Posts Tagged ‘rayograph

10
Oct
18

Exhibition: ‘Shape of Light: 100 Years of Photography and Abstract Art’ at Tate Modern, London

Exhibition dates: 2nd May – 14th October 2018

Curators: Simon Baker, Senior Curator, International Art (Photography) and Shoair Mavlian, Assistant Curator, Tate Modern, with Emmanuelle de l’Ecotais, Curator for Photographs

 

 

Pierre Dubreuil. 'Interpretation of Picasso, The Railway' 1911

 

Pierre Dubreuil (1872-1944)
Interpretation Picasso, The Railway
1911
Gelatin silver print on paper
238 x 194 mm
Centre Pompidou, Paris
Musée National d’Art Moderne / Centre de Création Industrielle
Purchased, 1987

 

 

An interesting premise –

“a premise is an assumption that something is true. In logic, an argument requires a set of (at least) two declarative sentences (or “propositions”) known as the premises or premisses along with another declarative sentence (or “proposition”) known as the conclusion” (Wikipedia)

– that the stories (the declarative sentences) of abstract art and abstract photography are intertwined (the conclusion). The two premises and one conclusion forms the basic argumentative structure of the exhibition.

Unfortunately in this exhibition, the abstract art and abstract photographs (declarations), seem to add up to less than the sum of its parts (conclusion).

Why is this so?

.
The reason these two bedfellows sit so uncomfortably together is that they are of a completely different order, one to the other.

Take painting for example. There is that ultimate linkage between brain, eye and hand as the artist “reaches out” into the unknown, and conjures an abstract representation from his imagination. This has a quality beyond my recognition. The closest that photography gets to this intuition is the cameraless Photogram, as the artist paints with light, from his imagination, onto the paper surface, the physical presence of the print.

Conversely, we grapple with the dual nature of photography, its relation to reality, to the real, and its interpretation of that reality through a physical, mechanical process – light entering a camera (metal, glass, digital chips, plastic film) to be developed in chemicals or on the computer, stored as a physical piece of paper or in binary code – but then we LOOK and FEEL what else a photograph can be. What it is, and what else it can be.

Initially, to take a photograph is to recognise something physical in the world which can then be abstracted. Here is a tree, a Platonic ideal, now here is the bark of the tree, or cracks in dried mud, or Aaron Siskind’s Pleasures and Terrors of Levitation in which, in our imagination, the body is no longer human. This archaeology of photography is a learnt behaviour (from the world, from abstract paintings) where ones learns to turn over the truth to something else, a recognition of something else. Where one digs a clod of earth, inspects it, and then turns it over to see what else it can be.

We can look at something in the world just for what it is and take a photograph of it, but then we can look at the same object for what else it can be (for example, Man Ray’s image Dust Breeding (1920), which is actually dust motes on the top of Duchamp’s Large Glass). Photographers love these possibilities within the physicality of the medium, its processes and outcomes. Photographers love changing scale, perspective, distortion using their intuition to perhaps uncover spiritual truths. Here I are not talking about making doodles – whoopee look what I can make as a photographer! it’s important because I can do it and show it and I said it’s important because I am an artist! the problem with lots of contemporary photography – it is something entirely different. It is the integrity of the emotional and intellectual process.

Not a reaching out through the arm and hand, but an unearthing (a reaching in?) of the possibilities of what else photography can be (other than a recording process). As Stieglitz understood in his Equivalents, and so Minor White espoused through his art and in one of his three canons:

When the image mirrors the man
And the man mirrors the subject
Something might take over

.
And that revelation is something completely different from the revelation of abstract art.

Dr Marcus Bunyan

.
Many thankx to the Tate Modern for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

For the first time, Tate Modern tells the intertwined stories of photography and abstract art. The birth of abstract art and the invention of photography were both defining moments in modern visual culture, but these two stories are often told separately.

Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction.

Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.

 

 

“Despite its roll call of stellar names, the show’s adrenaline soon slumps. A rhythm sets in, as each gallery offers perhaps a single non photographic work and dozens of medium format black and white abstracts arranged on an allied theme: extreme close ups, engineered structures, worms’ and birds’ eye views, moving light, the human body, urban fabric.

Individually each photograph is quite wonderful, but they echo each other so closely in their authors’ attraction to diagonal arrangements, rich surface textures, dramatic shadows, odd perspectives and close cropping, that the same ‘point’ is being made a dozen times with little to distinguish between the variants. …

By the present day, abstract photography has given in to its already Ouroboros-like tendencies, and swallowed itself whole, offering abstract photographs about the process of photography, and the action of light on its materials. This is a gesture I relished in Wolfgang Tillmans’s show in the same space this time last year, when it was broken up by a plethora of other ideas and perspectives on photography. Here it feels like another level of earnest self-absorption with a century-long backstory.”

.
Hettie Judah. ‘By halfway round I actually felt faint’ on the iNews website May 5th 2018 [Online] Cited 14/07/2018

 

 

 

Tate Curator, Simon Baker, meets Caroline von Courten from leading photography Magazine, Foam. Together they explore the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern.

 

 

 

 

Wyndham Lewis (1882-1957) 'Workshop' c. 1914-5

 

Wyndham Lewis (1882-1957)
Workshop
c. 1914-5
Tate
Purchased 1974
© Wyndham Lewis and the estate of Mrs G A Wyndham Lewis by kind permission of the Wyndham Lewis Memorial Trust (a registered charity)

 

Paul Strand. 'Abstraction Bowls, Twin Lakes, Connecticut' 1916

 

Paul Strand (1890-1976)
Abstraction Bowls, Twin Lakes, Connecticut
1916
Silver gelatin print

 

Alvin Langdon Coburn (1882-1966) 'Vortograph' 1917

 

Alvin Langdon Coburn (1882-1966)
Vortograph
1917
Gelatin silver print on paper
283 x 214 mm
Courtesy of the George Eastman Museum NY
© The Universal Order

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing László Moholy-Nagy’s K VII at centre. Photo: © Tate / Andrew Dunkley.

 

László Moholy-Nagy (1895-1946) 'K VII' 1922

 

László Moholy-Nagy (1895-1946)
K VII
1922
Oil paint and graphite on canvas
Frame: 1308 x 1512 x 80 mm
Tate
Purchased 1961

 

 

The ‘K’ in the title of K VII stands for the German word Konstruktion (‘construction’), and the painting’s ordered, geometrical forms are typical of Moholy-Nagy’s technocratic Utopianism. The year after it was painted, he was appointed to teach the one year-preliminary course at the recently founded Bauhaus in Weimar. Moholy-Nagy’s appointment signalled a major shift in the school’s philosophy away from its earlier crafts ethos towards a closer alignment with the demands of modern industry, and a programme of simple design and unadorned functionalism.

