Exhibition: ‘WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath’ at the Museum of Fine Arts, Houston – Posting Part 4

Exhibition dates: 11th November 2012 – 3rd February 2013

 

Anonymous photographer. 'Under blue & gray – Gettysburg' July 1913

 

Anonymous photographer
Under blue & gray – Gettysburg
July 1913
Photo shows the Gettysburg Reunion (the Great Reunion) of July 1913, which commemorated the 50th anniversary of the Battle of Gettysburg
Library of Congress Prints and Photographs Division Washington, D.C.

 

 

Part 4 of the biggest posting on one exhibition that I have ever undertaken on Art Blart!

As befits the gravity of the subject matter this posting is so humongous that I have had to split it into 4 separate postings. This is how to research and stage a contemporary photography exhibition that fully explores its theme. The curators reviewed more than one million photographs in 17 countries, locating pictures in archives, military libraries, museums, private collections, historical societies and news agencies; in the personal files of photographers and service personnel; and at two annual photojournalism festivals producing an exhibition that features 26 sections (an inspired and thoughtful selection) that includes nearly 500 objects that illuminate all aspects of WAR / PHOTOGRAPHY.

I have spent hours researching and finding photographs on the Internet to support the posting. It has been a great learning experience and my admiration for photographers of all types has increased. I have discovered the photographs and stories of new image makers that I did not know and some enlightenment along the way. I despise war, I detest the state and the military that propagate it and I surely hate the power, the money and the ethics of big business that support such a disciplinarian structure for their own ends. I hope you meditate on the images in this monster posting, an exhibition on a subject matter that should be consigned to the history books of human evolution.

**Please be aware that there are graphic photographs in all of these postings.** Part 1Part 2Part 3

Dr Marcus Bunyan

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Many thankx to the Museum of Fine Arts, Houston for allowing me to publish some of the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Memorials

25. Photographs in the “Memorials” section range from the tomb of an unknown World War I soldier in England, by Horace Nicholls; and a landscape of black German crosses throughout a World War II burial site, by Bertrand Carrière; to an anonymous photograph of a reunion scene in Gettysburg of the opposing sides in the Civil War; and Joel Sternfeld’s picture of a woman and her daughter at the Vietnam Veterans Memorial in Washington, DC, in 1986. (8 images)

 

Horace Nicholls. 'The Unknown Warrior at Westminster Abbey, London, November 1920' 1920

 

Horace Nicholls (English, 1867-1941)
The Unknown Warrior at Westminster Abbey, London, November 1920
1920
Silver gelatin print
© IWM (Q 31514)

 

 

In order to commemorate the many soldiers with no known grave, it was decided to bury an ‘Unknown Warrior’ with all due ceremony in Westminster Abbey on Armistice Day in 1920. The photograph shows the coffin resting on a cloth in the nave of Westminster Abbey before the ceremony at the Cenotaph and its final burial.

 

Bertrand Carrière. 'Untitled' 2005-2009

 

Bertrand Carrière (Canadian, b. 1957)
Untitled
2005-2009
From the series Lieux Mêmes [Same Places]

 

Joel Sternfeld (American, b. 1944) 'Vietnam Veterans Memorial, Washington, D.C.,' May 1986

 

Joel Sternfeld (American, b. 1944)
Vietnam Veterans Memorial, Washington, D.C.,
May 1986
Chromogenic print, ed. #1/25 (printed October 1986)
The Museum of Fine Arts, Houston, the Target Collection of American Photography, gift of the artist
© 1986 Joel Sternfeld

 

 

Remembrance

26. The last gallery in the exhibition is “Remembrance.” Most of these images were taken by artists seeking to come to terms with a conflict after fighting had ceased. Included are Richard Avedon’s picture of a Vietnamese napalm victim; a survivor of a machete attack in a Rwandan death camp, by James Nachtwey; a 1986 portrait of a hero who rescued Jews during the Holocaust, by Houston native Gay Block; and Suzanne Opton’s 2004 portrait of a soldier who survived the Iraq War and returned to the United States to work as a police officer, only to be murdered on duty by a fellow veteran. The final wall features photographs by Simon Norfolk of sunrises at the five D-Day beaches in 2004. The only reference to war is the title of the series: The Normandy Beaches: We Are Making a New World(33 images)

