. Together the sculptures, photographs and collages give a complete picture of the work by Medardo Rosso. Never before have there been so many of his works on display in the Netherlands. (Text by Evita Bookelmann on the Kunstpedia website)

 

Constantin Brancusi. 'Tête d’enfant endormi' (Head of a Sleeping Child) 1906-07

 

Constantin Brancusi
Tête d’enfant endormi (Head of a Sleeping Child)
1906-07
Plaster, coloured dark brown
10.8 x 13.6 x 15.2 cm
Private collection

 

 

A previously unknown sculpture by Constantin Brancusi (1876-1957) can be seen in Brancusi, Rosso, Man Ray – Framing Sculpture, the exhibition opening at Museum Boijmans Van Beuningen on Saturday. The museum is especially delighted by the arrival of Tête d’enfant endormie (Head of a Sleeping Child, 1906-07). This early sculpture is an important key work in Brancusi’s development of his famous ‘ovoid’.

The exhibition, which features more than forty sculptures by Constantin Brancusi, Medardo Rosso and Man Ray and a hundred vintage photographs taken by them, runs in Museum Boijmans Van Beuningen for three months from 8 February. The plaster sculpture was purchased at a sale by a French private collector. Leading expert Friedrich Teja Bach has recently confirmed that it is a version of the ‘head of a sleeping child’. Curators Francesco Stocchi and Peter van der Coelen remarked, “It is unusual for a previously unknown work by Brancusi to turn up at a sale. Works by Brancusi are rare and almost all of them are in prominent museum collections like those of the Centre Pompidou, the Tate and MoMA.”

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The Road to Abstraction

The child’s head with natural features is in the tradition of the contemporary Impressionists Auguste Rodin and Medardo Rosso. At the same time, this early work is a starting point in Brancusi’s journey towards a more abstract style, which culminated in an entirely smooth oval form, devoid of any facial features. This process can also be seen in the photographs taken by Brancusi himself, in which he pictured Tête d’enfant endormie in his studio with Le Nouveau-Ne II, a work he made ten years later. The exhibition in Rotterdam examines the artistic practices and development of Brancusi, Rosso and Man Ray by showing the sculptures alongside the photographs they took of them.

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Painted Bronze

Brancusi’s oeuvre contains a number of recurring subjects, which the artist executed in a variety of materials, including plaster, marble and bronze. This allowed Brancusi to explore various effects, such as the reflection of light. The signed Tête d’enfant endormie is an early version in the series. It is unusual that Brancusi painted the plaster, making it look like bronze.

Press release from the Museum Boijmans Van Beuningen

 

Constantin Brancusi. 'La Muse endormie' (Sleeping muse) 1910

 

Constantin Brancusi
La Muse endormie (Sleeping muse)
1910
Bronze
16.1 x 27.7 x 19.3 cm
Arthur Jerome Eddy Memorial Collection. The Art Institute of Chicago
© 2013 c/o Pictoright Amsterdam

 

Man Ray. 'Noire et blanche (Black and white)' 1926

 

Man Ray
Noire et blanche (Black and white)
1926
Gelatin silver print
18 x 23.5 cm
© Man Ray Trust / ADAGP – PICTORIGHT / Telimage – 2013

 

Man Ray’s Noire et blanche is a photograph exemplary of Surrealist art. The striking faces of the pale model and the dark mask have a doubling effect. This repetition is a reminder that a photograph is a double of what it represents, namely, a sign or an index of reality. In Surrealism the act of doubling indicates that we are all divided subjects made up of the conscious and unconscious. In reading this photograph as typical of primitivism, the woman can be understood as European civilization and the mask as “primitive” Africa. The image draws a parallel between the two faces presenting them as related to each another. The title “black and white” is a word play because the order is reversed when reading the image left to right. The artist also printed a negative version of this image. The photograph was first published in Vogue. It is a portrait of Kiki of Montparnasse, Man Ray’s lover and model at the time the photograph was taken. (Text from the Stedelijk Museum Amsterdam website)