Gallery label, April 2012

 

Man Ray. 'Rayograph' 1922

 

Man Ray (1890-1976)
Rayograph
1922
Gelatin silver print on paper
Private Collection
© Man Ray Trust/ADAGP, Paris and DACS, London 2018

 

El Lissitzky (1890-1941) 'Proun in Material (Proun 83)' 1924

 

El Lissitzky (1890-1941)
Proun in Material (Proun 83)
1924
Gelatin silver print on paper
140 x 102 mm
© Imogen Cunningham Trust. All rights reserved

 

László Moholy-Nagy (1895-1946) 'Photogram' c. 1925

 

László Moholy-Nagy (1895-1946)
Photogram
c. 1925
Gelatin silver print on paper
Photo: Jack Kirkland Collection, Nottingham

 

Wassily Kandinsky (1866-1944) 'Swinging' 1925

 

Wassily Kandinsky (1866-1944)
Swinging
1925
Oil paint on board
705 x 502 mm
Tate

 

Edward Steichen. 'Bird in Space' [L'Oiseau dans l'espace] 1926

 

Edward Steichen (1879-1973)
Bird in Space [L’Oiseau dans l’espace]
1926
Gelatin silver print on paper
253 x 202 mm
Bequest of Constantin Brancusi, 1957
Centre Pompidou, Paris
Musée National d’Art Moderne / Centre de Création Industrielle

 

Shape of Light, exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing at centre, Constantin Brancusi’s bronze and stone sculpture Maiastra (1911). Photo: © Tate / Andrew Dunkley.

 

Imogen Cunningham (1883-1976) 'Triangles' 1928

 

Imogen Cunningham (1883-1976)
Triangles
1928, printed 1947-60
Gelatin silver print on paper
119 x 93 mm
Pierre Brahm
© Imogen Cunningham Trust. All rights reserved

 

Joan Miró (1893-1983) 'Painting' 1927

 

Joan Miró (1893-1983)
Painting
1927
Tempera and oil paint on canvas
972 x 1302 mm
Tate
© Succession Miro/ADAGP, Paris and DACS, London 2018

 

Man Ray (1890-1976) 'Anatomies' 1930

 

Man Ray (1890-1976)
Anatomies
1930
Photo: © Man Ray Trust/ADAGP, Paris and DACS, London 2016

 

Aleksandr Rodchenko (1891-1956) 'Radio Station Power' 1929

 

Aleksandr Rodchenko (1891-1956)
Radio Station Power
1929
Gelatin silver print on paper
Lent by Jack Kirkland Collection, Nottingham
© A. Rodchenko and V. Stepanova Archive. DACS, RAO 2018

 

László Moholy-Nagy (1895-1946) 'Xanti Schawinsky on the balcony of the Bauhaus' 1929

 

László Moholy-Nagy (1895-1946)
Xanti Schawinsky on the balcony of the Bauhaus
1929
Gelatin silver print on paper

 

Luo Bonian (1911-2002) 'Untitled' 1930s

 

Luo Bonian (1911-2002)
Untitled
1930s
Gelatin silver print on paper
Courtesy The Three Shadows Photography Art Centre, Beijing
© Luo Bonian

 

Marta Hoepffner (1912–2000) 'Homage to de Falla' 1937

 

Marta Hoepffner (1912–2000)
Homage to de Falla
1937
Gelatin silver print on paper
387 x 278 mm
Stadtmuseum Hofheim am Taunus
© Estate Marta Hoepffner

 

Nathan Lerner (1913-1997) 'Light Tapestry' 1939

 

Nathan Lerner (1913-1997)
Light Tapestry
1939
Gelatin silver print on paper
401 x 504 mm
Musée d’Art Moderne de la Ville de Paris
Gift of Mrs Kiyoko Lerner, 2014
Photo: Nathan Lerner/© ARS, NY and DACS, London

 

Luigi Veronesi (1908-1998) 'Construction' 1938

 

Luigi Veronesi (1908-1998)
Construction
1938
Gelatin silver print on paper
286 x 388 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015

 

Luigi Veronesi (1908-1998) 'Photo n.145' 1940, printed 1970s

 

Luigi Veronesi (1908-1998)
Photo n.145
1940, printed 1970s
Gelatin silver print on paper
310 x 280 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015

 

Luigi Veronesi (1908-1998) 'Photo n.152' 1940, printed 1970s

 

Luigi Veronesi (1908-1998)
Photo n.152
1940, printed 1970s
Gelatin silver print on paper
320 x 298 mm
Tate
Accepted under the Cultural Gifts Scheme by HM Government from Massimo Prelz Oltramonti and allocated to Tate 2015

 

 

A major new exhibition at Tate Modern will reveal the intertwined stories of photography and abstract art. Shape of Light: 100 Years of Photography and Abstract Art will be the first show of this scale to explore photography in relation to the development of abstraction, from the early experiments of the 1910s to the digital innovations of the 21st century. Featuring over 300 works by more than 100 artists, the exhibition will explore the history of abstract photography side-by-side with iconic paintings and sculptures.

Shape of Light will place moments of radical innovation in photography within the wider context of abstract art, such as Alvin Langdon Coburn’s pioneering ‘vortographs’ from 1917. This relationship between media will be explored through the juxtaposition of works by painters and photographers, such as cubist works by George Braque and Pierre Dubreuil or the abstract expressionism of Jackson Pollock and Otto Steinert’s ‘luminograms’. Abstractions from the human body associated with surrealism will include André Kertesz’s Distorsions, Imogen Cunningham’s Triangles and Bill Brandt’s Baie des Anges, Frances 1958, exhibited together with a major painting by Joan Miró. Elsewhere the focus will be on artists whose practice spans diverse media, such as László Moholy-Nagy and Man Ray.

The exhibition will also acknowledge the impact of MoMA’s landmark photography exhibition of 1960, The Sense of Abstraction. Installation photographs of this pioneering show will be displayed with some of the works originally featured in the exhibition, including important works by Edward Weston, Aaron Siskind and a series by Man Ray that has not been exhibited since the MoMA show, 58 years ago.

The connections between breakthroughs in photography and new techniques in painting will be examined, with rooms devoted to Op Art and Kinetic Art from the 1960s, featuring striking paintings by Bridget Riley and installations of key photographic works from the era by artists including Floris Neussis and Gottfried Jaeger. Rooms will also be dedicated to the minimal and conceptual practices of the 1970s and 80s. The exhibition will culminate in a series of new works by contemporary artists, Tony Cairns, Maya Rochat and Daisuke Yokota, exploring photography and abstraction today.

