Posts Tagged ‘photographic manipulation

07
Jun
19

Exhibition: ‘Oscar Rejlander: Artist Photographer’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 12th March – 9th June 2019

 

Oscar Rejlander (1813-75) 'The Two Ways of Life' 1856-7

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Two Ways of Life (Hope in Repentance)
1857
Albumen silver print
21.8 x 40.8 cm (8 9/16 x 16 1/16 in.)
Moderna Museet, Stockholm

 

 

Oscar Rejlander, the father of photography, sets in motion many of the later developments of photographic art.

I could wax lyrical about the light, staging and humour of the images; the allegorical, religious and emotional portraits; the influence of photography on painting; the spontaneous act caught on film (Eh!); the combination printing, precursor to digital manipulation (Two Ways of Life); the costume dramas (The Comb Seller); or the presaging of the work of August Sander (The Juggler). But I won’t.

Instead, I just want you to think about the period in which these photographs were made – that Dickensian era of archetypal humanity, intricate narrative. I want you to feel that these reality pictures are alive and how they transcend the time of their creation through the lyricism of the print.

From the mind of the artist to works of art that stare down that cosmic time shift, from cradle to grave.

Marcus

.
Many thanks 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.

 

 

“It is the mind of the artist, and not the nature of his materials which makes his production a work of art.”

.
Oscar G. Rejlander

 

 

 

 

Oscar Gustav Rejlander is best known for his work “Two Ways of Life,” a masterpiece for which he used over 32 different negatives. It took him around six weeks to create it and over 3 days to produce a final print.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Infant Photography Giving the Painter an Additional Brush' c. 1856

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Infant Photography Giving the Painter an Additional Brush
c. 1856
Albumen silver print
6 × 7.1 cm (2 3/8 × 2 13/16 in.)
Courtesy The J. Paul Getty Museum, Los Angeles

 

 

After emigrating from Sweden to England in 1839 and taking up photography in 1852, he became one of the first to recognise photography’s potential as a “handmaid of art” – exemplified by early photographs like “The Infant Photography Giving the Painter an Additional Brush.” This tiny print served to demonstrate how photography could preserve an allegorical scene for a painter’s extended study. It also functioned as a self-portrait and hinted at Rejlander’s hidden ambitions: reflected in the convex mirror, he presents himself as a modern-day Jan van Eyck.

Extract from Dana Ostrander. “The Overlooked Legacy of Oscar Rejlander, Who Elevated Photography to an Art,” on the Hyperallergic website April 2, 2019 [Online] Cited 06/06/2019

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Non Angeli sed Angli (Not Angels but Anglos), after Raphael’s Sistine Madonna' c. 1854-1856

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Non Angeli sed Angli (Not Angels but Anglos), after Raphael’s Sistine Madonna
c. 1854-1856
Albumen silver print
20.5 x 26.3 cm (8 1/16 x 10 3/8 in.)
Princeton University Art Museum
Museum purchase, David H. McAlpin, Class of 1920, Fund

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Mary Constable and Her Brother' 1866

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Mary Constable and Her Brother
1866
Albumen silver print
16.8 x 22.1 cm (6 5/8 x 8 11/16 in.)
The Metropolitan Museum of Art, Gilman Collection
Purchase, Harriette and Noel Levine Gift, 2005

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Bachelor's Dream' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Bachelor’s Dream
c. 1860
Albumen silver print
13.9 x 19.6 cm (5 1/2 x 7 11/16 in.)
George Eastman Museum, purchase
Photo: Courtesy of the George Eastman Museum

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Hard Times (The Out of Work Workman's Lament)' 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Hard Times (The Out of Work Workman’s Lament)
1860
Albumen silver print
13.8 x 19.7 cm (5 7/16 x 7 3/4 in.)
George Eastman Museum, purchase
Photo: Courtesy of the George Eastman Museum

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Head of St. John the Baptist in a Charger' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Head of St. John the Baptist in a Charger
c. 1860
Albumen silver print
14.1 x 17.8 cm (5 9/16 x 7 in.)
George Eastman Museum, purchase
Photo: Courtesy of the George Eastman Museum

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Study of Hands' 1856

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Study of Hands
1856
Albumen silver print
14.8 x 17.6 cm (5 13/16 x 6 15/16 in.)
National Gallery of Canada, Ottawa
Purchased 2014

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'A "Set To"' 1855

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
A “Set To”
1855
In “Prince Albert’s Calotype Album,” vol. 2, about 1860
Salted paper print
15 x 21 cm (5 7/8 x 8 1/4 in.)
Royal Collection Trust
© Her Majesty Queen Elizabeth II 2019

 

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) was one of the 19th century’s greatest innovators in the medium of photography, counting Queen Victoria, Prince Albert, Charles Darwin, Lewis Carroll and Julia Margaret Cameron among his devotees. Nevertheless, the extent of Rejlander’s work and career has often been overlooked. Oscar Rejlander: Artist Photographer, on view March 12 – June 9, 2019 at the J. Paul Getty Museum, Getty Center, Los Angeles, is the first exhibition to explore the prolific career of the artist who became known as “the father of art photography,” and whose bold experimentation with photographic techniques early in the medium’s development and keen understanding of human emotion were ahead of their time.

The exhibition features 150 photographs that demonstrate Rejlander’s remarkable range, from landscapes and portraits to allegories and witty commentaries on contemporary society, alongside a selection of his early paintings, drawings, and prints.

“Rejlander tells us in his writings that ‘It is the mind of the artist, and not the nature of his materials, which makes his production a work of art’,” says Timothy Potts, director of the J. Paul Getty Museum. “While technologies have dramatically changed, some of the fundamental issues that Rejlander grappled with in his photographs still resonate with photographic practice today. His photographs, though made a century and a half ago, are both meticulously of their time and timeless, foreshadowing many later achievements of the medium through to the digital age.”

Oscar G. Rejlander was born in Sweden and moved to England in 1839, working first as a painter before turning to photography in 1852. He made a living as a portrait photographer while experimenting with photographic techniques, most notably combination printing, in which parts of multiple negatives were exposed separately and then printed to form a single picture. Rejlander moved to London in 1862, where his business continued to grow and where his wife, Mary Bull, worked alongside him in his photography studios.

 

Portraits and Images of Everyday Life

Portraiture, particularly of members of the higher ranks of London society, was Rejlander’s main professional activity and supported his livelihood. Art critics and clients alike admired his skill with lighting as well as the natural and seemingly spontaneous expressions he was able to capture. Rejlander photographed some of the most important figures of the day, including the English scientist Charles Darwin, known for his theory of evolution, and poets Alfred Lord Tennyson and Henry Taylor. He also guided the first photographic efforts of the writer and mathematician Charles Lutwidge Dodgson (known as Lewis Carroll), the creator of Alice’s Adventures in Wonderland, as well as photographer Julia Margaret Cameron.

