Posts Tagged ‘Robert Mapplethorpe Patti Smith

25
Jul
16

Exhibition: ‘Robert Mapplethorpe: The Perfect Medium’ at the Los Angeles County Museum of Art (LACMA)

Exhibition dates: 20th March – 31st July 2016

 

Robert Mapplethorpe is a formalist.

Apollonian and Dionysian ideals are two sides of the same coin.

Marcus

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

 

An extract from one of my earliest piece’s of research and writing (1996):

“In the work of the American photographer Robert Mapplethorpe, we can see the formalised classical aesthetic of beauty combined with content which many people are repelled by (pornography, sexuality, violence, power) creating work which is both Apollonian and Dionysian.14 Peoples’ disgust at the content of some of Mapplethorpe’s images is an Apollonian response, an aesthetic judgement, a backing away from a connection to ‘nature’, meaning ‘that which is born’. Mapplethorpe said, “I’ve done everything I show in my photographs,”15 revealing a connection to an inner self, regardless of whether he intended to shock. Those seeking suppression of Mapplethorpe’s photographs, mainly conservative elements of society, cite the denigration of moral values as the main reason for their attacks. However Mapplethorpe’s S&M photographs sought to re-present the identity of a small subculture of the gay community that exists within the general community and by naming this subculture he sought to document and validate its existence. The photograph can and does lie but here was the ‘truth’ of these Dionysian experiences, which conservative bigots could not deny – that they exist.

In the NEA/Cincinnati Contemporary Arts Center controversy surrounding Mapplethorpe16 his work was defended on aesthetic grounds, not on the grounds of homoerotic content, of freedom of expression or artistic freedom. The classical Apollonian form of his images was emphasised. As one juror put it, “Going in, I would never have said the pictures have artistic value. Learning as we did about art, I and everyone else thought they did have some value. We are learning about something ugly and harsh in society.”17 Ugly and harsh. To some people in the world S&M scenes are perfectly natural and beautiful and can lead to the most transcendent experience that a human being can ever have in their life. Who is to decide for the individual his or her freedom to choose?

This Apollonian fear of the Dionysian ‘Other’, the emotional chaotic self, was found to involve fear of that which is potentially the ‘same as’ – two sides of the same coin. This fear of ‘the same’, or of the proximity of the same, or of the threat of the same, can lead to violence, homophobia, racism and bigotry. Mapping out sexual identities’ toleration of difference, which is ‘the same as’, recognises that there are many different ways of being, and many truths in the world.”

.
Extract from Marcus Bunyan. “The defining of Apollonian and Dionysian ideals in images of the male body,” (1996 Master of Arts exegesis) published September 2012 on Art Blart.

 

Footnotes

14. Danto, Arthur C. Mapplethorpe – Playing With The Edge. Essay. London: Jonathon Cape, 1992, p. 331
15. Interview with Robert Mapplethorpe quoted in Cooper, Emmanuel. The Sexual Perspective. London: Routledge, 1986, p. 286
16. Ellenzweig, p. 205, Footnote 1
17. Cembalest, Robin. “The Obscenity Trial: How They Voted To Acquit,” in Art News December 1990 89 (10): 141 quoted in Ellenzweig, Allan. The Homoerotic Photograph. New York: Columbia University, 1992, p. 208

 

 

Robert Mapplethorpe. 'Self-portrait' c. 1970

 

Robert Mapplethorpe (American, 1946-1989)
Self-portrait
c. 1970
Paint, canvas, and stickers on fiver-based gelatin silver print
6/5/16 x 9 1/4 in. (16 x 23.5 cm)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Leatherman #1' 1970

 

Robert Mapplethorpe (American, 1946-1989)
Leatherman #1
1970
9 7/16 x 6 3/4 in. (23.97 x 17.15 cm)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Candy Darling' 1972

 

Robert Mapplethorpe (American, 1946-1989)
Candy Darling
1972
Dye diffusion transfer print, cardboard
3/34 x 2 7/8 in. (9.6 x 7.3 cm)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Untitled (Nancy Nortia/Dugan)' c. 1974

 

Robert Mapplethorpe (American, 1946-1989)
Untitled (Nancy Nortia/Dugan)
c. 1974
4 1/2 x 5 1/8 in. (11.4 x 13 cm)
Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Nick' 1977

 

Robert Mapplethorpe (American, 1946-1989)
Nick
1977
Gelatin silver print
14 x 14 1/16 in. (35.56 x 35.72 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Self-portrait' 1980

 

Robert Mapplethorpe (American, 1946-1989)
Self-portrait
1980
13 3/4 x 13 3/4 in. (34.93 x 34.93 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

 

“The Los Angeles County Museum of Art (LACMA) presents Robert Mapplethorpe: The Perfect Medium, a major retrospective examining the work and career of one of the most influential visual artists of the 20th century. Robert Mapplethorpe: The Perfect Medium is co-organized by LACMA and the J. Paul Getty Museum. In a historic collaboration, the two institutions will trace the artist’s working methods and materials, presenting the improvisational, experimental aspects of his practice alongside the refined perfection of his prints. The works on display provide new context for understanding the key genres that Mapplethorpe pursued: portraiture, the nude, and still life. His personal connections to sitters, his ability to manage a successful studio, and his ambition to elevate photography to the status of contemporary art will be demonstrated through rarely seen correspondence, books, and other ephemera, including those from the artist’s archive held by the Getty Research Institute.