Shape of Light is curated by Simon Baker, Senior Curator, International Art (Photography) and Shoair Mavlian, Assistant Curator, Tate Modern, with Emmanuelle de l’Ecotais, Curator for Photographs, Musée d’Art Moderne de la Ville de Paris. The exhibition will be accompanied by a fully illustrated catalogue from Tate Publishing and a programme of talks and events in the gallery.

Press release from Tate Modern

 

Jackson Pollock (1912-1956) 'Number 23' 1948

 

Jackson Pollock (1912-1956)
Number 23
1948
Enamel on gesso on paper
575 x 784 mm
Tate: Presented by the Friends of the Tate Gallery (purchased out of funds provided by Mr and Mrs H.J. Heinz II and H.J. Heinz Co. Ltd) 1960
© ARS, NY and DACS, London 2018

 

Otto Steinert (1915-1978) 'Composition of Forms' 1949

 

Otto Steinert (1915-1978)
Composition of Forms
1949
Gelatin silver print on paper
290 x 227 mm
Jack Kirkland Collection, Nottingham

 

Guy Bourdin (1928-1991) 'Untitled' 1952

 

Guy Bourdin (1928-1991)
Untitled
1952
Gelatin silver print on paper
277 x 164 mm
Purchased with funds provided by the Photography Acquisitions Committee 2015
© The Guy Bourdin Estate

 

Guy Bourdin (1928-1991) 'Untitled' 1952

 

Guy Bourdin (1928-1991)
Untitled
1952
Gelatin silver print on paper
232 x 169 mm
Purchased with funds provided by the Photography Acquisitions Committee 2015
© The Guy Bourdin Estate

 

Guy Bourdin (1928-1991) 'Untitled' c. 1950s

 

Guy Bourdin (1928-1991)
Untitled
c. 1950s
Gelatin silver print on paper
239 x 179 mm
Purchased with funds provided by the Photography Acquisitions Committee 2015
© The Guy Bourdin Estate

 

 

Untitled c.1950s is a black and white photograph by the French photographer Guy Bourdin. The entirety of the frame is taken up by a close-up of peeling paint. The paint sections fragment the image into uneven geometric shapes, which are interrupted by a strip of the dark surface beneath that winds from the top to the bottom of the frame. There is little sense of scale or contextual detail, resulting in a near-abstract composition.

Bourdin is best known for his experimental colour fashion photography produced while working for French Vogue between 1955 and 1977. This photograph belongs to an earlier period of experimentation, before he began to use colour and work in fashion. Taken outside the studio, it shows Bourdin’s sensitivity to the natural world and his attempt to transform the everyday into abstract compositions, bridging the gap between surrealism and subjective photography. Bourdin’s early work was heavily influenced by surrealism, as well as by pioneers of photography as a fine art such as Edward Weston, Paul Strand and Bill Brandt. His surrealist aesthetic can be attributed to his close relationship with Man Ray, who wrote the foreword to the catalogue for Bourdin’s first solo exhibition of black and white photographs at Galerie 29, Paris, in 1952.

This and other early works in Tate’s collection (such as Untitled (Sotteville, Normandy) c. 1950s, Tate P81205, and Solange 1957, Tate P81216) are typical of Subjektive Fotografie (‘subjective photography’), a tendency in the medium in the late 1940s and early 1950s. Led by the German photographer and teacher Otto Steinert, who organised three exhibitions under the title Subjektive Fotografie in 1951, 1954 and 1958, the movement advocated artistic self-expression – in the form of the artist’s creative approach to composition, processing and developing – above factual representation. Subjektive Fotografie’s emphasis on, and encouragement of, individual perspectives invited both the photographer and the viewer to interpret and reflect on the world through images. Bourdin’s interest in this can be seen in his early use of texture and abstraction, evident in close-up studies of cracked paint peeling off an external wall or a piece of torn fabric. These still lives were often dark in subject matter and tone, highlighting Bourdin’s interest in surrealist compositions and the intersection between death and sexuality. The works made use of the photographer’s urban environment, with deep black and high contrast printing techniques employed to create a sombre mood.

This approach was also important for Bourdin’s early portraiture, which anticipated his subsequent work in fashion. The subject of his portraits – often Solange Gèze, to whom the artist was married from 1961 until her death in 1971 – is usually framed subtly, rarely appearing in the centre or as the main focus of the image. In these works the figure is secondary, showing how Bourdin let the natural or urban environment frame the subject and integrate the body into its immediate surroundings. Bourdin was meticulous about the creative process from start to finish, sketching out images on paper and then recreating them in the landscape, using the natural environment as a stage set for his work.

Shoair Mavlian
August 2014

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Jackson Pollock’s Number 23 at left. Photo: © Tate / Sepharina Neville.

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Nathan Lerner’s Light Tapestry top left, and Otto Steinert’s Luminogram II centre right. Photo: © Tate / Sepharina Neville.

 

Otto Steinert (1915-1978) 'Luminogram II' 1952

 

Otto Steinert (1915-1978)
Luminogram II
1952
Gelatin silver print on paper
302 x 401 mm
Jack Kirkland Collection Nottingham
© Estate Otto Steinert, Museum Folkwang, Essen

 

Brett Weston. 'Mud Cracks' 1955

 

Brett Weston (1911-1993)
Mud Cracks
1955
Silver gelatin print
203 x 254 mm
Lent by the Tate Americas Foundation, courtesy of Christian Keesee Collection 2013
© The Brett Weston Archive/CORBIS

 

Peter Keetman (1916-2005) 'Steel Pipes, Maximilian Smelter' 1958

 

Peter Keetman (1916-2005)
Steel Pipes, Maximilian Smelter
1958
Gelatin silver print on paper
508 x 427 mm
F.C. Gundlach Foundation

 

Man Ray (1890-1976) 'Unconcerned Photograph' 1959

 

Man Ray (1890-1976)
Unconcerned Photograph
1959
Museum of Modern Art, New York
© Man Ray Trust/ADAGP, Paris and DACS, London 2018

 

Jacques Mahé de la Villeglé (b. 1926) 'Jazzmen' 1961

 

Jacques Mahé de la Villeglé (b. 1926)
Jazzmen
1961
Printed papers on canvas
2170 x 1770 mm
Presented by the Friends of the Tate Gallery 2000
© Jacques Mahé de la Villeglé