From the beginning of his career as a photographer, Rejlander was keenly interested in depicting the activities of ordinary people, particularly the middle and lower classes of society. It was through his staged domestic images that he illustrated familial relationships with tenderness and humour, often using models and props to re-create in his studio the scenes he had witnessed in the streets, from young boys who swept up dirt and debris in exchange for tips, to street vendors such as “flower girls” who offered bouquets for sale to passersby. Like a modern street photographer, Rejlander chose his compositions and subjects based on what he saw and heard, realising the final images in the studio.

In 1863 Rejlander constructed a unique iron, wood, and glass “tunnel studio,” where the sitter, positioned in the open, light-filled part of the studio, would look into the darker part of the room where the camera and operator were situated, nearly invisible. The pupils of the sitters’ eyes expanded, allowing for “more depth and expression,” as a writer observed in Photographic News. In addition to this technique, Rejlander often exploited his own unique ability to enact exaggerated emotions to assist his subjects. Charles Darwin illustrated many of Rejlander’s expressive photographs in The Expression of the Emotions in Man and Animals, published in 1872.

 

Combination Printing and Two Ways of Life

Rejlander holds an important place in the history of photography primarily because of the groundbreaking way he applied the technique of combination printing. On view in the exhibition is the most ambitious example of the artist’s pioneering experimentation, the epic photograph, Two Ways of Life, or Hope in Repentance (1857). It attracted immediate attention upon its exhibition both for its large size and the ambition of its production, which included the combination printing of over 30 separate wet collodion on glass negatives, a process that took more than three days.

The work represents an intricate allegory of two opposing philosophies of life: Vice and Virtue. In the centre of the picture, a wise man guides a younger man to the right, toward a life of virtue – work, study, and religion. To the left, a second young man is tempted by the call of desire, gambling, idleness, and vice. Prince Albert may have worked with Rejlander on the overall conception of the picture, and he and Queen Victoria purchased three versions for their art collection.

Despite this support from the Royal Family, Two Ways of Life divided the photographic community, with professional photographers considering it a technical tour de force, and amateurs seeing it as not only artificial in production but also immoral in its subject. However, it remains one of finest examples of combination printing to come from this period.

 

Art and Photography

Today, the debate about photography’s status as an art may be obsolete, but the arts community in 19th-century Britain was passionately divided over Rejlander’s chosen medium. Rejlander strongly advocated the view that photography was an independent art, while he was also convinced that a photograph could help artists by providing an effective substitute for working from live models. He was possibly the first to provide artists with visual references for their work in photographs, creating figure studies in a range of poses and costumes, including close-ups of hands, feet, drapery, and even fleeting facial expressions. Although many painters were reluctant to disclose their reliance on photography, several collected Rejlander’s photographs, including George Frederic Watts (English, 1817-1904) and Henri Fantin-Latour (French, 1836-1904).

Paintings also strongly influenced Rejlander’s choice of subjects, leading him not only to imitate the styles of artists but also to re-create the figures found in their compositions. He frequently photographed actors or models posing as a “Madonna,” a “Devotee,” a “Disciple,” or specific Christian figures such as John the Baptist. He may have intended these studies, as well as others showing figures in classical robes, for artists to consult as well.

“What we hope comes through in the exhibition is Rejlander’s humanity and humour, as well as his humble nature, particularly evident in the fact that he often sent his work to exhibitions under the name ‘amateur’,” says Karen Hellman, assistant curator of photographs at the Getty Museum. “His explanation: ‘When I compare what I have done with what I think I ought to do, and some day hope I shall do, I think of myself as only an amateur, after all – that is to say, a beginner’.”

Oscar Rejlander: Artist Photographer, is on view March 12 – June 9, 2019 at J. Paul Getty Museum, Getty Center. The exhibition is curated by Lori Pauli, curator of photographs at the National Gallery of Canada, and Karen Hellman, assistant curator of photographs at the J. Paul Getty Museum.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Mr. Collett's Return' 1841

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Mr. Collett’s Return
1841
Black chalk, charcoal and white wash highlights on paper (backed)
92.8 × 74.4 cm
The Collection: Art and Archaeology in Lincolnshire (Usher Gallery, Lincoln)

 

Attributed to Oscar G. Rejlander (British, born Sweden, 1813-1875) '[Landscape]' c. 1855

 

Attributed to Oscar G. Rejlander (British, born Sweden, 1813-1875)
[Landscape]
c. 1855
Salted paper print
22.3 × 19.7 cm
National Gallery of Canada, Ottawa
Purchased 2014.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Sailor Boy' 1855, printed 1873

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Sailor Boy
1855, printed 1873
Carbon print
19 x 16 cm (7 1/2 x 6 5/16 in.)
Royal Collection Trust
© Her Majesty Queen Elizabeth II 2019

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Ariadne' 1857

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Ariadne
1857
Albumen print from a wet collodion negative
Paul Mellon Fund
Courtesy National Gallery of Art, Washington

 

 

“I believe photography will make painters better artists and more careful draughtsmen. You may test their figures by photography. In Titian’s Venus and Adonis, Venus has her head turned in a manner that no female could turn it and at the same time shows so much of her back. Her right leg also is too long. I have proved the correctness of this opinion by photography with variously shaped female models.” ~ Oscar G. Rejlander 1863

“He was perhaps the first to market photographic nude studies to artists, and he even used them to test the anatomical accuracy of the Old Masters. His photograph “Ariadne” was created, in part, to expose the unnatural pose and elongated feminine proportions in Titian’s “Venus and Adonis.” Many of Rejlander’s contemporaries came to rely on these nude studies, and the exhibition contains at least three originally owned by the painter Henri Fantin-Latour.”