 

Medardo Rosso. 'Enfant malade (Ziek kind)' c. 1909

 

Medardo Rosso
Enfant malade (Ziek kind)
c. 1909
Aristotype
7.9 x 6.3 cm
Private collection

 

Medardo Rosso. 'Enfant malade (Ziek kind) 1895 (1903-1904)

 

Medardo Rosso
Enfant malade (Ziek kind)
1895 (1903-1904)
Bronze
25.5 x 14.5 x 16.5 cm
Collectie Galleria d’Arte Moderna, Milan

 

Medardo Rosso. 'Madame X' 1896

 

Medardo Rosso
Madame X
1896
Wax
300 mm
Venice, Ca’ Pesaro

 

“With absolute consistency, insensitive to the controversies and disputes that his art aroused, and even more outrageous contempt of which he did hold official culture, Rosso deduced to the extreme the basic premises of his vision. Before our eyes a daunting shadow surface which shows the blade trembling and vibrating of a living being, which criticizes the mysterious anything that presses him and when you blow in a dissolver, its right in the light, that all ‘vital’ essence. The premises literary, philosophical or vaguely esoteric suggestions are totally absorbed in the supreme quality of style: the sculptor modulation and tapering the matter to the extent possible, the absolute brink of abstraction, seeking spasmodically every musical vibration; the equation of light-sculpture-painting could be said to be verified.”

(Terrible translation by Google translate of anonymous Text = but so beautiful at the same time!)

 

Constantin Brancusi. 'Princesse X' (Princess X) c. 1930

 

Constantin Brancusi
Princesse X (Princess X)
c. 1930
Gelatin silver print
29.7 x 23.7 cm
Collection Centre Pompidou, MNAM-CCI, Paris
© 2013 c/o Pictoright Amsterdam
Photo: Bertrand Prévost

 

Constantin Brancusi. 'Princesse X (Princess X)' 1915-1916

 

Constantin Brancusi
Princesse X (Princess X)
1915-1916
Bronze
61.7 x 40.5 x 22.2 cm
Collection Centre Pompidou, MNAM-CCI, Paris
© 2013 c/o Pictoright Amsterdam
Photo: Adam Rzepka

 

Princess X is a sculptured rendering of the French princess, Marie Bonaparte, by the artist Constantin Brâncusi. Princess Bonaparte was the great-grand niece of the emperor Napoleon Bonaparte…

According to the Philadelphia Museum of Art, Brâncusi had been “at the center of two of modern arts most notorious scandals.” One of the scandals being that the Salon des Indépendants, in Paris where Brâncusi practiced his trade, discontinued the display of Princess X from its establishment for its apparent obscene content, as some thought it looked like a penis. After having his art taken off display, Brâncusi was shocked. He declared the incident a misunderstanding. He had created Princess X not as a sculpture depicting a more masculine subject, but the object of feminine desire and vanity.

After much accusation, Brâncuși insisted the sculpture had been his rendition of Marie Bonaparte. Brâncusi discussed the comparison of the bronze figure to the princess. He described his detest of Marie, as a “vain woman.” He claimed she went as far as placing a hand mirror on the table at mealtimes, so she could gaze upon herself. The sculpture’s C-like form reveals a woman looking over and gazing down, as if looking into an object. The large anchors of the sculpture resemble the “beautiful bust” which she possessed. Without knowing the context, to a viewer Princess X could look like an erect penis. Brâncusi allows the princess to gaze upon herself in an eternal loop locked in the bronze sculpture.

The style of Brâncusi is one that “was largely fueled by myths, folklore, and primitive culture,” this combined with the modern materials and tools Brâncuși used to sculpt, “formed a unique contrast…resulting in a distinctive kind of modernity and timelessness.” The technique Brâncusi was known for and used on Princess X could be mistaken for a penis, but in fact it was the simple form of a woman.