 

 

The Jazzmen is a section of what Jacques Villeglé termed affiches lacérées, posters torn down from the walls of Paris. These particular ones were taken on 10 December 1961. Following his established practice, Villeglé removed the section from a billboard and, having mounted it on canvas, presented it as a work of art. In ‘Des Réalités collectives’ of 1958 (‘Collective Realities’, reprinted in 1960: Les Nouveaux Réalistes, pp. 259-60) he acknowledged that he occasionally tore the surface of the posters himself, although he subsequently restricted interventions to repairs during the mounting process. The large blue and green advertisements for Radinola (at the top right and lower left) provide the main visible surface for The Jazzmen. These establish a compositional unity for the accumulated layers. Overlaid are fragmentary music posters and fly-posters, some dated to September 1961, including the images of the red guitarists that lend the work its title. The artist’s records give the source as rue de Tolbiac, a thoroughfare in the 13th arrondissement in south-east Paris. Villeglé usually uses the street as his title, but has suggested (interview with the author, February 2000) that the title The Jazzmen may have been invented for the work’s inclusion in the exhibition L’Art du jazz (Musée Galliera, Paris 1967).

Villeglé worked together with Raymond Hains (b. 1926) in presenting torn posters as works of art. They collaborated on such works as Ach Alma Manetro, 1949 (Musée nationale d’art moderne, Centre Georges Pompidou, Paris), in which typography dominates the composition. They first showed their affiches lacérées in May 1957 at the Galerie Colette Allendy, Paris, in a joint exhibition named Loi du 29 juillet 1881 ou le lyrisme à la sauvette (The Law of 29 July 1881 or Lyricism through Salvage) in reference to the law forbidding fly-posting. Villeglé sees a social complexity in the developments in the style, typography and subject of the source posters. He also considers the processes of the overlaying and the pealing of the posters by passers-by to be a manifestation of a liberated art of the street. Both aspects are implicitly political. As Villeglé points out, anonymity differentiates the torn posters from the collages of the Cubists or of the German artist Kurt Schwitters. In ‘Des Réalités collectives’ Villeglé wrote: ‘To collages, which originate in the interplay of many possible attitudes, the affiches lacérées, as a spontaneous manifestation, oppose their immediate vivacity’. He saw the results as extending the conceptual basis of Marcel Duchamp’s readymades, whereby an object selected by an artist is declared as art. However, this reduction of the artist’s traditional role brought an end to Villeglé’s collaboration with Hains, who held more orthodox views of creative invention.

In 1960 Villeglé, Hains and François Dufrêne (1930-82), who also used torn posters, joined the Nouveaux Réalistes group gathered by the critic Pierre Restany (b.1930). Distinguished by the use of very disparate materials and techniques, the Nouveaux Réalistes – who also included Arman (b.1928), Yves Klein (1928-62) and Jean Tinguely (1925-91) – were united by what Villeglé has called their ‘distance from the act of painting’ as characterised by the dominant abstraction of the period (interview February 2000). In this way, Klein’s monochrome paintings (see Tate T01513) and Villeglé’s affiches lacérées conform to the group’s joint declaration of 27 October 1960: ‘The Nouveaux Réalistes have become aware of their collective singularity. Nouveau Réalisme = new perceptual approaches to reality.’ The Jazzmen, of the following year, embodies Villeglé’s understanding of his ‘singularity’ as a conduit for anonymous public expression.

Matthew Gale
June 2000

 

Edward Ruscha (b.1937) 'Gilmore Drive-In Theater - 6201 W. Third St.' 1967, printed 2013

 

Edward Ruscha (b.1937)
Gilmore Drive-In Theater – 6201 W. Third St.
1967, printed 2013
Gelatin silver prints on paper
356 x 279 mm
Courtesy Ed Ruscha and Gagosian Gallery
© Ed Ruscha

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London. Photo: © Tate / Andrew Dunkley.

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Gregorio Vardanega’s Circular Chromatic Spaces 1967. Musée d’Art moderne de la Ville de Paris. Photo: © Tate / Andrew Dunkley.

 

John Divola. '74V11' 1974

 

John Divola (b. 1949)
74V11
1974
Silver gelatin print
Jack Kirkland Collection, Nottingham
© John Divola

 

Barbara Kasten (b.1936) 'Photogenic Painting, Untitled 74/13' (ID187) 1974

 

Barbara Kasten (b.1936)
Photogenic Painting, Untitled 74/13 (ID187)
1974
Salted paper print
558 x 762 mm
Courtesy the artist, Thomas Dane Gallery and Bortolami Gallery, New York
© Barbara Kasten

 

James Welling (b. 1951) 'Untitled' 1986

 

James Welling (b. 1951)
Untitled
1986
C-print on paper
254 x 203 mm
Jack Kirkland Collection, Nottingham
© James Welling. Courtesy the artist and David Zwirner, New York/London/Hong Kong and Maureen Paley, London

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing Sigmar Polke’s Untitled (Uranium Green) 1992. Hans Georg Näder © The Estate of Sigmar Polke / VG Bild-Kunst Bonn and DACS London, 2018. Photo: © Tate / Seraphina Neville.

 

Sigmar Polke. 'Untitled (Uranium Green)' 1992

 

Sigmar Polke (1941-1910)
Untitled (Uranium Green) (detail)
1992
10 Photographs, C-print on paper
Image, each: 610 x 508 mm
The Estate of Sigmar Polke / VG Bild-Kunst Bonn 2017
Photo: Adam Reich/The Estate of Sigmar Polke / VG Bild-Kunst Bonn and DACS London, 2018

 

Daisuke Yokota (b. 1983) 'Untitled' 2014

 

Daisuke Yokota (b. 1983)
Untitled
2014
from Abstracts series
© Daisuke Yokota
Courtesy of the artist and Jean-Kenta Gauthier Gallery

 

 

Process is at the core of Yokota’s photographs. For his black-and-white work, such as the series Linger or Site/Cloud, Yokota sifts through an archive of more than 10 years of photographs in his Tokyo apartment. When he finds something that speaks to him – a nude figure, a chair, a building, a grove of trees – he makes a digital image of it, develops it, and rephotographs the image up to 15 times, until it becomes increasingly degraded. He develops the film in ways that are intentionally “incorrect,” allowing light to leak in, or singeing the negatives, using boiling water, or acetic acid. The purported subject fades, and shadows, textures, spots and other sorts of visual noise emerge. For his recent colour work, trippy, sensual abstractions, the process is similar, except that it is cameraless; he doesn’t start with a preexisting image. “I wanted to focus on the emulsion, on the different textures, more than on a subject being photographed,” says Yokota.

