Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
There’s a scene in one of my favourite movies, 1971’s American romantic black comedy-drama Harold and Maude directed by Hal Ashby, in which the glorious Ruth Gordon (in her best ever role) saves a tree from dying in the city by loading into the back of a ute, driving it at full speed through toll gates and out to the country to plant it in the forest, pursued by a motorcycle cop.
The joyful absurdity of her actions is mirrored in the terrific juxtapositions in life that are Gary Krueger’s considered photographs: for example, a “future tree” a circle with words in a lump of concrete surrounded by a constellation of fossil fuel oil stains.
As I said in a previous posting on the artist’s work, “Krueger’s street photography inverts the normal meaning of bathos… in that a silly or very ordinary subject suddenly changes to a beautiful or important one. There is black humour aplenty in these photographs as they picture the happenstance anachronisms of a major American city.”
Many thankx to the Joseph Bellows Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Maude saves a Tree from the film Harold and Maude (1971) with Ruth Gordon and Bud Cort, directed by Hal Ashby
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (re)Discoveries presents a new collection of photographs from the artist’s archive. These vintage photographs display a sometimes frenetic and often bizarre and fragmented world. Taken mostly in Los Angeles, California in the mid to late 1970s, Krueger’s curiosity and instincts helped him to create a remarkable body of street photography, one that he describes as “split-second juxtapositions in life.”
After graduating High School in 1963, Gary Krueger (1945 – ) drove his 1954 Ford west from Cleveland, Ohio, to study graphic design and photography at the Chouinard Art Institute in Los Angeles from 1964 to 1967. Later Cal Arts, Chouinard was a professional art school founded in 1921 by Nelbert Murphy Chouinard. In 1961, Walt and Roy Disney guided the merger of Chouinard and the Los Angeles Conservatory of Music to establish the California Institute of the Arts. Notable alumni include Ed Ruscha, Larry Bell, Robert Irwin, Joe Goode, and Allen Ruppersberg, with whom Krueger collaborated on Ruppersberg’s narrative photo works, including 23 Pieces (1969) and 24 Pieces (1970). Upon graduation from Chouinard, Krueger was hired by WED, Disney’s “Imagineering” Division. to photograph the Park and its events. He eventually left WED to pursue a successful career as a commercial and editorial photographer.
“Gary Krueger’s plain ol’ photographs (unless I’m missing a point) – small, tough, and sharp – are good, granite reportage. Baldessari’s “Fables” and Krueger’s no-nonsense photos cut like a hot ripsaw through the cool, marshmallow quality of both exhibitions.” – Peter Plagens, from a 1973 ARTFORUM review of the exhibition, Southern California: Attitudes 1972, at the Pasadena Art Museum.
Gary Krueger’s work is represented in The Minneapolis Institute of Art, Museum of Fine Arts, Houston, Center for Creative Photography, Tucson, AZ, the Los Angeles County Museum of Art, and the Santa Barbara Museum of Art. His work has recently been feature in The Guardian, Creative Review, Huck and The Eye of Photography.
Press release from Joseph Bellows Gallery
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Gary Krueger (American, b. 1945) Los Angeles c. 1970s Vintage gelatin silver print 5 x 7 inches, 8 x 10 inch sheet
Joseph Bellows Gallery 7661 Girrard Avenue La Jolla, California Phone: 858 456 5620
Opening hours: Tuesday – Saturday 11am – 5pm and by appointment
Grant Mudford (Australian, b. 1944) El Paso, Texas 1976 Vintage gelatin silver print 16 x 20 inches Joseph Bellows Gallery
Let There Be Light
For so long I have wanted to do a posting on the Australian photographer Grant Mudford (b. 1944) and finally the time is here. Mudford has lived in the United States of America since his final move to the Los Angeles area in mid-1977 but I still think of him as Australian.
Between 1974 – 1977 he undertook an intensive program of travel and work in the United States before his final move. In 1977 he had major exhibitions at the Australian Centre for Photography, Sydney; The Photographers’ Gallery, London; and Light Gallery, New York and is represented in major collections such as The J. Paul Getty Museum, Los Angeles; Los Angeles County Museum of Art, Los Angeles; International Museum of Photography, George Eastman House; and the National Gallery of Australia, Canberra which holds sixty six of his photographs in their collection.
Mudford’s mature style – capturing in beautiful, minimalist black and white photographs the essence and reality of the built landscape envisioned without people, usually working with common, generally uncelebrated subject-matter – emerged at a time that was parallel to that of the groundbreaking exhibition of contemporary landscape photography New Topographics: Photographs of a Man-Altered Landscape held at the George Eastman House’s International Museum of Photography, October 1975 – February 1976.
This important exhibition proposed a new way of looking at the American landscape, a concept that was historically grounded in the Neue Sachlichkeit (New Objectivity) – new order – movement of Germany in the 1920s, developed further and most importantly by the German artists Bernd and Hiller Becher in the late 1960s – early 1970s.