“What my art is aiming at, is above all realism; pursue the inner hidden reality, the very essence of objects in their own intrinsic fundamental nature: this is my only preoccupation.” – Constantine Brâncusi. (Text from the Wikipedia website)

 

 

Constantin Brancusi. 'View of the Studio with Maïastra' 1917

 

Constantin Brancusi
View of the Studio with Maïastra
1917
Gelatin silver print
23.9 x 17.8 cm
Collection Centre Pompidou, MNAM-CCI, Paris
© 2013 c/o Pictoright Amsterdam

 

According to Constantin Brancusi’s own testimony, his preoccupation with the image of the bird as a plastic form began as early as 1910. With the theme of the Maiastra (1910-18), he initiated a series of about thirty sculptures of birds.

The word maïastra means “master” or “chief” in Brancusi’s native Romanian, but the title refers specifically to a magically beneficent, dazzlingly plumed bird in Romanian folklore. Brancusi’s mystical inclinations and his deeply rooted interest in peasant superstition make the motif an apt one. The golden plumage of the Maiastra is expressed in the reflective surface of the bronze; the bird’s restorative song seems to issue from within the monumental puffed chest, through the arched neck, out of the open beak. The heraldic, geometric aspect of the figure contrasts with details such as the inconsistent size of the eyes, the distortion of the beak aperture, and the cocking of the head slightly to one side. The elevation of the bird on a saw-tooth base lends it the illusion of perching. The subtle tapering of form, the relationship of curved to hard-edge surfaces, and the changes of axis tune the sculpture so finely that the slightest alteration from version to version reflects a crucial decision in Brancusi’s development of the theme.

Seven other versions of Maiastra have been identified and located: three are marble and four bronze. (Text from the Guggenheim website)

 

 

Constantin Brancusi. 'Self-portrait in the studio' c. 1934

 

Constantin Brancusi
Self-portrait in the studio
c. 1934
Gelatin silver print
39.7 x 29.7 cm
Collection Centre Pompidou, MNAM-CCI, Paris
© 2013 c/o Pictoright Amsterdam
Photo: Philippe Migeat

 

Man Ray. 'Rayographie' (Rayograph) 1925

 

Man Ray
Rayographie (Rayograph)
1925
Photogram
50 x 40.5 cm
Collection Museum Boijmans Van Beuningen
© Man Ray Trust / ADAGP, c/o Pictoright Amsterdam 2013

 

Man Ray. 'Le Violon d'Ingres' (Ingres's Violin or The Hobby) 1924

 

Man Ray
Le Violon d’Ingres (Ingres’s Violin or The Hobby)
1924
Gelatine silver print
17.2 x 22.4 cm
Private collection Turin
© Man Ray Trust / ADAGP, c/o Pictoright Amsterdam 2013

 

Man Ray. 'Self-portrait with the lamp' 1934

 

Man Ray
Self-portrait with the lamp
1934
Gelatin silver print
10. 8 x 8 cm
© Man Ray Trust / ADAGP, c/o Pictoright Amsterdam 2013

 

Medardo Rosso. 'Self-portrait in the studio' c. 1906

 

Medardo Rosso
Self-portrait in the studio
c. 1906
Modern contact print of the original glass negative
12.7 x 13 cm
Private collection

 

'Brancusi, Rosso, Man Ray - Framing Sculpture' exhibition poster

 

Constantin Brancusi, La Muse endormie, 1910. Arthur Jerome Eddy Memorial Collection. The Art Institute of Chicago. © 2013 c/o Pictoright Amsterdam /
Medardo Rosso, Enfant malade, c. 1909. Private collection /
Man Ray, Noire et blanche, 1926. © Man Ray Trust / ADAGP – PICTORIGHT / Telimage – 2013
Design: Thonik.

 

 

Museum Boijmans Van Beuningen
Museumpark 18-20
3015 CX Rotterdam
The Netherlands
T: +31 (0)10 44.19.400

Opening hours:
Tuesdays to Sundays, 11 am – 5 pm

 

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09
Sep
12

Review: ‘Light Works’ at NGV International, Melbourne

Exhibition dates: 23rd March – 16th September 2012

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“Light is a scientific fact, a metaphorical construct and even a spiritual force. It is considered an agent of truth, authenticity and revelation just as the absence of light signals mystery, danger and disorder. Light is also fundamental in the creation of photographs.”