IN THE STUDIO
Daisuke Yokota
By Jean Dykstra

 

Antony Cairns (b. 1980) 'LDN5_051' 2017

 

Antony Cairns (b. 1980)
LDN5_051
2017
Courtesy of the artist
© Antony Cairns

 

Shape of Light, Exhibition Press Image, Tate Modern, 2018

 

Installation view of the exhibition Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London showing the installation A Rock Is A River, 2018 by the aritst Maya Rochat. Courtesy Lily Robert and VITRINE, London | Basel © Maya Rochat. Photo: © Tate / Sepharina Neville.

 

Maya Rochat (b.1985) 'A Rock is a River (META CARROTS)' 2017

 

Maya Rochat (b.1985)
A Rock is a River (META CARROTS)
2017
Courtesy Lily Robert
© Maya Rochat

 

Maya Rochat (b.1985) 'A Rock is a River (META RIVER)' 2017

 

Maya Rochat (b.1985)
A Rock is a River (META RIVER)
2017
Courtesy Lily Robert
© Maya Rochat

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

Opening hours:
Sunday – Thursday 10.00 – 18.00
Friday – Saturday 10.00 – 22.00

Tate Modern website

LIKE ART BLART ON FACEBOOK

Back to top

08
May
14

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

Exhibition dates: 8th February – 11th May 2014

 

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

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

Marcus

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

 

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

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

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

Read more on the Frieze Magazine website

 

 

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

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

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

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

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

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

 

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

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

 

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

 

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

 

 

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

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

.
Framing Sculpture

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

Press release from the Museum Boijmans Van Beuningen

 

06-WEB

 

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

 

07-WEB

 

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

 

12-WEB

 

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

 

13-WEB

 

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

 

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

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

 

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

 

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

 

 

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

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

.
The Road to Abstraction

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

.
Painted Bronze

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

Press release from the Museum Boijmans Van Beuningen

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Medardo Rosso. 'Madame X' 1896

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

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

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

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

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

 

 

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

 

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

 

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

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

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

 

 

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

 

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

 

Man Ray. 'Rayographie' (Rayograph) 1925

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

 

Museum Boijmans Van Beuningen website

LIKE ART BLART ON FACEBOOK

Back to top

21
Apr
13

Exhibition: ‘The Shaping of New Visions: Photography, Film, Photobook’ at the Museum of Modern Art (MoMA), New York

Exhibition dates: 18th April 2012 – 29th April 2013

.

Another fascinating exhibition and a bumper posting to boot (pardon the pun!)

A panoply of famous photographers along with a few I had never heard of before (such as Georges Hugnet) are represented in this posting. As the press blurb states, through “key photographic projects, experimental films, and photobooks, ‘The Shaping of New Visions’ offers a critical reassessment of photography’s role in the avant-garde and neo-avant-garde movements, and in the development of contemporary artistic practices.”

The large exhibition seems to have a finger in every pie, wandering from the birth of the 20th-century modern metropolis, through “New Vision” photography in the 1920s, experimental film, Surrealism, Constructivism and New Objectivity, Dada, Rayographs, photographic avant-gardism, photocollages, photomontages, street photography of the  1960s, colour slide projection performance, through New Topographics, self-published books, and conceptual photography, featuring works that reevaluate the material and contextual definitions of photography. “The final gallery showcases major installations by a younger generation of artists whose works address photography’s role in the construction of contemporary history.”

Without actually going to New York to see the exhibition (I wish!!) – from a distance it does seem a lot of ground to cover within 5 galleries even if there are 250 works. You could say this is a “meta” exhibition, drawing together themes and experiments from different areas of photography with rather a long bow. Have a look at the The Shaping of New Visions exhibition checklist to see the full listing of what’s on show and you be the judge. There are some rare and beautiful images that’s for sure. From the photographs in this posting I would have to say the distorted “eyes” have it…

Dr Marcus Bunyan for the Art Blart blog

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

.

.

.

László Moholy-Nagy
Ein Lichtspiel: schwarz weiss grau (A Lightplay: Black White Gray) (excerpt)
1930

.
This short film made by László Moholy-Nagy is based on the shadow patterns created by his Light-Space Modulator, an early kinetic sculpture consisting of a variety of curved objects in a carefully choreographed cycle of movements. Created in 1930, the film was originally planned as the sixth and final part of a much longer work depicting the new space-time.

.

.

Paul Strand and Charles Sheeler
Manhatta
1921
Film
Courtesy of the Museum of Modern Art, New York
© Aperture Foundation Inc., Paul Strand Archive

.
In 1920 Paul Strand and artist Charles Sheeler collaborated on Manhatta, a short silent film that presents a day in the life of lower Manhattan. Inspired by Walt Whitman’s book Leaves of Grass, the film includes multiple segments that express the character of New York. The sequences display a similar approach to the still photography of both artists. Attracted by the cityscape and its visual design, Strand and Sheeler favored extreme camera angles to capture New York’s dynamic qualities. Although influenced by Romanticism in its view of the urban environment, Manhatta is considered the first American avant-garde film.

.

.

Dziga Vertov
Chelovek s kinoapparatom (Man with a Movie Camera)
1929
Film
1 hr 6 mins 49 secs

.
Excerpt from a camera operators diary
ATTENTION VIEWERS:
This film is an experiment in cinematic communication of real events
Without the help of Intertitles
Without the help of a story
Without the help of theatre
This experimental work aims at creating a truly international language of cinema based on its absolute separation from the language of theatre and literature

.

Eleanor Antin. '100 Boots' 1971 - 1973

Eleanor Antin. '100 Boots' 1971 - 1973

Eleanor Antin. '100 Boots' 1971 - 1973

.

Eleanor Antin
100 Boots
1971 – 1973
Photographed by Philip Steinmetz
Halftone reproductions on 51 cards
4 ½ x 7 in. each
Courtesy Ronald Feldman Fine Arts, New York
© Eleanor Antin

.

Josef Albers. 'Marli Heimann, Alle während 1 Stunde (Marli Heimann, All During an Hour)' 1931

.

Josef Albers
Marli Heimann, Alle während 1 Stunde (Marli Heimann, All During an Hour)
1931
Twelve gelatin silver prints
Overall 11 11/16 x 16 7/16″ (29.7 x 41.8 cm)
The Museum of Modern Art, New York. Gift of The Josef Albers Foundation, Inc.
© 2012 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York

.