Extract from Dana Ostrander. “The Overlooked Legacy of Oscar Rejlander, Who Elevated Photography to an Art,” on the Hyperallergic website April 2, 2019 [Online] Cited 06/06/2019

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Madonna and Child with St. John the Baptist' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Madonna and Child with St. John the Baptist
c. 1860
Albumen silver print
17.8 × 12.4 cm (7 × 4 7/8 in.)
Courtesy The J. Paul Getty Museum, Los Angeles

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Young Lady in a Costume' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Young Lady in a Costume
c. 1860
Albumen silver print
Courtesy National Gallery of Canada, Ottawa

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Eh!' negative about 1854-1855; print about 1865

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Eh!
negative about 1854-1855; print about 1865
Albumen silver print
8.9 x 5.9 cm (3 1/2 x 2 5/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The First Negative' 1857

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The First Negative
1857
Albumen silver print
29 x 15 cm (11 7/16 x 5 7/8 in.)
Musée d’Orsay, Paris Photo
© RMN-Grand Palais / Art Resource, NY / Patrice Schmidt

 

In “The First Negative,” Rejlander restages Pliny’s account of the origins of painting, boldly suggesting that the act of tracing a shadow is more akin to creating a photographic negative than a painting.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Participles, or Grammar for Little Boys: Catching' 1857

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Participles, or Grammar for Little Boys: Catching
1857
Albumen silver print
18.7 x 12.7 cm (7 3/8 x 5 in.)
Moderna Museet, Stockholm

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Participles, or Grammar for Little Boys: Caught' 1857

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Participles, or Grammar for Little Boys: Caught
1857
Albumen silver print
20.3 x 15.7 cm (8 x 6 3/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Mr. Coleman as Belphegor' c. 1857, printed later

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Mr. Coleman as Belphegor
c. 1857, printed later
Platinum print
18.2 x 14.4 cm (7 3/16 x 5 11/16 in.)
The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the Heritage Lottery Fund and Art Fund Image
© Victoria & Albert Museum, London

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Please Give Us a Copper' c. 1866-1868

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Please Give Us a Copper
c. 1866-1868
Albumen silver print
17.9 x 12.6 cm (7 1/16 x 4 15/16 in.)
Princeton University Art Museum. Museum purchase

 

A copper is a brown coin of low value made of copper or bronze.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Juggler' c. 1865, printed later

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Juggler
c. 1865, printed later
Platinum print
19.5 x 14.6 cm (7 11/16 x 5 3/4 in.)
The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the Heritage Lottery Fund and Art Fund Image
© Victoria and Albert Museum, London

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Enchanted by a Parrot (Mary Rejlander?)' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Enchanted by a Parrot (Mary Rejlander?)
c. 1860
Albumen silver print
Image (approx.): 50 x 30 cm (19 11/16 x 11 13/16 in.)
William Talbott Hillman Collection
Photo: Hans P. Kraus, Jr., New York

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Cup that Cheers' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Cup that Cheers
c. 1860
Albumen silver print
19.9 x 15 cm (7 13/16 x 5 7/8 in.)
Princeton University Art Museum
Museum purchase, gift of Mr. and Mrs. Max Adler

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Knuckle Bones' 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Knuckle Bones
1860
Albumen silver print
15.4 x 12.5 cm (6 1/16 x 4 15/16 in.)
George Eastman Museum, purchase
Photo: Courtesy of the George Eastman Museum

 

 

Knucklebones

Knucklebones, also known as TaliFivestones, or Jacks, is a game of ancient origin, usually played with five small objects, or ten in the case of jacks. Originally the “knucklebones” (actually the astragalus, a bone in the ankle, or hock) were those of a sheep, which were thrown up and caught in various manners. Modern knucklebones consist of six points, or knobs, projecting from a common base, and are usually made of metal or plastic. The winner is the first player to successfully complete a prescribed series of throws, which, though similar, differ widely in detail. The simplest throw consists in either tossing up one stone, the jack, or bouncing a ball, and picking up one or more stones or knucklebones from the table while it is in the air. This continues until all five stones or knucklebones have been picked up. Another throw consists in tossing up first one stone, then two, then three and so on, and catching them on the back of the hand. Different throws have received distinctive names, such as “riding the elephant”, “peas in the pod”, “horses in the stable”, and “frogs in the well”.

Text from the Wikipedia website

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) '"Father Times" (Where's the Cat?)' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
“Father Times” (Where’s the Cat?)
c. 1860
Albumen paper print
16.5 x 14.2 cm (6 1/2 x 5 9/16 in.)
Wilson Centre for Photography

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Night in Town (Poor Jo, Homeless)' before 1862; print after 1879

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Night in Town (Poor Jo, Homeless)
before 1862; print after 1879
Carbon print
20.3 x 15.7 cm (8 x 6 3/16 in.)
National Gallery of Canada, Ottawa
Purchased 1993

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Grief (Hidden Her Face, Yet Visible Her Anguish)' 1864

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Grief (Hidden Her Face, Yet Visible Her Anguish)
1864
Albumen silver print
19.6 x 14 cm (7 11/16 x 5 1/2 in.)
Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum. Gift of John H. Rubel

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'The Comb Seller (Oscar and Mary Rejlander)' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
The Comb Seller (Oscar and Mary Rejlander)
c. 1860
Albumen silver print
20 x 14.9 cm (7 7/8 x 5 7/8 in.)
University of New Mexico Art Museum, Albuquerque. Gift of Eleanor and Van Deren Coke

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Lionel Tennyson' c. 1863

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Lionel Tennyson
c. 1863
Albumen print from a wet collodion negative
Image (oval): 18.3 x 14.3 cm (7 3/16 x 5 5/8 in.)
National Gallery of Art, Washington, Paul Mellon Fund

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Mental Distress (Mother's Darling)' 1871

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Mental Distress (Mother’s Darling)
1871
Carbon print of a polychrome drawing from a photograph
54 x 43.2 cm (21 1/4 x 17 in.)
The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the Heritage Lottery Fund and Art Fund Image
© Victoria & Albert Museum, London

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Lewis Carroll (Charles Lutwidge Dodgson)' 1863

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Lewis Carroll (Charles Lutwidge Dodgson)
1863
Albumen silver print
8.9 x 5.9 cm (3 1/2 x 2 5/16 in.)
The Metropolitan Museum of Art, Gilman Collection
Purchase, Sam Salz Foundation Gift, 2005

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Allegorical Study (Sacred and Profane Love)' c. 1860

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Allegorical Study (Sacred and Profane Love)
c. 1860
Albumen paper print
12 x 17.5 cm (4 3/4 x 6 7/8 in.)
Wilson Centre for Photography

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Bad Temper' Negative about 1865; print later

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Bad Temper
Negative about 1865; print later
Albumen paper print
The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the Heritage Lottery Fund and Art Fund, Image
© Victoria & Albert Museum, London

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Henry Taylor' 1863

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Henry Taylor
1863
Albumen silver print
20.2 x 15 cm (7 15/16 x 5 7/8 in.)
Spencer Museum of Art, University of Kansas
Gift of Dr. and Mrs. William D. Paden

 

Sir Henry Taylor KCMG (18 October 1800 – 27 March 1886) was an English dramatist and poet, Colonial Office official, and man of letters.