The New Topographics photographers (including the Bechers) “documented built and natural landscapes in America, often capturing the tension between natural scenery and the mundane structures of post-war America: parking lots, suburban homes, crumbling coal mines. The photographs, stark and documentary, are often devoid of human presence. William Jenkins [curator of the New Topographics exhibition] described the images as “neutral” in style, “reduced to an essentially topographic state, conveying substantial amounts of visual information but eschewing entirely the aspects of beauty, emotion, and opinion”.1
As I have argued elsewhere I believe that the photographs of the Bechers and alike are just as much about the beauty of the subject as they are their topographic state.
“Despite protestations to the contrary (appeals to the objectivity of the image, eschewing entirely the aspects of beauty, emotion and opinion; the rigorous frontality of the individual images giving them the simplicity of diagrams, while their density of detail offers encyclopaedic richness) these are subjective images for all their objective desire. The paradox is the more a photographer strives for objectivity, the more ego drops away, the more the work becomes their own: subjective, beautiful, emotive.”2
At least Mudford is honest enough to own up to desiring beauty. “I am deeply interested in the relationship between man-made structures and the landscape,” says Mudford. “Photography allows me to capture that intersection, where design meets nature, light, and texture. I strive to create images that reflect both beauty and complexity.” (Text from the Joseph Bellows website)
Evidence of the development of his later mature style can be seen in photographs taken in Australia such as Jenolan (1972, below) and Woolloomooloo (Stop sign) (1973, below) which already contain a minimalist, paired back, topographic yet beautiful aesthetic. But it was his move to Los Angeles, and above all the LIGHT and TEXTURE of the new world, that seem to have brought forth the best within this artist.
While, as Foucault observes, texts “are caught up in a system of references to … other texts, other sentences: it is a node within a network …Â Its unity is variable and relative”3 – in other words there is a close relationship between the work of Mudford and the New Topographics movement – his work is very much his own.
There is a crispiness, frontality and seeming simplicity to Mudford’s photographs and yet also almost a painterly aspect, that belies the complexity of these well resolved and beautiful images. He captures “the emotional resonance of a moment, whether it be the play of light on a building’s surface or the dynamic contrasts found in nature.” (Text from the Joseph Bellows website) And unlike the huge photographs of Dawoud Bey in an upcoming posting – which seem to me completely at odds with the spirit of the subject being captured – Mudford’s 16 x 20 inches photographs allow the viewer to focus on the images inherent qualities of beauty, nature, light and texture.
Finally, it is beyond me why Grant Mudford has not received greater recognition in the country of his birth. Forget that he has lived for years in the United States of America, Mudford is a magnificent photographer par excellence and his worldwide achievement should be celebrated at a national level. Perhaps it is time that a gallery such as the National Gallery of Australia or the Museum of Australian Photography should put on a major retrospective of this artist’s work… before it is too late!
We are loosing too many great photographers from this era already.
Dr Marcus Bunyan
1/ New Topographics: Photographs of a Man-Altered Landscape was a groundbreaking exhibition of contemporary landscape photography held at the George Eastman House’s International Museum of Photography (Rochester, New York) from October 1975 to February 1976. The show, curated by William Jenkins, had a lasting impact on aesthetic and conceptual approaches to American landscape photography. The New Topographics photographers, including Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Frank Gohlke, Nicholas Nixon, and Stephen Shore, documented built and natural landscapes in America, often capturing the tension between natural scenery and the mundane structures of post-war America: parking lots, suburban homes, crumbling coal mines. The photographs, stark and documentary, are often devoid of human presence. Jenkins described the images as “neutral” in style, “reduced to an essentially topographic state, conveying substantial amounts of visual information but eschewing entirely the aspects of beauty, emotion, and opinion”.
3/ Foucault, Michel. The Order of Things: An Archeology of the Human Sciences.New York: Vintage, 1973 quoted in Thumlert, Kurt. Intervisuality, Visual Culture, and Education. [Online] Cited 10/08/2006. www.forkbeds.com/visual-pedagogy.htm (link no longer active)
Many thankx to Joseph Bellows Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“Photographs reveal unexpected mysteries within the familiarities of our existence. We over familiarise ourselves with our surroundings and after become unaware and insensitive to the forces of the essence or reality before us. It is that essence or reality which I strive to photograph.”
Grant Mudford quoted in Graham Howe (ed.,). New Photography Australia. Paddington, N.S.W.: Australian Centre for Photography, 1974, p. 8
“I think it is incredibly difficult to define a building with photographs. Space and spatial relationships within and around a building are not fully experienced from photographs. The photograph imposes its own sense of these relationships, which to me are abstract representations having little to do with architecture or reality. So what I am interested in are the photographic manifestations of what buildings and structures can present when specifically scrutinised as a photograph. To extend this transformation, I prefer to work with common, generally uncelebrated subject-matter”
Grant Mudford in Archetype Magazine Spring 1981 quoted in Reimund Zunde. Photography: An Approach For Secondary Schools. Education Department of Victoria, Curriculum Services Unite, in association with the Secondary Art/Craft Standing Committee, 1982
Grant Mudford (Australian, b. 1944) Jenolan 1972 Gelatin silver print 34.5 h x 38.8 w cm National Gallery of Australia Gift of the artist, 1985
Grant Mudford (Australian, b. 1944) Woolloomooloo (Stop sign) 1973 Gelatin silver print 34.5 h x 38.4 w cm National Gallery of Australia Gift of the artist, 1985
Grant Mudford (Australian, b. 1944) Houston, Texas 1975 Gelatin silver print 33.8 h x 49.8 w cm National Gallery of Australia Gift of the Phillip Morris Arts Grant 1982
Graham Howe (ed.,). New Photography Australia. Paddington, N.S.W.: Australian Centre for Photography, 1974, p. 8.