August Sander. 'Das rechte Auge meiner Tochter Sigrid (The Right Eye of My Daughter Sigrid)' 1928

.

August Sander
Das rechte Auge meiner Tochter Sigrid (The Right Eye of My Daughter Sigrid)
1928
Gelatin silver print
7 1/16 x 9″ (17.9 x 22.9 cm)
The Museum of Modern Art, New York. Gift of the photographer
© 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

.

Dziga Vertov. 'Chelovek s kinoapparatom (Man with a Movie Camera)' (still) 1929

.

Dziga Vertov
Chelovek s kinoapparatom (Man with a Movie Camera) (still)
1929
35mm film
65 min ( black and white, silent)
The Museum of Modern Art, New York. Department of Film

.

Man Ray. 'Rayograph' 1922

.

Man Ray
Rayograph
1922
Gelatin silver print (photogram)
9 3/8 x 11 3/4″ (23.9 x 29.9 cm)
The Museum of Modern Art, New York. Gift of James Thrall Soby
© 2012 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris

.

William Klein (American, born 1928) 'Gun, Gun, Gun, New York'  1955

.

William Klein (American, born 1928)
Gun, Gun, Gun, New York 
1955
Gelatin silver print
10 1/4 x 13 5/8″ (26 x 34.6 cm)
Gift of Arthur and Marilyn Penn

.

Georges Hugnet (French, 1906-1974) 'Untitled [Surrealist beach collage]' c. 1935

.

Georges Hugnet (French, 1906-1974)
Untitled [Surrealist beach collage]
c. 1935
Collage of photogravure, lithograph, chromolithograph and gelatin silver prints on gelatin silver print
11 7/8 x 9 7/16″ (30.2 x 24 cm)
Gift of Timothy Baum in memory of Harry H. Lunn, Jr.

.

Martha-Rosler-Red-Stripe-Kitchen-from-the-series-House-Beautiful-Bringing-the-War-Home-1967-1972

.

Martha Rosler
Red Stripe Kitchen
1967-1972
From the series Bringing the War Home: House Beautiful 
Pigmented inkjet print, printed 2011
23 3/4 x 18 1/8″ (60.3 x 46 cm)
Purchase and The Modern Women’s Fund

.

.

“The Museum of Modern Art draws from its collection to present the exhibition The Shaping of New Visions: Photography, Film, Photobook on view from April 18, 2012, to April 29, 2013. Filling the third-floor Edward Steichen Photography Galleries, this installation presents more than 250 works by approximately 90 artists, with a focus on new acquisitions and groundbreaking projects by Man Ray, László Moholy-Nagy, Aleksandr Rodchenko, Germaine Krull, Dziga Vertov, Gerhard Rühm, Helen Levitt, Robert Frank, Daido Moriyama, Robert Heinecken, Edward Ruscha, Martha Rosler, Bernd and Hilla Becher, Philip-Lorca diCorcia, Paul Graham, and The Atlas Group/Walid Raad. The exhibition is organized by Roxana Marcoci, Curator, Department of Photography, The Museum of Modern Art.

Punctuated by key photographic projects, experimental films, and photobooks, The Shaping of New Visions offers a critical reassessment of photography’s role in the avant-garde and neo-avant-garde movements, and in the development of contemporary artistic practices. The shaping of what came to be known as “new vision” photography in the 1920s bore the obvious influence of “lens-based” and “time-based” works. The first gallery begins with photographs capturing the birth of the 20th-century modern metropolis by Berenice Abbott, Edward Steichen, and Alfred Stieglitz, presented next to the avant-garde film Manhatta (1921), a collaboration between Paul Strand and Charles Sheeler.

The 1920s were a period of landmark constructions and scientific discoveries all related to light – from Thomas Edison’s development of incandescent light to Albert Einstein’s theory of relativity and light speed. Man Ray began experimenting with photograms (pictures made by exposing objects placed on photosensitive paper to light) – which he renamed “rayographs” after himself – in which light was both the subject and medium of his work. This exhibition presents Man Ray’s most exquisite rayographs, alongside his first short experimental film, Le Retour à la raison (Return to Reason, 1923), in which he extended the technique to moving images.

In 1925, two years after he joined the faculty of the Bauhaus school in Weimar Germany, László Moholy-Nagy published his influential book Malerei, Fotografie, Film (Painting, Photography, Film) – part of a series that he coedited with Bauhaus director Walter Gropius – in which he asserted that photography and cinema are heralding a “culture of light” that has overtaken the most innovative aspects of painting. Moholy-Nagy extolled photography and, by extension, film as the quintessential medium of the future. Moholy-Nagy’s interest in the movement of objects and light through space led him to construct Light-Space Modulator, the subject of his only abstract film, Ein Lichtspiel: schwarz weiss grau (A Lightplay: Black White Gray, 1930), which is presented in the exhibition next to his own photographs and those of Florence Henri.

The rise of photographic avant-gardism from the 1920s to the 1940s is traced in the second gallery primarily through the work of European artists. A section on Constructivism and New Objectivity features works by Paul Citroën, Raoul Hausmann, Florence Henri, Germaine Krull, El Lissitzky, Albert Renger-Patzsch, and August Sander. A special focus on Aleksandr Rodchenko underscores his engagement with the illustrated press through collaborations with Vladimir Mayakovsky and Sergei Tretyakov on the covers and layouts of Novyi LEF, the Soviet avant-garde journal of the “Left Front of the Arts,” which popularized the idea of “factography,” or the manufacture of innovative aesthetic facts through photomechanical processes. Alongside Rodchenko, film director Dziga Vertov redefined the medium of still and motion-picture photography with the concept of kino-glaz (cine-eye), according to which the perfectible lens of the camera led to the creation of a novel perception of the world. The exhibition features the final clip of Vertov’s 1929 experimental film Chelovek s kinoapparatom (Man with a Movie Camera), in which the eye is superimposed on the camera lens to form an indivisible apparatus fit to view, process, and convey reality, all at once. This gallery also features a selection of Dada and Surrealist works, including rarely seen photographs, photocollages, and photomontages by Hans Bellmer, Claude Cahun, George Hugnet, André Kertész, Jan Lukas, and Grete Stern, alongside such avant-garde publications as Documents and Littérature.