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Dr Isobel Crombie, Senior Curator, Photography NGV, 2012

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“Light is a metaphor: where you have a dark place, and where that place becomes illuminated; where darkness becomes visible and one can see. The darkness is me, is my being. Why am I here? What am I here for? What is this experience I’m having? This is darkness. Light produces understanding.”

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Adam Fuss 1990

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This is an intimate and stimulating photographic exhibition at the NGV International featuring the work of artists Mike and Doug Starn, David Stephenson, Hiroshi Sugimoto, Bill Henson, Adam Fuss, Simone Douglas, Park Hong-Chun, Eugenia Raskopoulos, Sam Shmith, Christoph Dahlhausen and Patrick Bailly-Maitre-Grand. It is fantastic to see an exhibition of solely contemporary photographs at the National Gallery of Victoria taken from their collection (with nary a vintage silver gelatin photograph in sight!), one which examines the orchestration of light from which all photography emanates – used by different photographers in the creation, and there is the key word, of their work. Collectively, the works seem to ooze a mysterious inner light, a facing towards the transcendent divine – both comforting, astonishing and terrifying in part measure.

Works included range from photograms (camera-less images), large scale installations and photographs produced using digital light-based technologies. Every one of the fifteen works on display is worthy of inclusion, worthy of study at significant length so that the viewer may obtain insight into this element and its capture (by the camera, or not) on photographic paper, orthographic film and by the retina of the eye. What afterimage does this light leave, in the mind’s eye, in our subconscious thought?

The two Bill Henson photographs are evocative of the Romantic ideals of the nineteenth century where twilight possesses a luminescence that reveals shifting forms and meaning only through contemplation. As with all Henson the “mood” of the photographs is constructed as much by the artist as the thing being photographed. It is his understanding of the reflection of light from that object and the meaning of that reflection that creates the narrative “reality,” that allows the viewer the space for contemplation. In Sam Shmith’s photograph Untitled (In spates 2) (2011, below), Shimth turns day into night, creating his own reality by digitally compositing “30-40 photographs per pictorial narrative” taken during the day and then digitally darkened to form one single photographic instance. As a spectral ‘body’ the photograph works to create a new form of hallucination, one that haunts and perturbs the mind, like a disturbing psychological thriller. The viewer is (not really) flying, (not really) floating above the clouds contemplating the narrative, creating a visual memory of things. Spectral luminescences, not-quite-right perspectives, the photograph as temporal/temporary hallucination. The image takes me to other spaces and memories, opening up new vistas in my imagination (see more of my thoughts on Shmith’s work and the digital punctum).

Beginning in 1988, Adam Fuss began to explore studies of abstracted light and color which “involved placing the paper in a tray of water and recording the concentric circles caused by disturbing the water or dripping droplets of water into the trays. These pieces, done between 1988-1990, have an eerie, spatial quality. Infused with bright, vibrant colors and blinding white light, they resemble some hitherto unknown solar system. [Here] Fuss is concerned with the metaphorical qualities of light.

In an interview with Ross Bleckner conducted in 1992, Fuss explained the role of light in his imagery: “Light is a physical sensation. If you look at it with purely scientific eyes, its a particle that behaves like a wave or a wave that behaves like a particle. No one knows exactly what it is. It travels very fast. It has something to do with our perception of time… When one works with the idea of light, one’s working with a metaphor that’s endless and huge and unspecific. because you’re talking about something that’s almost just an idea, we can think about it but we can never grasp it. The light of the sun represents life on Earth. Light represents the fuel that is behind our existence… It’s a mystery.”1

Another beautiful photograph is Eugenia Raskopoulos’ elegiac requiem to the dis/appearance of language and the body, Diglossia #8 (2009, below). Diglossic is defined as a situation in which two languages (or two varieties of the same language) are used under different conditions within a community, often by the same speakers, with one variety of speech being more prestigious or formal and the other more suited to informal conversation or taken as a mark of lower social status or less education. As Victoria Lynn states of the series, “Each of these images carries within it a letter from the Greek alphabet. There is a word in there somewhere, but the order has been disrupted. This word, or name, has been cut, and its pieces are now before us as fragments that refuse to re-collect themselves into meaning. As such, the relationship between the letters also becomes temporal, fluid, and heterogeneous opening up the question of translation between one language to another, and one culture to another.