 

Oscar G. Rejlander (British, born Sweden, 1813-1875) 'Self-Portrait with Parrot' c. 1865

 

Oscar G. Rejlander (British, born Sweden, 1813-1875)
Self-Portrait with Parrot
c. 1865
In “Album of Photographs by Oscar G. Rejlander,” 1856-72
Albumen silver print
Closed: 37.4 x 27.6 x 0.3 cm (14 3/4 x 10 7/8 x 1/8 in.)
Sir Nicholas Mander Collection

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 am – 5.30 pm
Saturday 10 am – 9 pm
Sunday 10 am – 5.30 pm
Monday closed

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28
Apr
13

Exhibition: ‘Faking It: Manipulated Photography Before Photoshop’ at The National Gallery of Art, Washington

Exhibition dates: 17th February – 5th May 2013

 

Unknown photographer (American). 'He Lost His Head' Nd

 

Unknown photographer (American)
He Lost His Head
Nd

 

 

Further images from this impressive exhibition devoted to the art of photographic manipulation before the advent of digital imagery from its second stop, at The National Gallery of Art, Washington.

Marcus

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

 

Edward Steichen. 
'The Pond - Moonrise' 1904

 

Edward Steichen (American, 1879-1973)

The Pond – Moonrise
1904
Platinum print with applied colour
 image
39.7 x 48.2cm (15 5/8 x 19 in.)
Lent by The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933
© The Metropolitan Museum of Art/ Permission Estate of Edward Steichen. All rights reserved

 

 

Using a painstaking technique of multiple printing, Steichen achieved prints of such painterly seductiveness they have never been equaled. This view of a pond in the woods at Mamaroneck, New York is subtly coloured as Whistler’s Nocturnes, and like them, is a tone poem of twilight, in-distinction, and suggestiveness. Commenting on such pictures in 1910, Charles Caffin wrote in Camera Work: “It is in the penumbra, between the clear visibility of things and their total extinction into darkness, when the concreteness of appearances becomes merged in half-realised, half-baffled vision, that spirit seems to disengage itself from matter to envelop it with a mystery of soul-suggestion.”

Text from the Metropolitan Museum of Art website

 

Henry Peach Robinson (British, 1830-1901) 'She Never Told Her Love' 1857

 

Henry Peach Robinson (British, 1830-1901)
She Never Told Her Love
1857
Albumen silver print from glass negative
18 x 23.2cm (7 1/16 x 9 1/8in.)
Gilman Collection, Purchase, Jennifer and Joseph Duke Gift, 2005

 

 

Consumed by the passion of unrequited love, a young woman lies suspended in the dark space of her unrealised dreams in Henry Peach Robinson’s illustration of the Shakespearean verse “She never told her love, / But let concealment, like a worm i’ the bud, / Feed on her damask cheek” (Twelfth Night II,iv,111-13). Although this picture was exhibited by Robinson as a discrete work, it also served as a study for the central figure in his most famous photograph, Fading Away, of 1858.

Purportedly showing a young consumptive surrounded by family in her final moments, Fading Away was hotly debated for years. On the one hand, Robinson was criticised for the presumed indelicacy of having invaded the death chamber at the most private of moments. On the other, those who recognised the scene as having been staged and who understood that Robinson had created the picture through combination printing (a technique that utilised several negatives to create a single printed image) accused him of dishonestly using a medium whose chief virtue was its truthfulness.

Text from the Metropolitan Museum of Art website

 

Frederick Sommer. 'Max Ernst' 1946

 

Frederick Sommer (American, 1905-1999)
Max Ernst
1946
Gelatin silver print
19.2 x 23.97cm (7 9/16 x 9 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© Frederick and Frances Sommer Foundation

 

Wm. Notman & Son, Montreal, Eugène L'Africain, William Notman. 'Red Cap Snow Shoe Club, Halifax, Nova Scotia' c. 1888

 

Wm. Notman & Son, Montreal, Eugène L’Africain, William Notman
Red Cap Snow Shoe Club, Halifax, Nova Scotia
c. 1888
Collage of albumen prints with applied media
71.1 x 83.8cm (28 x 33 in.)
McCord Museum, Montreal

 

 

Notman established his first photography studio in Montreal in 1856 and relentlessly expanded his operations over the next two decades. At its peak, his company had twenty-four branches throughout Canada and New England, making it the most successful photographic enterprise in North America at the time. Notman specialised in composite portraits of large groups, including sporting clubs, trade associations, family gatherings, clergymen, and college graduates, some featuring more than four hundred figures. Each figure in a group was photographed separately in the studio then printed at the proper scale and pasted onto a painted background, as in this portrait of a Nova Scotia snowshoe club. The entire collage was then re-photographed. The final, relatively seamless tableau could then be printed and sold in a variety of sizes and formats.

Text from the Metropolitan Museum of Art website

 

 

The National Gallery of Art presents the first major exhibition devoted to the art of photographic manipulation before the advent of digital imagery. Faking It: Manipulated Photography before Photoshop will be on view in the West Building’s Ground Floor galleries from February 17 through May 5, 2013, following its debut at the Metropolitan Museum of Art (from October 11, 2012, through January 27, 2013). In June it travels to the Museum of Fine Arts, Houston.

“Following in its tradition of exhibiting and collecting the finest examples of photography, the Gallery is pleased to present some 200 photographs from the 1840s through the 1980s demonstrating the medium’s complicated relationship to truth in representation,” said Earl A. Powell III, director, National Gallery of Art. “We are grateful to the many lenders, both public and private, who have generously shared works from their collections – especially the Metropolitan Museum of Art, the largest lender and the organiser of this fascinating exhibition.”

 

The Exhibition

This is the first major exhibition devoted to the history of manipulated photography before the digital age. While the widespread use of Adobe® Photoshop® software has brought about an increased awareness of the degree to which photographs can be doctored, photographers – including such major artists as Gustave Le Gray, Edward Steichen, Weegee, and Richard Avedon – have been fabricating, modifying, and otherwise manipulating camera images since the medium was first invented. This exhibition demonstrates that today’s digitally manipulated images are part of a continuum that extends back to photography’s first decades. Through visually captivating pictures created in the service of art, politics, news, entertainment, and commerce, Faking It not only traces the medium’s complex and changing relationship to visual truth, but also significantly revises our understanding of photographic history.