LACMA’s presentation (March 20 – July 31, 2016) focuses on Mapplethorpe’s working methods, sources, and creative processes – the experimental and performative aspects of his work – while the J. Paul Getty Museum (March 15 – July 31, 2016) highlights the artist’s disciplined studio practice, figure studies, and legacy. Between the two museums, more than 300 works by Mapplethorpe will be on view, making this one of the largest-ever presentations of his work. The objects on view in Robert Mapplethorpe: The Perfect Medium are drawn almost entirely from the landmark joint acquisition of art and archival materials made in 2011 by the J. Paul Getty Trust and LACMA from The Robert Mapplethorpe Foundation.

“4 years ago LACMA and the Getty came together to jointly acquire the art and archives of Robert Mapplethorpe,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “It has been an exciting collaboration ever since, as our researchers, conservators, and curators have all spent time with this trove of Mapplethorpe’s art. Now, we are glad to present this large-scale joint exhibition to Los Angeles and the world.”

“Through this historic collaboration, the LACMA and J. Paul Getty Museum exhibitions offer a new perspective on this influential artist,” said Britt Salvesen, curator and head of the Wallis Annenberg Photography department. “Robert Mapplethorpe: The Perfect Medium reveals the rich resources of the Mapplethorpe archive, which provides a broader context for the iconic images that brought him fame. Mapplethorpe’s refined style challenged viewers to consider his portraits, flowers, and sexually explicit images as equal expressions of a personal vision. His drive to capture the perfect moment is the core of his art.”

Following its Los Angeles debut, Robert Mapplethorpe: The Perfect Medium will travel internationally beginning with the Montreal Museum of Fine Arts in Canada (September 10, 2016 – January 15, 2017), the Art Gallery of New South Wales, Sydney, Australia, (October 28, 2017 – February 4, 2018), and another international venue. This will be the first major traveling retrospective in North America since the landmark exhibition The Perfect Moment, organized in 1988 by the Institute of Contemporary Art in Philadelphia.

The exhibition is accompanied by a fully illustrated book, Robert Mapplethorpe: The Photographs, co-published by LACMA and the J. Paul Getty Museum. A comprehensive guide to the artist’s work and career, this publication will feature an introduction by co-curators Britt Salvesen and Paul Martineau, five scholarly essays, an illustrated chronology, and a selected exhibition history and bibliography.

Exhibition organization

The LACMA presentation is organized in five thematic sections. The first gallery establishes Mapplethorpe in the milieu of 1970s and 1980s urban gay culture, depicting himself and his models openly declaring their sexuality through clothing, body adornment, and gesture. The second gallery highlights the work Mapplethorpe created in the late 1960s and early 1970s before he took up photography in earnest. As a student of graphic design at the Pratt Institute, he demonstrated an early facility for draftsmanship and a penchant for geometric composition. He designed jewelry and temporary assemblages using items of clothing. Inspired by Andy Warhol, Jasper Johns, and Robert Rauschenberg, he also experimented with collages and constructions, often incorporating Catholic iconography and appropriated imagery from homosexual periodicals.

Mapplethorpe borrowed a Polaroid camera from a friend in 1970 and, over the course of the next year, honed his vision as a photographer. These early unique images, installed in the third gallery, reveal his observational acuity and his ability to be in the moment. Mapplethorpe was one of his own best subjects, as his many self-portraits attest, and he was open about being a participant in the scenarios he depicted. The fourth gallery focuses on Mapplethorpe’s engagement with the leather and bondage community, his appropriation of pornographic source material, and his exploration of the African American male nude. Additionally, this gallery features ephemera relating to Mapplethorpe’s first breakout exhibitions in New York, including a joint exhibition at The Kitchen and Holly Solomon Gallery in 1977. The fifth gallery presents work from the mid-1980s, when Mapplethorpe was running a successful studio and producing many commissioned portraits. Among his favorite subjects were the artists, musicians, and other performers he first encountered in the downtown art scene in the ’70s. He commented that photography was “the perfect medium for the 70s and 80s, when everything was fast. If I were to make something that took two weeks to do, I’d lose my enthusiasm. It would become an act of labor and the love would be gone.”

Exhibition highlights

Self-portrait (1980)

Mapplethorpe’s turn to photography in the early 1970s coincided with his embrace of New York’s leather subculture, and, throughout the decade, he explored the potential of both forms of expression simultaneously. His 1980 self-portrait as a surly, smoking leatherman captures the hyper masculine posturing that was concomitant with the choice of leather as a fashion statement and as a sexual fetish. Staring defiantly into the camera, Mapplethorpe declares his participation in the leather community. At the same time, the photograph expresses the playful and performative aspects of his studio practice. An element of dress-up and theater is evident in much of his portraiture. This self-portrait shows the artist posing in the role of an archetypal tough-guy – a greaser complete with popped collar, a lit cigarette dangling from his lip, and hair styled into a pompadour.