The images have been created using the gesture of a hand writing on a steamed up mirror. The photograph is taken very quickly, before the image, the letter and the mark of the artist disappears. We have to ask, what is disappearing here? Is it the language, the name, the aura of the photograph (in the Benjaminian sense) or indeed the body? For behind each letter we can detect a human presence – the artists’ naked body as she makes the photograph. The apparatus of photography is revealed, undressed and made naked.”2

Sol Invictus (1992, below) by the Starn Twins overwhelms in the brute force of the installation, something that cannot really be captured in the two-dimensional representation posted here (go and see the real thing!). The layering and curving of orthographic film relates to the curvature of the sun, the film held in place by screw clamps as though the artist’s were trying to contain, to fix, to regulate the radiation of the sun. Sol Invictus (here is the paradox, it means “unconquered sun” even as the Starn Twins seek to tie it down) explores the metaphorical, scientific and religious properties that gives life to this Earth. A very powerful installation that had me transfixed. Hiroshi Sugimoto’s famous series Theaters is represented in the exhibition by the work Winnetka Drive-In, Paramount (1993, below) where  Sugimoto “photographs auditoriums of American movie theaters, and drive-in movies, during showings. The exposure time used for the photograph corresponds with the projection time of the film. This allows him to save the duration of the entire film in a single shot. What remains visible of the film’s time-compressed, individual images is the bright screen of the movie theater, which illuminates the architecture of the space. That its content retreats into the background makes the actual film a piece of information, manifesting itself in the (movie theater) space. As a result, instead of a content-related event, film presents itself here as the relationship between time and spatial perception.”3

If we think of the camera lens as being fully open, like an eye without blinking, for the duration of the length of the film then the shutter of the lens has to be set on “B” for Bulb which allows for long exposure times under the direct control of the photographer. “The term bulb is a reference to old-style pneumatically actuated shutters; squeezing an air bulb would open the shutter and releasing the bulb would close it… It appears that when instantaneous shutters were introduced, they included a B setting so that the familiar bulb behavior could be duplicated with a cable release.”4 In other words light waves, reflecting from the surface of objects, are controlled by the photographer over an indefinite period (not the short “snap” of the freeze frame / the decisive moment), accumulating light from thousands of years in the past through the lens of the camera onto the focal plane, coalescing into a single image, controlled and constructed by the photographer.

My favourite works in the exhibition are David Stephenson’s two Star Drawings (1996, below) which use the same Bulb technique to capture star trails travelling across the night sky. Stephenson says that drawing the stars at night by long time exposures, “are a contemporary expression of the sublime – a transcendental experience of awe with the vast space and time of existence” (DS, 1998). The photographs map our position and help us understand our space in the world, that we are all made of stars, every last one of us. As far as being expressions of the sublime, these almost Abstract Expressionist, geometric light drawings are only achieved through the tilting of the camera at certain points doing the exposure and the opening and closing of the shutter, to make the intricate patterns. Man and stars combine to create a spiritual force that emanates from everything and everyone. Stephenson tilts the axis of meaning. When we look at these photographs the light that has emanated from these stars may no longer exist. It had travelled thousands of light years from the past to the present to be embedded in the film at the time of exposure and is then projected into the future so that the viewer may acknowledge it a hundred years from now.

