Posts Tagged ‘photography studio

02
Oct
14

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

Exhibition dates: 8th February – 2nd November 2014

The Edward Steichen Photography Galleries, third floor

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

 

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

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


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

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

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

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

Dr Marcus Bunyan for the Art Blart blog

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

 

 

Surveying the Studio

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

Text from the MoMA website

 

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

1. Surveying the Studio

2. The Studio as Stage

3. The Studio as Set

4. A Neutral Space

5. Virtual Spaces

6. The Studio, from Laboratory to Playground

 

The Studio as Stage

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The Studio as Set

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

MoMA website

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15
Apr
12

Exhibition: ‘Ladies and Gentlemen: The Camera as a Mirror’ at the Moderna Museet, Malmö, Sweden

Exhibition dates: 18th February 2012 – 22nd April 2012

 

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

 

 

Cindy Sherman. 'Untitled Film Still #56' 1980

 

Cindy Sherman (American, b. 1954)
Untitled Film Still #56
1980
© Cindy Sherman. Courtesy of the Artist and Metro Pictures

 

Samuel Fosso. 'Sans titre. De la série Années 70' 1970-1980

 

Samuel Fosso (Cameroon, b. 1962)
Sans titre. De la série Années 70
1970-1980
Gelatin silver print
© Samuel Fosso, Courtesy JM Patras/Paris

 

Robert Mapplethorpe. 'Patti Smith' 1979

 

Robert Mapplethorpe (American, 1946-1989)
Patti Smith
1979
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Self Portrait' 1980

 

Robert Mapplethorpe (American, 1946-1989)
Self Portrait
1980
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Seydou Keïta. 'Untitled #419' 1950-1952

 

Seydou Keïta (Mali, 1921-2001)
Untitled #419
1950-1952
Gelatin silver print
© Seydou Keïta / SKPEAC

 

Seydou Keïta. 'Untitled #420' 1950-1952

 

Seydou Keïta (Mali, 1921-2001)
Untitled #420
1950-1952
© Seydou Keïta / SKPEAC

 

 

This spring we will be showing more than forty photographs from the period 1950-90 taken by leading artists such as Andy Warhol, Cindy Sherman, Robert Mapplethorpe, Samuel Fosso, Tracey Moffatt, and Elina Brotherus. The exhibition focuses on the art of portrait photography and how the artist in his or her studio creates images that depict people not just as they actually are, but also as they would like to appear.

Moderna Museet’s collection of photography is among the foremost in Europe, it includes some of the most prominent figures in the history of photography. Andy Warhol, Cindy Sherman, and Robert Mapplethorpe are all big names in photography, artists whose work often revolves around concepts of identity, sexuality, and performativity. The photography studio is a place for masquerades and manipulations, a stage where various identities and roles can be tested. It therefore problematises the idea that a portrait is meant to convey some truth about the subject’s inner life. How do we distinguish a staged scene from reality? Is it even possible to make such a distinction? How free are we to form our own identity? If it’s a matter of choosing a role, what roles are available to us?

Andy Warhol’s Polaroid pictures, whose title, Ladies and Gentlemen, has also provided the name for the exhibition, are examples of his interest in – or rather his obsession with – celebrities. From industrial magnates to movie stars, from rock musicians to the “superstar” friends who hung out around the Factory, his fabled studio. In the world of pop art and popular culture, surface is everything. Robert Mapplethorpe’s photographs are instead classically composed – stylised and aesthetically formed. In the controlled environment and lighting of the photo studio, he strives not for realism but for beauty. Here role-play becomes a part of the picture’s constructed character.

In Cindy Sherman’s suite of images called Untitled Film Stills (1977-80), she plays with film clichés. The scenes and characters in her photographs seem familiar, but in fact it’s always Sherman herself we see in the leading role. Using the camera as a mirror, she takes on and explores various roles. It’s a game of trying on identities that is familiar to teenagers in particular the world over, a game we play in an attempt to find ourselves, or rather to construct an individual identity. One of the many ways in which Sherman’s pictures have been interpreted is as a feminist critique of the limited number of roles available to women.

This exhibition also presents several works by Seydou Keïta, Malick Sidibé, and Samuel Fosso, studio photographers who work primarily with portrait photography. Keïta’s studio was next-door to a movie theater in Bamako, the capitol city of Mali. Sidibé takes pictures not just in his studio but also at weddings and other parties. His photographs from Bamako in the 1960s reflect the great hope that came with liberation from French colonial power. Fosso opened his studio in Bangui, in the Central African Republic, when he was still a teenager. He is best known for a series of self-portraits in which he dons a variety of outfits to assume different roles.

Press release from the Moderna Museet website

 

Elina Brotherus. 'Honeymoon' 1997 (detail)

 

Elina Brotherus (Finnish, b. 1972)
Honeymoon (detail)
1997
© Elina Brotherus

 

Francesco Vezzoli. 'Portrait of H.R.H The Princess of Hanover (Before & After Salvador Dalí)' 2009

 

Francesco Vezzoli (Italian, b. 1971)
Portrait of H.R.H The Princess of Hanover (Before & After Salvador Dalí)
2009
© Francesco Vezzoli/BUS 2012

 

Andy Warhol. 'Gianni Agnelli' 1972

 

Andy Warhol (American, 1928-1987)
Gianni Agnelli
1972
© Andy Warhol/BUS 2012

 

Andy Warhol. 'John Chamberlain and Lorraine' 1978

 

Andy Warhol (American, 1928-1987)
John Chamberlain and Lorraine
1978
© Andy Warhol/BUS2012

 

Andy Warhol. 'Ladies and Gentlemen (Wilhelmina Ross)' 1974

 

Andy Warhol (American, 1928-1987)
Ladies and Gentlemen (Wilhelmina Ross)
1974
© Andy Warhol/BUS 2012

 

 

Moderna Museet Malmö
Gasverksgatan 22 in Malmö

Moderna Museet Malmö is located in the city centre of Malmö. Ten minutes walk from the Central station, five minutes walk from Gustav Adolfs torg and Stortorget.

Opening hours:
Tuesday, Thursday – Sunday 11-18
Wednesday 11-21
Mondays closed

Moderna Museet Malmö 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: ‘Orphans and small groups’ 1994-96 Part 2

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