 

Richard Avedon. 'Napalm Victim #1, Saigon, South Vietnam, April 29, 1971' 1971

 

Richard Avedon (American, 1923-2004)
Napalm Victim #1, Saigon, South Vietnam, April 29, 1971
1971
Silver gelatin print
© Richard Avedon

 

Gay Block (American, b.1942) 'Zofia Baniecka, Poland' 1986

 

Gay Block (American, b. 1942)
Zofia Baniecka, Poland
1986
From the series Rescuers: Portraits of Moral Courage in the Holocaust, a record of non-Jewish citizens from European countries who risked their lives helping to hide Jews from the Nazis
Chromogenic print, printed 1994
Courtesy of Museum of Fine Arts, Houston, gift of Clinton T. Wilour in honour of Eve France

 

 

Zofia Baniecka (born 1917 in Warsaw – 1993) was a Polish member of the Resistance during World War II. In addition to relaying guns and other materials to resistance fighters, Baniecka and her mother rescued over 50 Jews in their home between 1941 and 1944.

 

James Nachtwey. 'A Hutu man who did not support the genocide had been imprisoned in the concentration camp, was starved and attacked with machetes. He managed to survive after he was freed and was placed in the care of the Red Cross, Rwanda, 1994' 1994

 

James Nachtwey (American, b. 1948)
A Hutu man who did not support the genocide had been imprisoned in the concentration camp, was starved and attacked with machetes. He managed to survive after he was freed and was placed in the care of the Red Cross, Rwanda, 1994
1994
Silver gelatin print
© James Nachtwey / TIME

 

Simon Norfolk (British, b. Nigeria, 1963) 'Sword Beach' 2004

 

Simon Norfolk (British born Nigeria, b. 1963)
Sword Beach
2004
From the series The Normandy Beaches: We Are Making a New World
Chromogenic print, ed. #1/10 (printed 2006)
The Museum of Fine Arts, Houston, gift of Bari and David Fishel, Brooke and Dan Feather and Hayley Herzstein in honor of Max Herzstein and a partial gift of the artist and Gallery Luisotti, Santa Monica
© Simon Norfolk / Gallery Luisotti

 

 

Other photographs from the exhibition

Matsumoto Eiichi (Japanese, 1915-2004) 'Shadow of a soldier remaining on the wooden wall of the Nagasaki military headquarters (Minami-Yamate machi, 4.5km from Ground Zero)' 1945

 

Matsumoto Eiichi (Japanese, 1915-2004)
Shadow of a soldier remaining on the wooden wall of the Nagasaki military headquarters (Minami-Yamate machi, 4.5km from Ground Zero)
1945
Gelatin silver print
Collection of the Tokyo Metropolitan Museum of Photography
© Matsumoto Eiichi

 

Gilles Caron (French, 1939-1970) 'Young Catholic demonstrator on Londonderry Wall, Northern Ireland' 1969

 

Gilles Caron (French, 1939-1970)
Young Catholic demonstrator on Londonderry Wall, Northern Ireland
1969
Gelatin silver print
Courtesy of Foundation Gilles Caron and Contact Press Images
© Gilles Caron

 

Alexander Gardner (American, 1821-1882) ‘The Home of a Rebel Sharpshooter, Gettysburg, Pennsylvania’. Albumen paper print

 

Alexander Gardner (American, 1821-1882)
The Home of a Rebel Sharpshooter / Dead Confederate soldier in the devil’s den, Gettysburg, Pennsylvania
July 1863
Albumen paper print copied from glass, wet collodion negative
Library of Congress, Prints and Photographs Division

 

Ziv Koren (Israeli, b.1970) 'A sniper’s-eye view of Rafah, in the Southern Gaza strip, during an Israeli military sweep' 2006

 

Ziv Koren (Israeli, b. 1970)
A sniper’s-eye view of Rafah, in the Southern Gaza strip, during an Israeli military sweep
2006
Inkjet print, printed 2012
© Ziv Koren/Polaris Images