Emanation > recognition > existence . . . . . . . . . . ∞
. . . . . . . . . . . . . . . . . . . . .  . .. .  . . . . .  . .. . . . . . . . . . death

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How Light Works

In a truly inspired piece of writing, artist and author Pablo Helguera muses on the nature of light falling on a landscape in his piece How to Understand the light on a Landscape (2005). In the text he examines qualities of light such as experiential light, home light, ghost light, the light of the deathbed (think Emmet Gowin’s photograph of Rennie Booher in her casket, “dead now and committed to mystery,” as Gowin puts it), rain light, protective light, artificial light, the light of the truly blind, the light of adolescence, sunday light, hotel light, used light, narrated light, transparent light, the light of the last day and after light.

“The conjunction of a random site, the accumulated data in the body’s memory that is linked to emotion, and the general behavior of light form experience. Experience is triggered by light, but not exclusively by the visible light of the electromagnetic spectrum. What the human eye is incapable to perceive is absorbed by other sensory parts of the body, which contribute to the perception that light causes an effect that goes beyond the merely visual.”5

This is the crux of the “matter.” As much as photography is a dialogue between the natural and the unnatural, it is also an invocation to the gods (inside each of us and all around us). It is the breaking down of subjective and objective truths so that the myth of origin becomes fluid in this light. It is the light of creation that goes beyond the merely visual, that is an expression of an individualism that rises above the threshold of visibility – to stimulate sensory experience; to prick the imagination and memory; to make us aware and recognise the WAVELENGTH of creation. It is the LIGHT OF EXPERIENCE.

Helguera concludes, “The intersection of our body with the light and the landscape and the coded form of language that we have to construct by ourselves and explain to ourselves is our daily ordeal, and we are free to choose to ignore and live without it, because there is nothing we can do with this language other than talking to ourselves. There is no point in trying to explain it to others because it is not designed to be this way, other than remaining a remote, if equivalent, language.

Some for that reason prefer to construct empty spaces with nondescript imagery, and thus be free of the seductive and nostalgic undecipherability of the landscape and the light. Or we may choose to openly embrace the darkness of light, and thus let ourselves through the great gates of placehood, where we can finally accept the unexplainable concreteness of our moments for what they are.”6

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I believe this is the role of artists, to embrace the darkness of light and the trace of experience and to show it to people that may not recognise it or have turned away from the light of experience. So many people walk through life as if in a dream, neither recognising their energy nor the good or bad that emanates from that light. As Helguera notes it causes us to create our own coded form of language to explain the LIGHT OF LIFE to ourselves. We can choose to ignore it (at out peril!) but we can also embrace light in an act of recognition, awareness, forgiveness. We can banish the empty spaces and nondescript imagery in our own lives and make connection to others so that they make gain insight into their own existence and being.

Dr Marcus Bunyan for the Art Blart blog

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

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David Stephenson
Star Drawing 1996/402
1996
40 x 40″
Cibachrome Print
National Gallery of Victoria, Melbourne
Purchased, 1997
© Courtesy of the artist

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Hiroshi Sugimoto
Japanese 1948-, worked in United States 1972-
Winnetka Drive-In, Paramount
1993
Gelatin silver photograph
42.3 x 54.1 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by the Bowness Family Fund for Contemporary Photography, 2009
© Hiroshi Sugimoto, courtesy The Pace Gallery, New York

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Simone Douglas
Surrender (Collision) III (detail)
1998
Type C photograph
45.9 x 64.0 cm
National Gallery of Victoria, Melbourne
© Simone Douglas

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Sam Shmith
Australian 1980-
Untitled (In spates 2)
2011
from the In spates series 2011
Inkjet print
75.0 x 124.8 cm
National Gallery of Victoria, Melbourne
Purchased, Victorian Foundation for Living Australian Artists, 2011
© Sam Shmith, courtesy Arc One Gallery, Melbourne

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“On March 23, the National Gallery of Victoria will open Light Works, a contemporary photography exhibition that explores various artists’ approaches to light – a fundamental element in the creation of photography. Drawn from the NGV’s Collection, the fifteen works on display show how photographers have exploited the creative potentials of natural and artificial light in their artworks.