Patti Smith (1978)

Mapplethorpe was studying art at the Pratt Institute, in Brooklyn, when he met Patti Smith in spring 1967. Mapplethorpe and Smith spent the next decade in close proximity, inspiring one another’s artistic aspirations. Mapplethorpe chose photography as his medium in the early 1970s, whereas Smith gravitated toward poetry and music, and the two collaborated in a number of portrait sessions. Here, Smith poses in the act of cutting her hair, a gesture of defiance. As she explained in a 1975 interview, she didn’t “want to walk around New York looking like a folk-singer. I like rock ‘n’ roll. So I got hundreds of pictures of Keith Richards, and I hung them up and then just took scissors and chopped away until I had a real Rolling Stones haircut.” Mapplethorpe captured Smith’s androgynous style, composing the photograph to emphasize contrasts of black and white in Smith’s features and wardrobe, in the background, and even in the cat.

Lisa Lyon (1982)

Mapplethorpe met Lisa Lyon at a party in 1979, and he would go on to produce nearly 200 photographs of her over the next several years. The first woman to win the International Federation of Body Builders female competition, Lyon had an androgynous, muscular physique that appealed to Mapplethorpe’s interest in the sculptural body. “I’d never seen anybody that looked like that before,” he said. “Once she took her clothes off it was like seeing something from another planet.” The pinnacle of their collaboration came with the release of the book Lady (1983), a series of portraits of Lyon. In this portrait, Mapplethorpe captures Lyon in her work-out attire, a nod to her role as an early advocate for fitness and weight training, which came to be a defining feature of early and mid-1980s American culture.

Complementary exhibition

The LACMA exhibition will also be accompanied by the installation Physical: Sex and the Body in the 1980s, which will feature roughly 30 works from the museum’s permanent collection. Placing Mapplethorpe’s work in dialogue with his contemporaries, the installation examines the cultural and artistic upheavals of a pivotal decade in the history of American art and society. Featured artists include Bruce Weber, Kiki Smith, Sarah Charlesworth, Laura Aguilar, and Marina Abramovic, among others. Physical: Sex and the Body is curated by Ryan Linkof, assistant curator of the Wallis Annenberg Photography department.”

Press release from the Los Angeles County Museum of Art

 

Robert Mapplethorpe (American, 1946-1989) 'Parrot Tulips' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Parrot Tulips
1988
Dye imbibition print
20 11/16 x 26 in. (52.55 x 66.04 cm)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Joe, N.Y.C.' 1978

 

Robert Mapplethorpe (American, 1946-1989)
Joe, N.Y.C.
1978
Gelatin silver print
7 11/16 x 7 5/8 in.
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Patti Smith' 1978

 

Robert Mapplethorpe (American, 1946-1989)
Patti Smith
1978
Gelatin silver print
13 7/8 x 13 3/4 in. (35.24 x 34.93 cm)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Keso Dekker' 1979

 

Robert Mapplethorpe (American, 1946-1989)
Keso Dekker
1979
Gelatin silver print
14 x 13 13/16 in. (35.56 x 35.08 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Tim Scott' 1980

 

Robert Mapplethorpe (American, 1946-1989)
Tim Scott
1980
Gelatin silver print
13 15/16 x 14 in. (35.4 x 35.56 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Phillip Prioleau' 1980

 

Robert Mapplethorpe (American, 1946-1989)
Phillip Prioleau
1980
Gelatin silver print
13 13/16 x 13 13/16 in. (35.08 x 35.08 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Lisa Lyon' 1982

 

Robert Mapplethorpe (American, 1946-1989)
Lisa Lyon
1982
Gelatin silver print
15 3/16 c 16 3/16 in. (38.58 x 38.58 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Brian Ridley and Lyle Heeter' 1979

 

Robert Mapplethorpe (American, 1946-1989)
Brian Ridley and Lyle Heeter
1979
Gelatin silver print
14 x 14 in. (35.56 x 25.56 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Kathy Acker' 1983

 

Robert Mapplethorpe (American, 1946-1989)
Kathy Acker
1983
Gelatin silver print
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

 

Robert Mapplethorpe (American, 1946-1989)
Ken Moody
1985
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Larry and Bobby Kissing' 1979

 

Robert Mapplethorpe (American, 1946-1989)
Larry and Bobby Kissing
1979
Gelatin silver print
17 13/16 x 13 11/16 in. (45.24 x 34.77 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Melody Danielson' 1987

 

Robert Mapplethorpe (American, 1946-1989)
Melody Danielson
1987
Gelatin silver print
23 3/16 x 19 5/16 in. ( 58.9 x 49.05 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Poppy' 1988

 

Robert Mapplethorpe (American, 1946-1989)
Poppy
1988
Dye imbibition print
19 13/16 x 18 11/16 in. (50.32 x 47.47 cm)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Lucinda's Hand' 1985

 

Robert Mapplethorpe (American, 1946-1989)
Lucinda’s Hand
1985
Gelatin silver print
19 3/16 x 15 1/4 in. (48.74 x 38.74 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe (American, 1946-1989) 'Two Men Dancing' 1984

 

Robert Mapplethorpe (American, 1946-1989)
Two Men Dancing
1984
Gelatin silver print
19 1/8 x 15 3/16 in. (72.4 x 59.7 cm)
Promised Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art
© Robert Mapplethorpe Foundation

 

 

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
T: 323 857 6000

Opening hours:
Monday, Tuesday, Thursday: 11am – 5 pm
Friday: 11am – 8pm
Saturday, Sunday: 10am – 7pm
Closed Wednesday

LACMA website

LIKE ART BLART ON FACEBOOK

Back to top

19
Aug
15

Exhibition: ‘Robert Mapplethorpe’ at the Museum of Contemporary Art Kiasma, Helsinki

Exhibition dates: 13th March – 13th September 2015

Curators: The exhibition is curated by Jérôme Neutres from Paris with Director Pirkko Siitari and Chief Curator Marja Sakari from Kiasma.