Organised thematically, the exhibition begins with some of the earliest instances of photographic manipulation – those attempting to compensate for the new medium’s technical limitations. In the 19th century, many photographers hand tinted portraits to make them appear more vivid and lifelike. Others composed large group portraits by photographing individuals separately in the studio and creating a collage by pasting them onto painted backgrounds depicting outdoor scenes. As the art and craft of photography grew increasingly sophisticated, photographers devised a staggering array of techniques with which to manipulate their images, including combination printing, photomontage, overpainting, ink and airbrush retouching, sandwiched negatives, multiple exposures, and other darkroom magic.

The exhibition presents a superb selection of manually altered photographs created under the mantle of art, including 19th-century genre scenes composed of multiple negatives, stunning Pictorialist landscapes from the turn of the 19th century, and the pre-digital dreamscapes of surrealist photographers in the 1920s and 1930s. A section of doctored images made for political or ideological ends includes faked composite photographs of the 1871 Paris Commune massacres, anti-Nazi photomontages by John Heartfield, and falsified images from Stalin-era Soviet Russia. The show also explores popular uses of photographic manipulation such as spirit photography, tall-tale and fantasy postcards, advertising and fashion spreads, and doctored news images.

The final section features the work of contemporary artists – including Duane Michals, Jerry Uelsmann, and Yves Klein – who have reclaimed earlier techniques of image manipulation to creatively question photography’s presumed objectivity. By tracing the history of photographic manipulation from the 1840s to the present, Faking It vividly demonstrates that photography is – and always has been – a medium of fabricated truths and artful lies.

Press release from the National Gallery of Art website

 

Arthur Felig - Weegee (American, born Hungary, 1899-1968) 'Times Square, New York' 1952-59

 

Arthur Felig – Weegee (American, born Hungary, 1899-1968)
Times Square, New York
1952-59
Gelatin silver print
20.3 x 17.8cm (8 x 7 in.)
© International Center of Photography, Bequest of Wilma Wilcox, 1993

 

 

Famous for his gritty tabloid crime photographs, Weegee devoted the last twenty years of his life to what he called his “creative work.” He experimented prolifically with distorting lenses and comparable darkroom techniques, producing photo caricatures of politicians and Hollywood celebrities, novel variations on the man-in-the-bottle motif, and uncanny doublings and reflections, such as this striking image, which he described as “Times Square under 10 feet of water on a sunny afternoon.”

 

Kathy Grove (American, b. 1948) 'The Other Series (After Kertész)' 1989-90

 

Kathy Grove (American, born 1948)
The Other Series (After Kertész)
1989-90
Gelatin silver print
19.7 x 15.2cm (7 3/4 x 6 in.)
Purchase, Charina Foundation Inc. Gift, 2010
© Kathy Grove

 

 

In the late 1980s Grove, an artist who supports herself as a professional photo retoucher, began seamlessly altering images of famous works of art, using bleach, dyes, and airbrush to remove the female figure from each image and leaving the rest of the scene intact. Her cunning excisions mimic the process by which art historians, echoing the culture at large, have erased the achievements of actual women while enshrining Woman as a blank screen upon which the ideas and desires of both artist and viewer are projected. If photographs are presumed to represent the truth, Grove’s pictures remind us to ask: Whose truth?

 

Unknown, American. '[Decapitated Man with Head on a Platter]' c. 1865

 

Unknown (American)
[Decapitated Man with Head on a Platter]
c.1865
Tintype with applied color
8.4 x 6cm (3 5/16 x 2 3/8 in.)
© International Center of Photography, Gift of Steven Kasher and Susan Spungen Kasher, 2008

 

Carleton E. Watkins (American, 1829-1916) 'Cape Horn, Columbia River, Oregon' 1867

 

Carleton E. Watkins (American, 1829-1916)
Cape Horn, Columbia River, Oregon
1867, printed 1880-1890
Albumen silver print from glass negatives
52.3 x 40.4cm (20 9/16 x 15 7/8 in.)
© George Eastman House, International Museum of Photography and Film, Rochester

 

 

Watkins, the consummate photographer of the American West, combined a virtuoso mastery of the difficult wet plate negative process with a rigorous sense of pictorial structure. For large-format landscape work such as Watkins produced along the Columbia River in Oregon, the physical demands were great. Since there was as yet no practical means of enlarging, Watkins’s glass negatives had to be as large as he wished the prints to be, and his camera large enough to accommodate them. Furthermore, the glass negatives had to be coated, exposed, and developed while the collodion remained tacky, requiring the photographer to transport a traveling darkroom as he explored the rugged virgin terrain of the American West. The crystalline clarity of Watkins’s remarkable “mammoth” prints is unmatched in the work of any of his contemporaries and is approached by few artists working today. (Text from the Metropolitan Museum of Art website). Here the clouds have been printed in (compare to the work on the Metropolitan Museum of Art website)

 

Dora Maar (French, 1907-1997) 'The Simulator' 1936

 

Dora Maar (French 1907-1997)
Le simulateur
1936
Gelatin silver print
29.2 x 22.9cm (11 1/2 x 9 in.)
Collection of The Sack Photographic Trust for the San Francisco Museum of Modern Art

 

 

Maar’s haunting photomontages of the mid-1930s evoke a mood of oneiric ambiguity. Here, the world is turned literally upside-down: a boy bends sharply backward, echoing the curve of the vaulted ceiling on which he stands. On the print, Maar scratched out the figure’s eyes, exploiting Surrealism’s strong association of blindness with inner sight.

 

Albert Sands Southworth, Josiah Johnson Hawes. 'Seated man with Brattle Street Church seen through window' 1850s

 

Albert Sands Southworth, Josiah Johnson Hawes
Seated man with Brattle Street Church seen through window
1850s
Daguerreotype
21.6 x 16.5cm (8 1/2 x 6 1/2 in.)
The Isenburg Collection at AMC Toronto

 

J.C. Higgins and Son. 'Man in bottle' c. 1888

 

J.C. Higgins and Son
Man in bottle
c. 1888
Albumen print
13.5 x 10cm (5 5/16 x 3 15/16 in.)
Lent by The Metropolitan Museum of Art, Purchase, Susan and Thomas Dunn Gift, 2011

 

Jerry N. Uelsmann. 'Untitled' 1976

 

Jerry N. Uelsmann (American, b. 1934)
Untitled
1976
Gelatin silver print
49.3 x 36cm (19 7/16 x 14 3/16 in.)
Lent by The Metropolitan Museum of Art, David Hunter McAlpin Fund, 1981
© The Metropolitan Museum of Art/ © Jerry N. Uelsmann

 