 

David Leeson American, b.1957 'Death of a Soldier, Iraq' March 24, 2003

 

David Leeson (American, b. 1957)
Death of a Soldier, Iraq
March 24, 2003
Inkjet print, printed 2012
Courtesy of the artist

 

August Sander German, 1876-1964 'Soldier' c. 1940

 

August Sander (German, 1876-1964)
Soldier
c. 1940
Gelatin silver print, printed by Gunther Sander, 1960s
The MFAH, gift of John S. and Nancy Nolan Parsley in honour of the 65th birthday of Anne Wilkes Tucker
© Die Photographische Sammlung/SK StiftungKultur – August Sander Archiv, Cologne; DACS, London 2012

 

 

Museum of Fine Arts, Houston
1001 Bissonnet Street
Houston, TX 77005

Opening hours:
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Thursday 11am – 9pm
Friday 11am – 6pm
Saturday 11am – 6pm
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Exhibition: ‘Faking It: Manipulated Photography Before Photoshop’ at The Metropolitan Museum of Art, New York

Exhibition dates at the Metropolitan Museum of Art: 11th October 2012 – 27th January 2013

 

Unidentified American artist. 'Two-Headed Man' c. 1855

 

Unidentified American artist
Two-Headed Man
c. 1855
Daguerreotype
The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Hallmark Cards, Inc.

 

 

What a fascinating subject. Having completed multiple exposure work under the black and white enlarger I can attest to how difficult it was to get a print correctly exposed. I was using multiple negatives, moving the piece of photographic paper and printing in grids. Trying to get the alignment right was quite a task but the outcomes were very satisfying. Of course today these skills have mainly been lost to be replaced by other technological skills within the blancmange that is Photoshop. Somehow it’s not the same. My admiration for an artist like Jerry Uelsmann will always remain undimmed for the undiluted joy, beauty and skill of their analogue imagery.

I will post different photographs in this exhibition from the National Gallery of Art hang when I receive them!

Marcus

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Many thankx to the The Metropolitan Museum of Art, New York for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

George Washington Wilson. 'Aberdeen Portraits No. 1' 1857

 

George Washington Wilson (Scottish, 1823-1893)
Aberdeen Portraits No. 1
1857
Albumen silver print from glass negative
The Metropolitan Museum of Art, The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2011

 

Henry Peach Robinson. 'Fading Away' 1858

 

Henry Peach Robinson (English, 1830-1901)
Fading Away
1858
Albumen silver print from glass negatives
The Royal Photographic Society Collection at the National Media Museum, Bradford, United Kingdom

 

Unidentified artist. 'Man Juggling His Own Head' c. 1880

 

Unidentified artist
Man Juggling His Own Head
c. 1880
Albumen silver print from glass negative
Collection of Christophe Goeury

 

Maurice Guibert. 'Henri de Toulouse-Lautrec as Artist and Model' c. 1900

 

Maurice Guibert (French, 1856-1913)
Henri de Toulouse-Lautrec as Artist and Model
c. 1900
Gelatin silver print
Philadelphia Museum of Art

 

F. Holland Day. 'The Vision (Orpheus Scene)' 1907

 

F. Holland Day (American, 1864-1933)
The Vision (Orpheus Scene)
1907
Platinum print
The Royal Photographic Society Collection at the National Media Museum, Bradford, United Kingdom

 

Unidentified American artist. 'Man on Rooftop with Eleven Men in Formation on His Shoulders' c. 1930

 

Unidentified American artist
Man on Rooftop with Eleven Men in Formation on His Shoulders
c. 1930
Gelatin silver print
Collection of George Eastman House, International Museum of Photography and Film, Rochester

 

Unidentified American artist. 'Dirigible Docked on Empire State Building, New York' 1930

 

Unidentified American artist
Dirigible Docked on Empire State Building, New York
1930
Gelatin silver print
The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2011

 

 

While digital photography and image-editing software have brought about an increased awareness of the degree to which camera images can be manipulated, the practice of doctoring photographs has existed since the medium was invented. Faking It: Manipulated Photography Before Photoshop at The Metropolitan Museum of Art is the first major exhibition devoted to the history of manipulated photography before the digital age. Featuring some 200 visually captivating photographs created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, the exhibition offers a provocative new perspective on the history of photography as it traces the medium’s complex and changing relationship to visual truth. 