Dr Isobel Crombie, Senior Curator, Photography NGV said: “Light is a scientific fact, a metaphorical construct and even a spiritual force. It is considered an agent of truth, authenticity and revelation just as the absence of light signals mystery, danger and disorder. Through a careful selection of works by international and Australian artists the emotive potential and scientific capacities of light are explored.”

Dr Gerard Vaughan, Director, NGV said: “‘Light Works’ is an exhibition that has broad appeal as it will intrigue those who are artistically, spiritually, technologically or scientifically minded. The works on display demonstrate the diverse and limitless depiction of this vital element. This exhibition also provides visitors with an opportunity to see works by some of the most important contemporary global and local photography artists – a must-see exhibition for 2012.”

Works included range from photograms (camera-less images), large scale installations and photographs produced using digital light-based technologies highlighting the depth of the NGV’s remarkable photography collection. On display are works by Mike and Doug Starn, David Stephenson, Hiroshi Sugimoto, Bill Henson, Adam Fuss, Simone Douglas, Park Hong-Chun, Eugenia Raskopoulos, Sam Shmith, Christoph Dahlhausen and Patrick Bailly-Maitre-Grand.”

Text from the NGV website

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Eugenia Raskopoulos
Diglossia #8
2009
from the Diglossia series 2009
Inkjet print
139.5 x 93.3 cm
National Gallery of Victoria, Melbourne
Purchased, Victorian Foundation for Living Australian Artists, 2009
© Eugenia Raskopoulos

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This photograph shows a letter from the Greek alphabet which has been marked by hand onto a foggy mirror.

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Mike Starn
American 1961-
Doug Starn
American 1961-
Sol Invictus
1992
Orthographic film, silicon, pipe clamps, steel and adhesive tape
175.0 x 200.0 x 35.0 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by the National Gallery Women’s Association, 1994
© Doug Starn, Mike Starn/ARS, New York. Licensed by VISCOPY, Sydney

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Adam Fuss
English 1961-, worked in Australia 1962-82, United States 1982-
Untitled
1991
Cibachrome photograph
164.3 x 125.0 cm
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of the Rudy Komon Fund, Governor, 1992
© Adam Fuss. Courtesy Cheim & Read, New York

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1. Halpert, Peter. “Adam Fuss: Light and Darkness,” in Art Press International, July/August 1993 on the Peter Hay Halpert Fine Art website. Nd. [Online] Cited 08/09/2012.

2. Lynn, Victoria. “Writing Towards Disappearance,” on the Eugenia Raskopoulos website. Nd. [Online] Cited 08/09/2012.

3. Kellein, Thomas Sugimoto, Hiroshi. Time Exposed. Thames & Hudson, First edition, 1995, p. 91, quoted on the Media Art Net website. [Online] Cited 08/09/2012.

4. Anon. “Bulb (photography),” on the Wikipedia website. Nd. [Online] Cited 08/09/2012.

5. Helguera, Pablo. How to Understand the Light on a Landscape (video, 15 min., 2005) is a work that simulates a scientific documentary about light to discuss the experiential aspects of light as triggered by memory. The images and text, taken from the video, are part of the book by Patt,Lise (ed.). Searching for Sebald: Photography After W.G. Sebald. Institute of Cultural Inquiry, 2007, pp.110-119.

6. Ibid.,

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NGV International
180 St Kilda Road

Opening hours
10am – 5pm. Closed Tuesdays.

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08
Oct
11

Exhibition: ‘A Turbulent Lens: The Photographic Art of Virna Haffer’ at Tacoma Art Museum

Exhibition dates: 2nd July – 16th October 2011

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It is such a joy constructing this blog. I get to educate myself on these wonderful, half-forgotten photographers and then bring their photographs to you. What a life Haffer must have had: she found success as a photographer, printmaker, painter, musician, sculptor, and published writer. Independent-minded and self-sufficient, as most artists are, this is an artist I would have liked to have met!