Unknown Photographer, German. 'Ein kräftiger Zusammenstoss (A Powerfull Collision)' 1914

 

Unknown Photographer (German)
Ein kräftiger Zusammenstoss (A Powerfull Collision)
1914
Gelatin silver print
8.7 x 13.7cm (3 7/16 x 5 3/8 in.)
Lent by The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2010

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Monday – Saturday 10.00am – 5.00pm
Sunday 11.00am – 6.00pm

National Gallery of Art website

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09
Sep
11

Exhibition: ‘The Mind’s Eye, 50 Years of Photography by Jerry Uelsmann’ at the Harn Museum of Art, Florida

Exhibition dates: 14th June – 11th September 2011

 

Jerry Uelsmann (American, b. 1934)
 'Apocalypse II
' 1967

 

Jerry Uelsmann (American, b. 1934)
Apocalypse II
1967
Gelatin silver print
10 3/4 x 13 5/8 in (27.2 x 34.5 cm)
Collection of the artist
© Jerry Uelsmann

 

 

Uelsmann is one of my favourite artists. His unique vision and the skill required to execute that vision using multiple exposure of negatives in the darkroom (remember, this is all done with no Photoshop!) is outstanding. Observe the sensitivity to subject matter and the placement of disparate elements in the surrealist landscape. His photographs have real allegorical power and lodge in the viewer’s psyche. My particular favourites are the library and the house on the tree stump. Uelsmann achieves wonderful resolution to inner visions and then makes the dream-like tableaux accessible to the viewer. As one who started as a black and white photographer and who experimented with multiple exposures on one piece of silver gelatin paper in the darkroom, I can attest to how enormously difficult this process is.

The text on Wikipedia states:

“Uelsmann is a master printer producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images … Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many … he does not seek to create narratives, but rather allegorical surrealist imagery of the unfathomable … Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann’s in less than a day, however, at the time Uelsmann was considered to have almost “magical skill” with his completely analog tools.”

.
I thank him for having the creative energy to be a magician.

Dr Marcus Bunyan

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

 

Jerry Uelsmann. 'Magritte’s Touchstone' (first version)
 Nd

 

Jerry Uelsmann (American, b. 1934)
Magritte’s Touchstone (first version)
Nd
Gelatin silver print
Collection of the artist
© Jerry Uelsmann

 

Jerry Uelsmann (born 1934)
 'Mechanical Man #2' 1959

 

Jerry Uelsmann (American, b. 1934)
Mechanical Man #2
1959
Gelatin silver print
Collection of the artist
© Jerry Uelsmann

 

 

The first critical retrospective of American photographer Jerry Uelsmann’s work will open at the Harn Museum of Art at the University of Florida on June 14, 2011. Uelsmann, known for his iconic, surreal style and his innovative composite printing techniques, has spent more than 50 years challenging and advocating for the acceptance of photography as an experimental art form. The Mind’s Eye, 50 Years of Photography by Jerry Uelsmann, organised by the Peabody Essex Museum in Salem, Massachusetts will feature 89 works from every phase of the artist’s wide-ranging career, including a selection of rare pieces that have never before been on public view. Additional works from the artist’s collection will be on view only during this leg of the exhibition, open through September 11, 2011.

“The Harn Museum of Art is delighted to welcome this important exhibition of photographic works by the University of Florida’s own Jerry Uelsmann, a graduate research professor in the art department from 1960 to 1998,” said Rebecca Nagy, director of the Samuel P. Harn Museum of Art. “Jerry has been, and continues to be a leader in the field and we are delighted to celebrate and look back on such a long, important, and innovative career.”

The exhibition will emphasise Uelsmann’s profound influence on the field of photography through his revolutionary mastery of composite photography. Through the presentation of images from different stages of his works, viewers will gain a new understanding of the artist’s creative process and the evolution of Uelsmann’s ideas throughout his career. The pieces on view will be drawn from the artist’s personal archive of vintage materials, and are the definitive prints of the images. A few examples of the artist’s photo sculptures, artist’s books and albums will give viewers first-hand insight into Uelsmann’s creative process.

“From the beginning of his career, Uelsmann has advocated for the acceptance of photography as an experimental art form,” said Phillip Prodger, curator of photography at the Peabody Essex Museum. “Uelsmann’s photography provides a valuable touchstone for understanding new trends in photographic art. His ideas and work have become even more relevant as photography embraces Photoshop and other computer technologies for altering and manipulating photographic pictures.”

Beginning in the late 1950s, Uelsmann succeeded in combining negatives in the darkroom to create synthetic compositions that conjure the illusion of photographic truth. Although these pictures are visually convincing, they depict scenes that often have no analogue in the real world. Evocative, unsettling, and often humorous, Uelsmann’s photographs are seldom easily resolved, inviting reflection without obvious resolution. His most famous technique, seamlessly fabricating photographs from unrelated negatives to create imaginary scenes, helped build his reputation as an experimental photographer, and cemented his standing as a leader of non-literal photography.

“My visual quest is driven by a desire to create a universe capable of supporting feelings and ideas,” said Jerry Uelsmann. “I am drawn to art that challenges one’s sense of reality.”

Press release from the Harn Museum of Art website

 

Jerry Uelsmann (born 1934)
 'Untitled'
 1976


 

Jerry Uelsmann (American, b. 1934)
Untitled
1976
Gelatin silver print
19 5/8 x 14 1/4 in (49.9 x 36.3 cm)
Collection of the artist
© Jerry Uelsmann

 

Jerry Uelsmann (born 1934)
 'Untitled' 
1964


 

Jerry Uelsmann (American, b. 1934)
Untitled
1964
Gelatin silver print
13 3/4 x 10 1/4 in (34.9 x 26.1cm)
Collection of the artist
© Jerry Uelsmann

 

Jerry Uelsmann (born 1934)
 'Untitled'
 1982

 

Jerry Uelsmann (American, b. 1934)
Untitled
1982
Gelatin silver print
13 1/4 x 10 3/8 in (33.8 x 26.4 cm)
Collection of the artist
© Jerry Uelsmann

 

Jerry Uelsmann (born 1934)
 'Untitled'
 2003


 

Jerry Uelsmann (American, b. 1934)
Untitled
2003
Gelatin silver print
19 3/8 x 15 in (49.1 x 38 cm)
Collection of the artist
© Jerry Uelsmann

 

 

Samuel P. Harn Museum of Art
SW 34th Street and Hull Road
Gainesville, Florida 32611-2700

Opening hours:
Tuesday – Friday, 11 am – 5 pm
Saturday, 10 am – 5 pm
Sunday, 1 – 5 pm
The museum is closed on Mondays and state holidays.