The exhibition is made possible by Adobe Systems Incorporated. 

The photographs in the exhibition were altered using a variety of techniques, including multiple exposure (taking two or more pictures on a single negative), combination printing (producing a single print from elements of two or more 
negatives), photomontage, overpainting, and retouching on the negative or print. 

In every case, the meaning and content of the camera image was significantly transformed in the process of manipulation.

Faking It is divided into seven sections, each focusing on a different set of motivations for manipulating the camera image. “Picture Perfect” explores 19th-century photographers’ efforts to compensate for the new medium’s technical limitations – specifically, its inability to depict the world the way it looks to the naked eye. To augment photography’s monochrome palette, pigments were applied to portraits to make them more vivid and lifelike. Landscape photographers faced a different obstacle: the uneven sensitivity of early emulsions often resulted in blotchy, overexposed skies. To overcome this, many photographers, such as Gustave Le Gray and Carleton E. Watkins, created spectacular landscapes by printing two negatives on a single sheet of paper – one exposed for the land, the other for the sky. This section also explores the challenges involved in the creation of large group portraits, which were often cobbled together from dozens of photographs of individuals. 

For early art photographers, the ultimate creativity lay not in the act of taking a photograph but in the subsequent transformation of the camera image into a hand-crafted picture.

“Artifice in the Name of Art” begins in the 1850s with elaborate combination prints of narrative and allegorical subjects by Oscar Gustave Rejlander and Henry Peach Robinson. It continues with the revival of Pictorialism at the dawn of the twentieth century in the work of artist-photographers such as Edward Steichen, Anne W. Brigman, and F. Holland Day. 

“Politics and Persuasion” presents photographs that were manipulated for explicitly political or ideological ends. It begins with Ernest Eugene Appert’s faked photographs of the 1871 Paris Commune massacres, and continues with images used to foster patriotism, advance racial ideologies, and support or protest totalitarian regimes. Sequences of photographs published in Stalin-era Soviet Russia from which purged Party officials were erased demonstrate the chilling ease with which the historical record could be falsified. Also featured are composite portraits of criminals by Francis Galton and original paste-ups of John Heartfield’s anti-Nazi photomontages of the 1930s.

“Novelties and Amusements” brings together a broad variety of amateur and commercial photographs intended to astonish, amuse, and entertain. Here, we find popular images of figures holding their own severed heads or appearing doubled or tripled. Also included in this light-hearted section are ghostly images by the spirit photographer William Mumler, “tall-tale” postcards produced in Midwestern farming communities in the 1910s, trick photographs by amateurs, and Weegee’s experimental distortions of the 1940s. 

”Pictures in Print” reveals the ways in which newspapers, magazines, and advertisers have altered, improved, and sometimes fabricated images in their entirety to depict events that never occurred – such as the docking of a zeppelin on the tip of the Empire State Building. Highlights include Erwin Blumenfeld’s famous “Doe Eye” Vogue cover from 1950 and Richard Avedon’s multiple portrait of Audrey Hepburn from 1967.

“Mind’s Eye” features works from the 1920s through 1940s by such artists as Herbert Bayer, Maurice Tabard, Dora Maar, Clarence John Laughlin, and Grete Stern, who have used photography to evoke subjective states of mind, conjuring dreamlike scenarios and surreal imaginary worlds. 

The final section, “Protoshop,” presents photographs from the second half of the 20th century by Yves Klein, John Baldessari, Duane Michals, Jerry Uelsmann, and other artists who have adapted earlier techniques of image manipulation – such as spirit photography or news photo retouching – to create works that self-consciously and often humorously question photography’s presumed objectivity.