 

 

These images are good to see… but not really what I want to see.

I want to see some of the early work, and some of the S/M photographs. You never get to see these online. It’s almost as though the Robert Mapplethorpe Foundation is too scared to authorise the online publication of these works, for fear of – heaven forbid – letting people understand all the facets of Mapplethorpe’s work.

Its the origin story and the picturing of his sexual proclivities that are some of his most powerful work… and we never get to see them. Eros (denied).

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

 

 

 

Robert Mapplethorpe. 'Ken Moody and Robert Sherman' 1984

 

Robert Mapplethorpe
Ken Moody and Robert Sherman
1984
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Self-Portrait' 1980

 

Robert Mapplethorpe
Self-Portrait
1980
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Leather Crotch' 1980

 

Robert Mapplethorpe
Leather Crotch
1980
Gelatin silver print
© Robert Mapplethorpe Foundation

 

 

“The American photographer Robert Mapplethorpe (1946-1989) lived a life of passion in the New York underground and rock scenes in the 1970s and ‘80s. That passion also made its way into his art.

Consisting of more than 250 works, the retrospective exhibition in the Museum of Contemporary Art Kiasma offers a broad overview of the key periods of Mapplethorpe’s career. In their aspiration for perfection, Mapplethorpe’s pictures blend beauty and eroticism with pain, pleasure and death. Mapplethorpe also photographed his celebrity friends such as Patti Smith, Andy Warhol and Richard Gere. Although solidly anchored in their time, his photographs are also universal and topical even today.

Arriving from Paris to Helsinki, the high-profile exhibition is a unique opportunity to learn about the art and life of one of the most important photographic artists of our time. The exhibition is curated by Jérôme Neutres from Paris with Director Pirkko Siitari and Chief Curator Marja Sakari from Kiasma.

This exhibition is organized by The Finnish National Gallery – Museum of Contemporary Art Kiasma and the Réunion des Musées Nationaux – Grand Palais, with the collaboration of the Robert Mapplethorpe Foundation New York.

 

Robert Mapplethorpe. 'Self-Portrait' 1975

 

Robert Mapplethorpe
Self-Portrait
1975
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Patti Smith' 1979

 

Robert Mapplethorpe
Patti Smith
1979
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Poppy' 1988

 

Robert Mapplethorpe
Poppy
1988
Unique dye transfer
© Robert Mapplethorpe Foundation

 

 

Exhibition themes

BODY SCULPTURE

“If I had been born one hundred or two hundred years ago, I might have been a sculptor, but photography is a very quick way to see, to make sculpture.” – Robert Mapplethorpe

Mapplethorpe became interested in photographing sculpture during his first trip to Paris in the early 1970s. He also began taking pictures of people in poses that imitated classical sculptures. Lisa Lyon, the first World Women’s Bodybuilding Champion, was the subject in many of the pictures.
.

BODY AND GEOMETRY

Mapplethorpe prized order and purity of form in his art. He was also particular about the frames of his pictures, which he often designed himself. He had great respect for the long history of art. Some of his nude studies echo Leonardo da Vinci’s Vitruvian Man which shows an idealised human body inside a circle and a square.
.

STILL LIFES AND BODY DETAILS

“I am looking for perfection in form. I do that with portraits. I do it with cocks. I do it with flowers.” – Robert Mapplethorpe

Mapplethorpe’s still lifes and pictures of body parts play with stormy associations. They are distinctly corporeal and vitalistic, whether the subject is an exposed penis or an aubergine on a table. Mapplethorpe said he looked at all objects in precisely the same way. According to Patti Smith, “Robert infused objects, whether for art or life, with his creative impulse, his sacred sexual power. He transformed a ring of keys, a kitchen knife, or a simple wooden frame into art.”
.

CHAPEL & COLOUR BRACKET

“I was a Catholic boy, I went to church every Sunday. A church has a certain magic and mystery for a child.” – Robert Mapplethorpe

Mapplethorpe came from a Roman Catholic family, but his interest in the church was primarily aesthetic. He said he wanted his pictures to be viewed like altars. The figure of a crucified Christ appears in some of his works, as does the human skull, a traditional reminder of death. Instead of suffering, however, the images convey a sense of sinful pleasure. Mapplethorpe worked with colour film starting in the late 1970s, but did not routinely exhibit his colour photos until the end of the 1980s.
.

MAPPLETHORPE AND WOMEN

“Lisa Lyon reminded me of Michelangelo’s subjects, because he did muscular women.” – Robert Mapplethorpe

Poet and musician Patti Smith was Mapplethorpe’s first and last model and muse. Mapplethorpe photographed covers for Smith’s albums and books of poems. Another important model was the body builder Lisa Lyon, who is the subject of Mapplethorpe’s book Lady: Lisa Lyon. Both women could be described as androgynous. Locating himself in the same intermediate space between femininity and masculinity, Mapplethorpe photographed himself in drag.
.