Samuel P. Harn Museum of Art website

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19
Jun
09

Exhibition: Scott McFarland photographs at Regen Projects, Los Angeles

Exhibition dates: 23rd May – 3rd July 2009

 

Scott McFarland (Canadian, b. 1975) 'Fallen Oak Tree' 2008

 

Scott McFarland (Canadian, b. 1975)
Fallen Oak Tree
2008
From the series Hampstead
Inkjet print
27 x 24 inches (68.6 x 61 cm)
Edition of 5

 

 

Variations on a theme

Whether McFarland’s photographs are “straight” or composites, there always seems to an unnerving feel to them, a formal frontality that empowers the viewer into trying to unlock the photographs secret, like an enigmatic puzzle. Everything is presented front on, square to the camera, no oblique angles, relying in the straight photographs on the scale of the accumulated blocks of information, and in the composites, in the very unlikely, even theatrical, staging of the people within the mise en scène.

These are very cinematic photographs, some, literally, with their panoramic aesthetic, others built by assembling their scudding skies and stiff, neatly placed people. Too neatly placed in my opinion but that’s McFarland’s hook, his aesthetic cough which prompts the viewer to question the veracity of the image, its link to the photographs indexical reality. His multiple exposures push the boundaries of truth or dare, hyperreal solutions to a disengaged world. Personally, I prefer his straight photographs which are built on a fabulous eye, a masterful understanding of pictorial space (monumental elements held in balance) and wonderful previsualisation. You don’t need anything more.

Dr Marcus Bunyan

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

 

Scott McFarland. 'The Admiral's House as seen from the Upper Garden at Fenton House' 2006

 

Scott McFarland (Canadian, b. 1975)
The Admiral’s House as seen from the Upper Garden at Fenton House
2006
From the series Hampstead
Inkjet print
Edition of 5

 

 

“Regen Projects is pleased to announce an exhibition of new work by Canadian artist Scott McFarland. This exhibition will feature new photographs including 3 large panorama works, smaller works from the “Hampstead” series, and introduce the new “Niagara” series.

Scott McFarland’s photography reconsiders the traditional concept of a photograph as the depiction of a single captured moment in time. Through digital means he is able to manipulate composition, colour, light, space, shape, and form. McFarland’s photographs combine multiple negatives to represent simultaneous temporalities and interweave selected elements into a cohesive whole. Several different moments are packed into what appears to be one densely constructed instant. The photographs are meticulously crafted illusions created within the formal language of documentary photography.

McFarland’s consideration of photography and the built picture was brought about by the artist’s own understanding of the artificial “nature” found in built environments such as gardens and zoos. Taking the relationship of the constructed space/constructed image one step further, McFarland has photographed a modernist architectural landmark: the Berthold Lubetkin designed penguin pool at the London zoo. Through two very distinct works, McFarland investigates the elliptical structure of the famous penguin pool vis-à-vis the elliptical/arcing motion of his camera rotating on a tripod. One photograph is an objective colour rendering where the camera has been left level while rotating; the other is a larger black and white version where the camera arcs along a non-level plane distorting and altering the curve of the structure from right to left.

The new square format photographs from McFarland’s “Niagara” series have a rough unfinished quality unlike any photographs he has taken to date. These softer focus images with odd shifts in light and glare are location studies for the large panorama A Horse Drawn Hearse, Queens Royal Tours, 174 Anne, Niagara on the Lake, Ontario (2009, below). This work depicts an old carriage business and its surroundings during the dead of Canadian winter. In this visually captivating work, a black funeral carriage contrasts against the white snow. The acreage, surrounded by newer suburban homes, evokes the question of how long can this structure resist the modern urban pressures it faces. These straight photographs presented alongside his precise digitally mastered compositions illustrate how the photographic process and the history of art and photography have always informed McFarland’s work.

“Over the last decade, Scott McFarland has produced bodies of work that engage with different aspects of photography … McFarland’s approach is both descriptive and metaphoric … The images, rich in cultural significance, express the complementary workings of conceptual and aesthetic factors all the while holding various characteristics of art and photography in ambiguous relation.”

Andrea Kunard. Scott McFarland: A Cultivated View, published by the National Gallery of Canada, Ottawa, 2009, p. 12.

Text from the Regen Projects press release [Online] Cited 16/06/2009 no longer available online.

 

Scott McFarland (Canadian, b. 1975) 'A Horse Drawn Hearse, Queens Royal Tours, 174 Anne, Niagara on the Lake, Ontario' 2009

 

Scott McFarland (Canadian, b. 1975)
A Horse Drawn Hearse, Queens Royal Tours, 174 Anne, Niagara on the Lake, Ontario
2009
From the series Niagara
Inkjet print
59.5 x 124 inches (151.1 x 315 cm)
Edition of 5

 

Scott McFarland (Canadian, b. 1975) 'Boathouse with Moonlight' 2002

 

Scott McFarland (Canadian, b. 1975)
Boathouse with Moonlight
2002
From the series Boathouse
Digital C-print
71 x 91 inches (180 x 231 cm)
Edition of 5, 2 AP

 

 

“Boathouse with Moonlight” is an exploration of the technical advancements afforded by digital photography, created by assembling multiple exposures taken over the space of two hours under the light of a full moon. Unlike traditional photography, this image does not represent one specific moment captured at a particular site; rather, it shows an accumulation of moments that have been manipulated and layered to create a revised version of the boathouse and its surroundings. McFarland’s use of multiple exposures to produce the final image emphasises not only the duration of the photographic act, but also the many facets of the boathouse’s character. This type of building on British Columbia’s “Sunshine Coast” is disappearing with the construction of new, suburban-style retirement housing.