Press release from The Metropolitan Museum of Art website

 

Maurice Tabard. 'Room with Eye' 1930

 

Maurice Tabard (French, 1897-1984)
Room with Eye
1930
Gelatin silver print
The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1962

 

Wanda Wulz. 'Io + gatto (Cat + I)' 1932

 

Wanda Wulz (Italian, 1903-1984)
Io + gatto (Cat + I)
1932
Gelatin silver print
The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987
Alinari / Art Resource © Wanda Wulz

 

John Paul Pennebaker. 'Sealed Power Piston Rings' 1933

 

John Paul Pennebaker (American, 1903-1953)
Sealed Power Piston Rings
1933
Gelatin silver print
1934 Art and Industry Exhibition Photograph Collection, Baker Library Historical Collections, Harvard Business School, Boston, Mass.
© John Paul Pennebaker

 

George Platt Lynes. 'The Sleepwalker' 1935

 

George Platt Lynes (American, 1907-1955)
The Sleepwalker
1935
Gelatin silver print with applied media
The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987
© The Estate of George Platt Lynes

 

Barbara Morgan. 'Hearst over the People' 1939

 

Barbara Morgan (American, 1900-1992)
Hearst over the People
1939
Collage of gelatin silver prints with applied media
The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Hallmark Cards, Inc.

 

Grete Stern. 'Dream No. 1: Electrical Appliances for the Home' 1948

 

Grete Stern (Argentinian born Germany, 1904-1999)
Dream No. 1: Electrical Appliances for the Home
1948
Gelatin silver print
The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2012
Courtesy of Galería Jorge Mara – La Ruche, Buenos Aires

 

Erwin Blumenfeld. '"Doe Eye" Vogue cover' 1950

 

Erwin Blumenfeld (American born Germany, 1897-1969)
“Doe Eye” Vogue cover
1950

 

Yves Klein (French, 1928-1962) Photographed by Harry Shunk (German, 1924-2006) and János (Jean) Kender (Hungarian, 1937-2009) 'Leap into the Void' 1960

 

Yves Klein (French, 1928-1962)
Photographed by Harry Shunk (German, 1924-2006) and János (Jean) Kender (Hungarian, 1937-2009)
Leap into the Void
1960
Gelatin silver print
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1992
© Yves Klein / Artists Rights Society (ARS), New York / ADAGP, Paris
Photograph Shunk-Kender © Roy Lichtenstein Foundation

 

Weegee (Arthur Fellig). 'American, 1899-1968 Draft Johnson for President' c. 1968

 

Weegee (Arthur Fellig) (American, 1899-1968)
Draft Johnson for President
c. 1968
Gelatin silver print
International Center of Photography, Bequest of Wilma Wilcox, 1993
Copyright Weegee/International Center of Photography/Getty Images.

 

Weegee (Arthur Fellig) American, 1899-1968 'Judy Garland' 1960

 

Weegee (Arthur Fellig) (American, 1899-1968)
Judy Garland
1960
Silver gelatin photograph
Copyright Weegee/International Center of Photography/Getty Images

 

William Mortensen (American, 1897-1965) 'Obsession' c. 1930

 

William Mortensen  (American, 1897-1965)
Obsession
c. 1930
Gelatin silver print
18.4 x 14.5cm
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1975

 

Richard Avedon (American 1923-2004) 'Audrey Hepburn, New York, January 1967' 1967

 

Richard Avedon (American, 1923-2004)
Audrey Hepburn, New York, January 1967
1967
Collage of gelatin silver prints, with applied media, mylar overlay with applied media

 

Jerry N. Uelsmann. 'Untitled' 1969

 

Jerry N. Uelsmann (American, 1934-2022)
Untitled
1969
Gelatin silver print
The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2011
© Jerry N. Uelsmann

 

Martha Rosler. 'Red Stripe Kitchen', from the series "House Beautiful: Bringing the War Home" 1967-72

 

Martha Rosler (American, b. 1943)
Red Stripe Kitchen
1967-1972, printed early 1990s
From the series “House Beautiful: Bringing the War Home”
Chromogenic print
The Metropolitan Museum of Art, Purchase, Anonymous Gift, 2002
© Martha Rosler

 

 

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Phone: 212-535-7710

Opening hours:
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Closed Wednesdays

The Metropolitan Museum of Art website

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