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

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Virna Haffer
Eleventh Street Bridge
circa 1930s
Woodblock print
Tacoma Art Museum, Gift of Carolyn Schneider

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Virna Haffer
Abstract #2
circa 1960s
Photogram
Collection of the Washington State Historical Society, gift of the estate of Virna Haffer

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Virna Haffer
Aftermath
circa 1962
Photogram
Collection of the Washington State Historical Society, gift of the estate of Virna Haffer

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“One of the most inventive Northwest artists of her time, Virna Haffer was an internationally recognized and respected Tacoma photographer who has slipped from both regional and national art history books. This summer, Tacoma Art Museum uncovers her innovative artwork.

In a career spanning more than six decades, Haffer found success as a photographer, printmaker, painter, musician, sculptor, and published writer, though she is known first and foremost as a photographer. Self-taught, she began her ambitious career in the early 1920s, both running a successful portrait studio (where she photographed the likes of the Weyerhaeuser and Chihuly families) and also exhibiting her unique artistic images around the world.

The curatorial team of Margaret Bullock, Christina Henderson, and David Martin searched through more than 30,000 of Virna Haffer’s photographic negatives, prints, and woodblocks at the Washington State Historical Society and Tacoma Public Library’s Special Collections to create this exhibition and its accompanying catalogue.

“It is an amazing opportunity to be able to bring the life and work of Virna Haffer to light once again,” said Margaret Bullock, Tacoma Art Museum’s Curator of Collections and Special Exhibitions, and a co-curator of the Haffer exhibition. “Her artistic curiosity is palpable in her work, which in itself is staggering in its volume, diversity, and range. Her role in and impact on the Northwest photographic community is just beginning to be uncovered and understood as we explore her unrivaled photographic legacy.”

Raised in the utopian community of Home Colony in South Puget Sound in the early 1900s, Haffer’s love of photography was sparked when she was just ten years old. Raised to be independent-minded and self-sufficient, she left school at the age of 15 to become a professional photographer. In 1914 she apprenticed herself to Tacoma photographer Harriette H. Ihrig where she absorbed the necessary technical skills along with the business know-how to run a commercial studio. She started exhibiting her fine art photographs in 1924.

Haffer tirelessly experimented with techniques and evolved her own rules, pushing beyond the boundaries of her medium to methodically master a variety of photographic styles and techniques. Her body of work includes images that can be classified as pictoralist, surrealist, documentary, and modernist. She experimented with a wide range of imagery, such as multiple overlapping exposures, eccentric viewpoints, composite images, and a non-mechanical photographic process called the photogram.

“Virna Haffer has been an all too well kept Tacoma secret,” said Stephanie A. Stebich, Director of Tacoma Art Museum. “Her work has been quietly appreciated for decades awaiting reconsideration. Given her Tacoma roots, pivotal role in Tacoma’s art community throughout her career, and diverse and stunning body of work, Virna Haffer is a perfect subject for the museum’s Northwest Perspective Series, which celebrates the work of regional artists.”

Haffer’s passion for photography not only brought her success in business with her own portrait photography studio, but also international recognition. Her commercial portrait work can be found in homes all over Tacoma, while her fine art photographs can be found in the permanent collections of institutions as prestigious as the Metropolitan Museum of Art in New York City.”

Text from the Tacoma Museum of Art website

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Virna Haffer
Mina Quevli
circa 1930
Gelatin silver print
Collection of the Washington State Historical Society, gift of the estate of Virna Haffer

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Virna Haffer
Franz Brasz, The Artist
circa 1937
Gelatin silver print
Collection of the Washington State Historical Society, gift of the estate of Virna Haffer

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Virna Haffer
Old Tacoma Hotel Fire
circa 1935
Gelatin silver print
Collection of the Washington State Historical Society, gift of the estate of Virna Haffer

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Virna Haffer
Self Portrait
1929
Gelatin silver print with added pigmentation
Private collection

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Tacoma Art Museum
1701 Pacific Avenue
Tacoma, WA 98402

Opening hours:
Wednesday – Sunday 10 am – 5 pm

Tacoma Art Museum website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

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

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