PORTRAITS

New York and the Chelsea Hotel in particular were places where the American cultural intelligentsia used to gather in the 1970s. There Mapplethorpe met writers, musicians and artists such as William Burroughs, Iggy Pop and David Hockney, and enjoyed the attention lavished on him. He became the court photographer of certain cultural circles, his camera capturing friends, celebrities and famous figures in the art world.
.

EROS

“I don’t think anyone understands sexuality. It’s about an unknown, which is why it’s so exciting.” – Robert Mapplethorpe

Sadomasochism, S&M, was both sex and magic for Mapplethorpe. Like the French writer Jean Genet, he too wanted to elevate things into art that were not yet considered art. Mapplethorpe’s depiction of fetishes in his photographs was deliberately formal. He documented spontaneous acts only very infrequently. The sex he captured in his pictures was neither malicious nor repugnant. S&M is about desire and pleasure, and above all about trust.
.

POLAROIDS

“I’m trying to record the moment I’m living in and where I’m living, which happens to be in New York. These pictures could not have been done at any other time.” – Robert Mapplethorpe

Mapplethorpe got his first Polaroid camera in 1970 and fell in love with its simplicity: there were few adjustments to make and you could see the results instantly. Because the film was expensive, Mapplethorpe felt that every picture had to be perfect. Precision and economy became a habit that endured throughout his career. In 1975, he switched over to the more versatile Hasselblad 500.
.

STILL MOVING

“We were like two children playing together, like the brother and sister in Cocteau’s ‘Enfants Terribles’.” – Patti Smith

Robert Mapplethorpe and Patti Smith began their creative careers together. Frequently they would not plan their projects in advance. The experimental short Still Moving had no script, and Smith improvised her movements and lines. The camera operator was Lisa Rinzler. “He wordlessly guided me. I was an oar in the water and his the steady hand,” Smith has said.
.

ROBERT MAPPLETHORPE – PORTRAITS

New York was home to America’s cultural intelligentsia in the 1970s. Mapplethorpe was the court photographer of the cultural elite. His portraits feature his friends, celebrities and influential figures on the art scene.

 

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

 

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

 

Installation views of the exhibition Robert Mapplethorpe at the Museum of Contemporary Art Kiasma, Helsinki
Finnish National Gallery / Pirje Mykkänen

 

 

Who’s who?

  • Princesse Diane de Beauvau
    French aristocrat, model and fashion muse
  • Bruno Bischofberger
    Swiss gallerist and art dealer known for bringing American Pop Art to Europe, long-term associate of Andy Warhol
  • Louise Bourgeois
    French-born sculptor known for her gigantic spider sculptures
  • Miep Brons
    Dutch porn dealer
  • William Burroughs
    Writer and primary figure of the Beat Generation
  • Alistair Butler
    New York dancer
  • Patrice Calmettes
    French photographer
  • Truman Capote
    American author and journalist whose best known titles include Breakfast at Tiffany’s and In Cold Blood
  • Leo Castelli
    American-Italian gallerist, influential promoter of contemporary art in New York
  • Katherine Cebrian
    San Francisco socialite
  • Francesco Clemente
    Italian-born contemporary artist
  • Ed and Melody
    Mapplethorpe’s brother Edward and his girlfriend at the time, Melody, a friend of Mapplethorpe’s
  • Richard Gere
    American actor, idolized at the time of this portrait following his performance in American Gigolo
  • Philip Glass and Robert Wilson
    Glass is a contemporary composer, Wilson a director and playwright. At the time of this portrait, they had worked together on their opera Einstein on the Beach
  • Keith Haring
    American Pop and graffiti artist
  • Deborah Harry
    Singer and actress, best known as lead singer of Blondie
  • David Hockney and Henry Geldzahler
    Hockney is a British artist and Pop Art pioneer. Belgian-born Geldzahler was a curator, critic and art historian
  • Grace Jones
    Jamaican-born singer, producer, actress and model
  • Amanda Lear
    French singer, performer, painter and author, friend of celebrities such as David Bowie, Salvador Dalí and Brian Jones
  • Annie Leibovitz
    American photographer whose work featured on the cover Rolling Stone and Vanity Fair
  • Roy Lichtenstein
    American painter, sculptor and leading Pop artist
  • Lisa and Robert
    Mapplethorpe and his long-term muse, bodybuilder Lisa Lyon
  • John McKendry
    Curator of prints and photographs at the Metropolitan Museum of Art and personal friend who first introduced Mapplethorpe to the MET’s fine art photography collection
  • Louise Nevelson
    American sculptor
  • Yoko Ono
    Japanese-born artist and musician
  • Philippe
    French socialite
  • Iggy Pop
    Singer, songwriter and actor known for his energetic stage presence as lead singer of The Stooges
  • Robert Rauschenberg
    American artist who inspired later generations of artists including Andy Warhol and Roy Lichtenstein, regarded as a major figure in the transition from Abstract Expressionism to Pop Art
  • Isabella Rossellini
    Italian-born actress, model, filmmaker, author, and philanthropist
  • Giorgio di Sant’Angelo
    Italian-born fashion designer
  • Arnold Schwarzenegger
    Budding actor and award-winning bodybuilder at the time of this portrait, he later achieved world renown as a Hollywood star and Governor of California
  • Cindy Sherman
    American contemporary artist, known for photographs analyzing women’s roles and place in society
  • Holly Solomon
    A self-anointed ‘Pop princess’, Solomon was a prominent collector and subsequent dealer of contemporary art. She was famously immortalized by other artists such as Andy Warhol and Roy Lichtenstein
  • Susan Sontag
    American writer and essayist
  • Tom of Finland
    Finnish artist and illustrator. His drawings had a major influence on gay culture from the 1970s onwards. Mapplethorpe and Andy Warhol were among his admirers
  • Sam Wagstaff
    Curator, collector, Mapplethorpe’s lifetime companion and artistic mentor
  • Andy Warhol
    Pop Art pioneer and filmmaker, greatly admired by Mapplethorpe
  • Edmund White
    American author, known for his work on gay themes