The third gallery features artists exploring the social world of the postwar period. On view for the first time is a group of erotic and political typo-collages by Gerhard Rühm, a founder of the Wiener Gruppe (1959-60), an informal group of Vienna-based writers and artists who engaged in radical visual dialogues between pictures and texts. The rebels of street photography – Robert Frank, William Klein, Daido Moriyama, and Garry Winogrand – are represented with a selection of works that refute the then prevailing rules of photography, offering instead elliptical, off-kilter styles that are as personal and controversial as are their unsparing views of postwar society. A highlight of this section is the pioneering slide show Projects: Helen Levitt in Color (1971-74). Capturing the lively beat, humor, and drama of New York’s street theater, Levitt’s slide projection is shown for the first time at MoMA since its original presentation at the Museum in 1974.

Photography’s tradition in the postwar period continues in the fourth gallery, which is divided into two sections. One section features “new topographic” works by Robert Adams, Bernd and Hilla Becher, Stephen Shore, and Joel Sternfeld, along with a selection of Edward Ruscha’s self-published books, in which the use of photography as mapmaking signals a conceptual thrust. This section introduces notable works from the 1970s by artists who embraced photography not just as a way of describing experience, but as a conceptual tool. Examples include Eleanor Antin’s 100 Boots (1971-73), Mel Bochner’s Misunderstandings (A theory of photography) (1970), VALIE EXPORT’s Einkreisung (Encirclement) (1976), On Kawara’s I Got Up… (1977), and Gordon Matta-Clark’s Splitting (1974), all works that reevaluate the material and contextual definitions of photography. The other section features two major and highly experimental recent acquisitions: Martha Rosler’s political magnum opus Bringing the War Home (1967-72), developed in the context of her anti-war and feminist activism, for which the artist spliced together images of domestic bliss clipped from the pages of House Beautiful with grim pictures of the war in Vietnam taken from Life magazine; and Sigmar Polke’s early 1970s experiments with multiple exposures, reversed tonal values, and under-and-over exposures, which underscore the artist’s idea that “a negative is never finished.” The unmistakably cinematic turn that photography takes in the 1980s and early 1990s is represented with a selection of innovative works ranging from Robert Heinecken’s Recto/Verso (1988) to Philip-Lorca diCorcia’s breakthrough Hustler series (1990-92).

The final gallery showcases major installations by a younger generation of artists whose works address photography’s role in the construction of contemporary history. Tapping into forms of archival reconstitution, The Atlas Group/Walid Raad is represented with My Neck Is Thinner Than a Hair: Engines (1996-2004), an installation of 100 pictures of car-bomb blasts in Beirut during the Lebanese civil war (1975-1990) that provokes questions about the factual nature of existing records, the traces of war, and the symptoms of trauma. A selection from Harrell Fletcher’s The American War (2005) brings together bootlegged photojournalistic pictures of the U.S. military involvement in Southeast Asia, throwing into sharp focus photography’s role as a documentary and propagandistic medium in the shaping of historical memory. Jules Spinatsch’s Panorama: World Economic Forum, Davos (2003), made of thousands of still images and three surveillance video works, chronicles the preparations for the 2003 World Economic Forum, when the entire Davos valley was temporarily transformed into a high security zone. A selection of Paul Graham’s photographs from his major photobook project a shimmer of possibility (2007), consisting of filmic haikus about everyday life in today’s America, concludes the exhibition.”

Press release from the MOMA website
Online slideshow of images

.

On Kawara. 'I Got Up At...' 1974-75

.

On Kawara
I Got Up At…
1974-75
(Ninety postcards with printed rubber stamps)
.
The semi autobiographical I Got Up At… by On Kawara is a series of postcards sent to John Baldessari. Each card was sent from his location that morning detailing the time he got up. The time marked on each card varies drastically from day to day, the time stamped on each card is the time he left his bed as opposed to actually waking up. Kawara’s work often acts to document his existence in time, giving a material form to which is formally immaterial. The series has been repeated frequently sending the cards to a variety of friends and colleagues.

.

Philip-Lorca diCorcia. 'Marilyn; 28 Years Old; Las Vegas, Nevada; $30' 1990-92

.

Philip-Lorca diCorcia
Marilyn; 28 Years Old; Las Vegas, Nevada; $30
1990-92
Chromogenic color print
24 x 35 15/16″ (61 x 91.4 cm)
The Museum of Modern Art, New York. E.T. Harmax Foundation Fund
© 2012 Philip-Lorca diCorcia, courtesy David Zwirner, New York

.

Helen Levitt. 'Projects: Helen Levitt in Color' (detail) 1971-74

Helen Levitt. 'Projects: Helen Levitt in Color' (detail) 1971-74

.

Helen Levitt
Projects: Helen Levitt in Color (detail)
1971-74
40 color slides shown in continuous projection
Originally presented at The Museum of Modern Art, New York, September 26-October 20, 1974

.

Atlas Group, Walid Raad. 'My Neck is Thinner Than a Hair: Engines' (detail) 1996-2004

.

Atlas Group, Walid Raad
My Neck is Thinner Than a Hair: Engines (detail)
1996-2004
100 pigmented inkjet prints
9 7/16 x 13 3/8″ (24 x 34 cm) each
Fund for the Twenty-First Century

.

Daido Moriyama. 'Entertainer on Stage, Shimizu' 1967

.

Daido Moriyama
Entertainer on Stage, Shimizu
1967
Gelatin silver print
18 7/8 x 28″ (48.0 x 71.2 cm)
The Museum of Modern Art, New York. Gift of the photographer
© 2012 Daido Moriyama

.

VALIE EXPORT. 'Einkreisung (Encirclement)' 1976

.

VALIE EXPORT
Einkreisung (Encirclement)
1976
From the series Körperkonfigurationen (Body Configurations)
Gelatin silver print with red ink
14 x 23 7/16″ (35.5 x 59.6 cm)
The Museum of Modern Art, New York. Carl Jacobs Fund
© 2012 VALIE EXPORT / Artists Rights Society (ARS), New York / VBK, Austria

.

Grete Stern. No. 1 from the series Sueños (Dreams) 1949

.

Grete Stern
No. 1 from the series Sueños (Dreams)
1949
Gelatin silver print
10 1/2 x 9″ (26.6 x 22.9 cm)
Latin American and Caribbean Fund through gift of Marie-Josée and Henry R. Kravis in honor of Adriana Cisneros de Griffin
© 2012 Horacio Coppola

.

Sigmar Polke. 'Untitled (Mariette Althaus)' c. 1975

.

Sigmar Polke
Untitled (Mariette Althaus)
c. 1975
Gelatin silver print (red toned)
9 1/4 x 11 13/16″ (23.5 x 30 cm)
The Museum of Modern Art, New York. Acquired through the generosity of Edgar Wachenheim III and Ronald S. Lauder
© 2012 Estate of Sigmar Polke / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Germany

.