Text from the National Gallery of Canada website [Online] Cited 02/03/2019

 

Scott McFarland. 'Gorse and Broom, West Heath, Hampstead' 2006

 

Scott McFarland (Canadian, b. 1975)
Gorse and Broom, West Heath, Hampstead
2006
From the series Hampstead
Inkjet print
Edition of 5

 

Scott McFarland (Canadian, b. 1975) 'Women Drying Laundry on the Gorse, Vale of Health, Hampstead Heath' 2007

 

Scott McFarland (Canadian, b. 1975)
Women Drying Laundry on the Gorse, Vale of Health, Hampstead Heath
2007
From the series Hampstead
Inkjet print
29 x 45 inches (73.7 x 114.3 cm)
Edition of 5

 

Scott McFarland. 'Inspecting, Allan O'connor Searches for Botrytis cinerea' 2003

 

Scott McFarland (Canadian, b. 1975)
Inspecting, Allan O’connor Searches for Botrytis cinerea
2003
From the series Gardens
Digital C-print
40 x 48 inches (102 x 122 cm)
Edition of 7

 

Scott McFarland (Canadian, b. 1975) 'Orchard View with the Effects of Seasons (Variation #1)' 2003-2006

 

Scott McFarland (Canadian, b. 1975)
Orchard View with the Effects of Seasons (Variation #1)
2003-2006
From the series Gardens
Digital C-print
42 x 122 inches (106.7 x 309.9 cm)
Edition of 3

 

Scott McFarland. 'Empire' 2005

 

Scott McFarland (Canadian, b. 1975)
[Huntington Botanical Gardens in San Marino, Calif]
2005
From the series Empire
Inkjet print

 

Scott McFarland (Canadian, b. 1975) 'Echinocactus grusonii' 2006

 

Scott McFarland (Canadian, b. 1975)
Echinocactus grusonii [Huntington Botanical Gardens in San Marino, Calif]
2006
From the series Empire
Inkjet print
24.5 X 27.5 inches (62 X 70 cm)
Edition of 3
Private collection/Vancouver Art Gallery

 

 

This picture comes from Empire, a series on desert vegetation shot in the Huntington Botanical Gardens in San Marino, Calif. Henry E. Huntington, an art collector who made his fortune building railroads, founded the garden in 1919.

“The plantings [of the garden] are dense, and the soil is mostly hidden beneath the thriving vegetation,” writes Grant Arnold in a catalogue essay for the exhibition, “the fullness of the planting continually reminding the visitor of Huntington’s beneficence.” To many gallery visitors, however, these images of lush desert vegetation will simply be appealing to the eye.

Kevin Chong. “A different way of seeing,” on the CBC News website November 13, 2009 [Online] Cited 02/03/2019

 

Scott McFarland. 'The Granite Bowl in the Berlin Lust Garden' 2006

 

Scott McFarland (Canadian, b. 1975)
The Granite Bowl in the Berlin Lust Garden
2006
Inkjet print
43 x 62 inches (109.2 x 157.5 cm)
Edition of 5

 

 

At first the photograph appeared to be a simple scene, one of no importance. The two young children, obviously related based on their similar physical features, seemed a bit awkward and posed, but otherwise, I thought it to be a snapshot, much like the one I took of the bowl while in Berlin. Upon learning how McFarland created this and many of his other photographs, I learned how complex of a scene this really is. McFarland uses multiple negatives, often taken over a matter of days, weeks, and even months, and combines them digitally into a seamless print. His interest is in breaking through the concept of a photograph being an image of a single instant in time and space.

A fuller narrative is created as well. With just one negative, there may only be one or two people depicted. We may just have the dog with his owner half shown, or even only half of the brother-sister group. But by overlapping the various negatives, Mr McFarland manipulates his work into a greater piece. We can now ask ourselves, why are the brother and sister so psychologically distant? Or, who is the small girl with the accordion and where is her mother? Is her mother the woman with the baby carriage? How long has that man been sleeping under the bowl? These are all questions that can be asked together because the negatives are combined that couldn’t be asked if we had just the single frame.

Jason Hosford. “Scott McFarland’s The Granite Bowl in the Berlin Lust Garten,” on the West L’Art website June 24, 2007 [Online] Cited 02/03/2019

 

Scott McFarland. 'View of Vale of Health, looking towards Hampstead' 2007

 

Scott McFarland (Canadian, b. 1975)
View of Vale of Health, looking towards Hampstead
2007
From the series Hampstead
Inkjet print
27 x 42.5 inches (68.6 x 108 cm)
Edition of 5

 

Scott McFarland (Canadian, b. 1975) 'View of Vale of Health, looking towards Hampstead' 2007

 

Scott McFarland (Canadian, b. 1975)
View of Vale of Health, looking towards Hampstead
2007
From the series Hampstead
Inkjet print
27 x 42.5 inches (68.6 x 108 cm)
Edition of 5

 

 

With the stiff figures of a historical painting, Scott McFarland’s View of Vale of Health, Looking Towards Hampstead muddles ideas of what’s real and what’s not.

From the get-go, painting and photography have been inextricably bound together. The Pictorialists tried to make their photographs look like paintings. The Futurists, in their paintings, mimicked the blurred and segmented movement found in Etienne-Jules Marey’s chronophotographs. The photorealists created paintings whose subject was the photograph itself. And in his large-scale, backlit photo-transparencies, Jeff Wall has alluded to paintings by Nicolas Poussin, Edouard Manet, and Paul Cézanne, among others. The digital age has done nothing to diminish each medium’s obsession with the other.

This continued entwining of art forms is evident in Scott McFarland’s computer-montaged photographs, on view at the Vancouver Art Gallery. So is the parallel entanglement of nature and culture. Both conditions are conspicuous in his 2006 series, “Hampstead”, inspired by the landscapes of the early-19th-century English painter John Constable. McFarland’s colour photos, shot in various locations around London’s immense Hampstead Heath, pay homage to Constable’s attraction to the same place. They also play variations on that painter’s rendering of multiple versions of the same scene, and on his open-air studies of the changing effects of light and weather. …

Over the past decade, McFarland’s working methods have changed from straightforward analog photography to the creation of highly manipulated images in which he digitally splices together multiple segments of the same landscape or structure, shot over a period of days, weeks, or even months. In both variations of Orchard View With the Effects of the Seasons, for instance, the blossoms and foliage of spring, summer, and fall are contained within the same seamless panorama.

The digital assist means that there are no constraints of time, space, or documentary veracity in McFarland’s work: he can build whatever impossible pictures he wants and they will look “real”. At least until they’re closely scrutinised, revealing incongruities of light, shadow, time, and figuration. In this sense, his art challenges our understanding of the nature of the photograph and its relationship with the truth. There’s nothing really new about this project – as long as photography’s been around, it’s been manipulated by its practitioners. Photoshop, however, has added a vast digital dimension to the darkroom antics of earlier photo artists.

Robin Laurence. “Scott McFarland makes impossible pictures real at the Vancouver Art Gallery,” on the Georgia Straight website October 7th 2009 [Online] Cited 02/03/2019

 

 

Regen Projects
6750 Santa Monica Boulevard,
Los Angeles, CA 90038

Opening hours:
Tuesday – Saturday 10 – 6pm

Regen Project website

Scott McFarland website

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Dr Marcus Bunyan

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

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

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