 

Robert Mapplethorpe. 'Ajitto' 1981

 

Robert Mapplethorpe
Ajitto
1981
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Lisa Lyon' 1982

 

Robert Mapplethorpe
Lisa Lyon
1982
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Self-Portrait' 1988

 

Robert Mapplethorpe
Self-Portrait
1988
Gelatin silver print
© Robert Mapplethorpe Foundation

 

 

Museum of Contemporary Art Kiasma
Mannerheiminaukio 2, FIN-00100
Helsinki, Finland
Tel:+358 (0)294 500 501

Opening hours:
Tue 10-17
Wed-Fri 10-20.30
Sat 10-18
Sun 10-17
Mon closed

Museum of Contemporary Art Kiasma website

LIKE ART BLART ON FACEBOOK

Back to top

19
Mar
13

Exhibition: ‘In Focus: Robert Mapplethorpe’ at The J. Paul Getty Museum, Los Angeles

Exhibition dates: 23rd October 2012 – 24th March 2013

.

One of the reasons for setting up Art Blart nearly five years ago was the idea of an exhibition archive – the cataloguing of the blog’s posts so that featured exhibitions did not ephemerally drift off into virtual space. This is one of the problems of a blog, with its roll-through postings one after the other. Thankfully, I recognised the need for a taxonomic ordering of the information early on in the life of the blog, so that Art Blart has now become a form of cultural memory.

The impulse for this idea was the memory of seeing the Robert Mapplethorpe retrospective at the Museum of Contemporary Art (MCA) in Sydney in 1995 (and an outstanding experience it was) and being able to find nothing about this exhibition online. Search for that seminal exhibition in Australia and there is nothing, not a web page, not an installation image, press release, absolutely nothing.

Hopefully there will be a reorganisation of the archive pages in the near future, so that the information will be split into Australian exhibition titles; Australian artists and organisations; International exhibition titles; International artists and organisations under an A-Z rubric.

Marcus

.
This exhibition runs concurrently with that of the last posting, Robert Mapplethorpe: XYZ at the Los Angeles County Museum of Art (LACMA). Many thankx to The J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

.

Early Work

Born in Queens, New York, Mapplethorpe studied graphic arts at Pratt Institute in Brooklyn. His early work included collage, found objects, and jewelry. Before he took up the camera, Mapplethorpe often used pictures he cut out of magazines as collaged elements to explore sexuality and eroticism. By altering this fetishistic image and re-presenting it in a shadow box, Mapplethorpe removed the picture from its original context and elevated it to a homoerotic icon. The five-pointed star is a symbol of religious significance and the plastic mesh covering the figure evokes the metal screens commonly found in confessionals in Roman Catholic churches.

In 1972 Mapplethorpe met two influential curators: John McKendry, who gave him a Polaroid camera, and Samuel Wagstaff Jr., who became the artist’s lover and mentor. By the mid-1970s, Mapplethorpe had acquired a medium format camera and began documenting New York’s gay S&M community.

.

Robert Mapplethorpe.
 'Leatherman #1' 1970

.

Robert Mapplethorpe

Leatherman #1
1970
Mixed media print
9 7/16 x 6 3/4 in
Jointly acquired by the Los Angeles County Museum of Art, with funds provided by The David Geffen Foundation, and The J. Paul Getty Trust
© Robert Mapplethorpe Foundation

.

Portraits

Mapplethorpe met writer-musician Patti Smith in 1967, and they lived together as intimate and artistic partners until 1974. This image of Smith was one of his earliest celebrity portraits. 

The two collaborated to create this image as the cover for her 1975 debut rock album, Horses. Working in a borrowed apartment, Mapplethorpe suggested using a wall adjacent to a window where a triangle of light fell at a certain time in the afternoon. Smith dressed in men’s clothes and channeled the American entertainer Frank Sinatra with her jacket slung over her shoulder. Her uncombed hair and androgynous air broke radically from the image that the music industry expected women in rock to assume.

.

Robert Mapplethorpe. 'Patti Smith' Negative 1975; print 1995

.