Martha Rosler. 'Hands Up / Makeup' 1967-1972

.

Martha Rosler
Hands Up / Makeup
1967-1972
From the series Bringing the War Home: House Beautiful
Pigmented inkjet print, printed 2011
23 3/4 x 13 15/16″ (60.4 x 35.4 cm)
The Museum of Modern Art, New York. Purchase and The Modern Women’s Fund
© 2012 Martha Rosler

.

Robert Heinecken. 'Recto/Verso #2' 1988

.

Robert Heinecken
Recto/Verso #2
1988
Silver dye bleach print
8 5/8 x 7 7/8″ (21.9 x 20 cm)
The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund
© 2012 The Robert Heinecken Trust

.

Berenice Abbott. 'Portrait of the Artist as a Young Woman' Negative c. 1930/Distortion c. 1950

.

Berenice Abbott
Portrait of the Artist as a Young Woman
Negative c. 1930/Distortion c. 1950
Gelatin silver print, 12 3/4 x 10 1/8″ (32.6 x 25.7 cm)
The Museum of Modern Art, New York. Frances Keech Fund in honor of Monroe Wheeler
© 2012 Berenice Abbott/Commerce Graphics

.

Raoul Hausmann. 'Untitled' February 1931

.

Raoul Hausmann
Untitled
February 1931
Gelatin silver print
5 3/8 x 4 7/16″ (13.6 x 11.2 cm)
The Museum of Modern Art, New York. Thomas Walther Collection. Gift of Thomas Walther
© 2012 Raoul Hausmann / Artists Rights Society (ARS), New York / ADAGP, Paris

.

Claude Cahun. 'Untitled' c. 1928

.

Claude Cahun
Untitled
c. 1928
Gelatin silver print
4 9/16 x 3 1/2″ (10 x 7.6 cm)
The Museum of Modern Art, New York. Purchase and anonymous promised gift
© 2012 Estate of Claude Cahun

.

Aleksandr Rodchenko. 'Sovetskoe foto (Soviet Photo)' No. 10 October 1927

.

Aleksandr Rodchenko
Sovetskoe foto (Soviet Photo) No. 10
October 1927
Letterpress
10 3/8 x 7 1/4″ (26.3 x 18.4 cm)
Publisher: Ogonek, Moscow
The Museum of Modern Art, New York. Gift of the Judith Rothschild Foundation

.

.

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

Opening hours:
Wednesday – Monday, 10.30 am – 5.30 pm
Friday, 10.30 am – 8.00 pm
Closed Tuesday

MOMA website

LIKE ART BLART ON FACEBOOK

Back to top

31
Jan
09

‘Man Ray: Unconcerned, but not indifferent’ exhibition at The Hague Museum of Photography, The Netherlands

24 January 2009 – 19 April 2009

 

Man Ray. 'Self-portrait' 1924

 

Man Ray
‘Self-portrait’
1924

 

“Man Ray (1890-1976) used his camera to turn photography into an art – no mean feat for a man who tried almost all his life to avoid being described as a ‘photographer’. He preferred to be identified with his work in other media: drawings, paintings and Dadaist ready-mades. The exhibition entitled Unconcerned, but not indifferent at the Hague Museum of Photography is a large-scale retrospective of Man Ray’s art and life. It links paintings, drawings and (of course) photographs to personal objects, images and documents drawn from his estate to paint a picture of a passionate artist and – whatever his own feelings about the description – a great photographer.

 

Man Ray. 'Rayograph' 1921

 

Man Ray
‘Rayograph’
1921

 

Unconcerned, but not indifferent is the first exhibition to reveal Man Ray’s complete creative process: from observations, ideas and sketches right through to the final works of art. By establishing the linkage between art and inspiration, it gives a new insight into the work of Man Ray. The three hundred plus items on display are drawn from the estate of the artist, which is managed by the Man Ray Trust. Some of them have never been exhibited since the artist’s death in 1976 while others are on show for the first time ever.

 

Man Ray. 'Noire et blanche' 1926

 

Man Ray
‘Noire et blanche’
1926

 

Man Ray’s real name was Emmanuel Radnitzky. He was born in Philadelphia (USA) in 1890. The family soon moved to New York, where his artistic talent became increasingly apparent. Photography was not yet his medium: Man Ray, as he would later call himself, concentrated on painting and became friendly with Dadaist artist Marcel Duchamp, who persuaded him to move to Paris (France). There, Man Ray moved in highly productive artistic circles full of Surrealists and Dadaists. He began taking photographs of his own (and other people’s) works of art and gradually became more interested in the photographic images than in the originals – which he regularly threw away or lost once he had photographed them.

 

Man Ray. 'La priere' (Prayer) 1930

 

Man Ray
‘La priere’ (Prayer)
1930

 

By this time, commercial and art photography had become his main source of income and he was displaying an unbridled curiosity about the potential of the medium. This prompted a great urge to experiment and the discovery or rediscovery of various techniques, such as the famous ‘rayographs’ (photograms made without the use of a camera). Man Ray left Paris to escape the Nazi occupation of France and moved to Los Angeles, where he abandoned commercial photography to concentrate entirely on painting and photographic experimentation. However, his next real surge of creativity occurred only after he returned to Paris with his wife Juliet in 1951. In the last twenty-five years of his life, he regularly harked back to his earlier work and was not afraid to quote himself. In that sense, Man Ray can be seen as a true conceptual artist: the idea behind the work of art always interested him more than its eventual execution. Man Ray died in Paris in 1976 and is buried in Montparnasse. His widow, Juliet, summed up the artist’s life in the epitaph inscribed on his tombstone: Unconcerned, but not indifferent.

 

Man Ray. 'Larmes' 1930

 

Man Ray
‘Larmes’ (Tears)
1930

 

The exhibition examines the four separate creative phases in Man Ray’s life. Each is closely connected with the place where he was living (New York, Los Angeles or Paris), his friends at the time and the sources of inspiration around him. Using Man Ray’s artistic legacy and – perhaps more particularly – the everyday objects that were so important to him, Unconcerned, but not indifferent reveals the world as he saw it through the lens of his camera. 

The exhibition is being held in cooperation with the Man Ray Trust in Long Island, New York, and La Fábrica in Madrid.”

 

Man Ray.' Solarisation' 1931

 

Man Ray
‘Solarisation’
1931

 

Text from The Hague Museum of Photography website




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,407 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

Dr Marcus Bunyan

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

December 2018
M T W T F S S
« Nov    
 12
3456789
10111213141516
17181920212223
24252627282930
31  

Archives

Categories