Reimund Zunde. Photography: An Approach For Secondary Schools. Education Department of Victoria, Curriculum Services Unite, in association with the Secondary Art/Craft Standing Committee, 1982
Renowned photographer Grant Mudford had made his mark in the art world with a distinctive vision, capturing anonymous structures with a profound sense of space, light, texture and form. With a career spanning several decades, Mudford’s work remains a testament to his unique ability to meld the art of photography with the subtle intricacies of design, nature, and human influence.
Mudford’s photographic style is known for its dramatic compositions and meticulous attention to detail. Whether focusing on the clean lines of modern architecture or the rugged textures of natural landscapes, his work consistently transcends traditional photographic boundaries. His images invite viewers to engage with the built environment and the natural world in new and thought-provoking ways.
His work has been described by Keith Davis in An American Century of Photography as “an appreciation for both the alienations and incongruities of the urban landscape.”
“I am deeply interested in the relationship between man-made structures and the landscape,” says Mudford. “Photography allows me to capture that intersection, where design meets nature, light, and texture. I strive to create images that reflect both beauty and complexity.”
Mudford’s approach to photography is marked by his commitment to capturing the emotional resonance of a moment, whether it be the play of light on a building’s surface or the dynamic contrasts found in nature. His work not only documents his subjects but also engages viewers in a deeper conversation about the spaces they inhabit.
Mudford’s photographs have been exhibited internationally in solo and group exhibitions since the mid 1970’s; beginning this history with a solo show at the notable Light Gallery. His photographs are in numerous private and public collections, including the Los Angeles County Museum of Art, the J. Paul Getty Museum, the Museum of Modern Art, the George Eastman House, the Nelson-Atkins Museum, and the National Museum of American Art. In 2014, Mudford received the Julius Shulman Institute Excellence in Photography Award. His photographs have been featured in publications such as Architectural Digest, The New York Times, and Artforum, solidifying his place as one of the most respected photographers of his generation.
Grant Mudford’s photography is more than just an aesthetic experience; it is an invitation to reconsider how we perceive the world around us. His lens captures what is often overlooked – the powerful simplicity of everyday structures and the quiet majesty of the natural world. Through his work, Mudford encourages viewers to find beauty in both the grand and the subtle, offering a fresh perspective on the environments we encounter.
Text from the Joseph Bellows Gallery website
Grant Mudford (Australian, b. 1944) Los Angeles, CA 1977 Vintage gelatin silver print 16 x 20 inches
Grant Mudford (Australian, b. 1944) Los Angeles, CA 1976 Vintage gelatin silver print 16 x 20 inches
Grant Mudford (Australian, b. 1944) Irvine, CA 1976 Vintage gelatin silver print 16 x 20 inches
Grant Mudford (Australian, b. 1944) Los Angeles, CA 1976 Vintage gelatin silver print 16 x 20 inches
Grant Mudford (Australian, b. 1944) Los Angeles, CA 1977 Vintage gelatin silver print 16 x 20 inches
Grant Mudford
b. 1944
Grant Mudford (b. 1944) is a Sydney-born, Los Angeles-based photographer renowned for his large-format, abstract depictions of the urban landscape and built environment. Mudford developed an interest in photography as a child, and turned the laundry into a darkroom at the age of ten. For several years in his teens he photographed children on Santa Claus’ lap at Christmas. After studying architecture at the University of NSW for two years from 1964-1964, he chose to focus on photography, opening his own studio. In the 1960s and early 1970s he photographed for a range of advertising, fashion and theatre clients, as well as working as a cinematographer on short films. Mudford held his first solo show at Bonython Gallery in Sydney in 1972 and shortly after received funding from the Australia Council for the Arts, enabling him to travel throughout the USA and Mexico between 1975 and 1977. He then settled in Los Angeles, where he worked for various American and international publications including Harper’s Bazaar, Esquire, Architectural Digest, Vanity Fair, the LA Times and the New York Times. The Museum of Contemporary Art in Los Angeles commissioned him as photographer for the exhibition and book, Louis I. Kahn: In the Realm of Architecture (1991). Mudford’s work is in many American and international collections including the Museum of Modern Art, the J. Paul Getty Museum and Los Angeles County Museum of Art, Art Gallery of NSW and National Gallery of Australia.
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