Robert Mapplethorpe
Patti Smith
Negative 1975; print 1995
Jointly acquired by the Los Angeles County Museum of Art, with funds provided by The David Geffen Foundation, and The J. Paul Getty Trust
© Robert Mapplethorpe Foundation

.
A man’s jacket slung over one shoulder, the cuffs of her shirt cut off with scissors, the Bohemian poet and performer Patti Smith levels her gaze outward with authority and calm. The set of her jaw and lift of her chin suggest she wears confrontation lightly. Simultaneously, a waifish delicacy haunts her tiny body. She touches the ribbon around her neck with long fingers cupped near her heart – a shy gesture and nod to the garb of the 19th-century Romantic poets she admires. With quiet ferocity, the portrait hovers between masculine and feminine, strength and vulnerability.

Intimately bonded in life and work, Mapplethorpe and Smith made this image for the cover of her debut rock album, Horses. It is one of his earliest celebrity portraits, a genre in which he went on to distinguish himself. He often amplified the glamour of his subjects, but modernized conventional portrayals with provocative depictions of race, gender, and sexuality. For example, record executives, concerned that Smith with her lack of makeup and messy hair wasn’t conventionally pretty enough to sell records like other “girl singers,” wanted to airbrush this image. Knowing Mapplethorpe would back her up, Smith refused and the image and album shaped the start of both their iconoclastic careers.

.

Robert Mapplethorpe. 'Lisa Lyon' 1982

.

Robert Mapplethorpe
Lisa Lyon
1982
Jointly acquired by the Los Angeles County Museum of Art, with funds provided by The David Geffen Foundation, and The J. Paul Getty Trust
© Robert Mapplethorpe Foundation

.

Robert Mapplethorpe. 'Ken Moody and Robert Sherman' 1984 Platinum print

.

Robert Mapplethorpe
Ken Moody and Robert Sherman
1984
Platinum print
Jointly acquired by the Los Angeles County Museum of Art, with funds provided by The David Geffen Foundation, and The J. Paul Getty Trust
© Robert Mapplethorpe Foundation

.

Flowers and Still Lifes

Mapplethorpe refined his style in the early 1980s, creating images of timeless elegance. After his erotic nudes, his delicate floral still lifes encouraged sexual interpretations. Although floral still lifes have traditionally held these connotations, Mapplethorpe transformed them from a subject that sophisticated collectors were reluctant to display in their homes into an important contemporary theme.

Arranged with his characteristic sense of balance and meticulously lit, this image of a calla lily appears to glow from within. Although preternaturally still, the composition exudes a sense of latent excitement, with the milky white flower almost vibrating against the rich, black background.

.

Robert Mapplethorpe. 'Calla Lily' Negative 1988; print 1990

.

Robert Mapplethorpe
Calla Lily
Negative 1988; print 1990
Gelatin silver print
The J. Paul Getty Museum, Los Angeles, Jointly acquired by The J. Paul Getty Trust and the Los Angeles County Museum of Art. Partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by The J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

.

My whole point is to transcend the subject… go beyond the subject somehow, so that the composition, the lighting, all around, reaches a certain point of perfection.
.
Robert Mapplethorpe

.
Mapplethorpe’s work, whether in his fashion or fine art photography, is distinguished by a tension between opposites. At the base of this image of a calla lily, he punctuates the wide planes of black and white with what seems a decadent surprise: the three-dimensional, curving lip of the flower’s edge. He explores the effects of light as a painter might experiment with a palette of colors. At the top, the flower glows milky white, reminiscent of light seen through delicate alabaster or porcelain. Mapplethorpe’s spare compositions often showcase familiar subjects in unusual ways. Floral still lifes, for example, have long encouraged sexual interpretations, and especially here, given the artist’s other work with erotic and sadomasochistic subjects. His imagination transformed and energized what some had considered a stale genre.

.

.

“Robert Mapplethorpe (American, 1946–1989) is one of the best-known and most controversial photographers of the second half of the 20th century. As a tastemaker and provocateur, his highly stylized explorations of gender, race, and sexuality became hallmarks of the period and exerted a powerful influence on his contemporaries. In recognition of the 2011 joint acquisition of Mapplethorpe’s art and archival materials with the Getty Research Institute and the Los Angeles County Museum of Art (LACMA), the Getty Museum presents In Focus: Robert Mapplethorpe, on view October 23, 2012 – March 24, 2013 at the J. Paul Getty Museum, Getty Center.

Containing 23 images that date from the early 1970s to the late 1980s, the Getty’s exhibition features key last of edition prints, rarely shown early unique mixed-media objects, and PolaroidsTM, as well as a wide range of subject matter including self-portraits, nudes and still lifes.
Before he took up the camera, Mapplethorpe often used pictures he cut out of magazines as collaged elements to explore sexuality and eroticism. In Leatherman #1 (1970), Mapplethorpe alters a fetishistic image and re- presents it in a shadow box, removing the picture from its original context and elevating it to a homoerotic icon. His early work also reflected the influence of his idol, Andy Warhol, and it is perhaps Warhol’s cover art for the band The Velvet Underground’s 1967 debut album featuring a banana that inspired Banana & Keys (1973), a photograph-in-a-box construction. This object marks a transition in Mapplethorpe’s work between his collages and sculpture and his work as a photographer. Much of the tension is contained in the object’s success as a clever trompe l’oeil.

“The mixed-media objects and PolaroidTM snapshots in the exhibition demonstrate the struggle of a budding artist to find his proper medium of expression and develop his aesthetic vision,” said Paul Martineau, associate curator of photographs at the J. Paul Getty Museum. “However, the carefully crafted gelatin silver and platinum prints make evident Mapplethorpe’s mature style as well as his eye for prints of the highest quality and beauty.”

As Mapplethorpe committed his focus to photography, he began to explore the subjects to which he would return throughout his career – portraits, self-portraits, and nudes. Photographs that feature these subjects are among his best-known, and continue to influence artists today. One of his earliest celebrity portraits, Patti Smith (1975), was carefully staged by Mapplethorpe and Smith, his lifelong friend. Dressed in men’s clothes and channeling the American entertainer Frank Sinatra, Smith broke radically from the image that women in rock were expected to assume, and embodies the androgyny often found in Mapplethorpe’s photographs.

Mapplethorpe also evoked classical themes in his work, particularly in his nude figure studies. Using the motif of the three graces as depicted by artists from ancient Greece to the 19th century, Ken and Lydia and Tyler (1985) features one female and two male models of different racial backgrounds. Mapplethorpe chose a range of skin tones from light to dark in order to invite new, non-binary interpretations of gender, race and sexual orientation.

Concurrent to the Getty’s exhibition, the Los Angeles County Museum of Art will present Robert Mapplethorpe: XYZ, from October 21, 2012 – March 24, 2013. The exhibition presents the 39 black and white photographs that make up the X, Y, and Z Portfolios created by Mapplethorpe and published in 1978, 1978, and 1981, respectively. Taken together, the portfolios summarize his ambitions as a fine-art photographer and contemporary artist.

.
About Robert Mapplethorpe (1946-1989)

Mapplethorpe was a major cultural figure during a period of tumultuous change who contributed to shaping not only the art of photography but the larger social landscape. His international fame derives from his prolific body of almost 2,000 editioned, large format black-and-white and color photographs, which have been featured in over 200 solo exhibitions around the world since 1977. Extensively exhibited and widely published, Mapplethorpe’s elegant prints representing portraits, nudes, flowers, and erotic and sadomasochistic subjects dominated photography in the late 20th century. Less known are the over 1,500 PolaroidTM works that Mapplethorpe produced in the early 1970s before he took up the Hasselblad 500 camera given to him in 1975 by Sam Wagstaff, the visionary curator who became Mapplethorpe’s benefactor and mentor.

Widely recognized for the role he played in elevating photography to the level of art, Robert Mapplethorpe always considered himself not only a photographer, but an artist. From 1963 to 1969, Mapplethorpe studied for a B.F.A. at the Pratt Institute, Brooklyn, where he majored in graphic arts and took courses in painting and sculpture – but never attended photography courses. In the late 1960s, he started clipping images from magazines to incorporate into collages. While living at the Chelsea Hotel with his friend and muse, Patti Smith, he borrowed a PolaroidTM camera in 1971 from fellow hotel resident Sandy Daley to create his own images for use in collages. Overshadowed by the power of his later large format photographs, Mapplethorpe’s early drawings, collages and assemblages, created between 1968 and 1972, remain largely unfamiliar, despite the importance they hold in understanding the artist’s formative years.

In the mid-1970s, using the Hasselblad 500, he began photographing participants in New York’s S&M subculture and created many of the strikingly powerful studies for which he is most renowned. He refined his style in the early 1980s and began concentrating on elegant figure studies and delicate floral still lifes, as well as glamorous celebrity portraits. In the late 1980s and early 1990s, his work emerged at the center of a culture war over the use of public money to support art that some deemed obscene or blasphemous. When some of Mapplethorpe’s more controversial works were exhibited at The Contemporary Arts Center in Cincinnati, director Dennis Barrie was arrested and charged with pandering (a charge of which he was ultimately acquitted after a landmark public trial).

Mapplethorpe died in 1989 at age 42 from complications of AIDS.”

Press release from The J. Paul Getty Museum website

.

Robert Mapplethorpe. 'Thomas' Negative 1987; print 1994

.

Robert Mapplethorpe
Thomas
Negative 1987; print 1994
Jointly acquired by the Los Angeles County Museum of Art, with funds provided by The David Geffen Foundation, and The J. Paul Getty Trust
© Robert Mapplethorpe Foundation

.

Mapplethorpe’s strong, uncluttered compositions of statuesque male models fused a classical sensibility with homoerotic content at a time when the male nude was not a popular subject among camera artists. In this image, the model’s body is taut with compressed energy, his muscled limbs bent in a way that is reminiscent of those seen on ancient Greek figure vases.

.

Robert Mapplethorpe. 'Ken and Lydia and Tyler Negative' 1985, print 2004

.

Robert Mapplethorpe
Ken and Lydia and Tyler
Negative 1985, print 2004
Gelatin silver print
1
5 1/8 x 15 1/16 in.
Jointly acquired by the Los Angeles County Museum of Art, with funds provided by The David Geffen Foundation, and The J. Paul Getty Trust
© Robert Mapplethorpe Foundation

.

.

Nudes

Mapplethorpe often evoked classical themes in his work, particularly in his nude figure studies. In this image, he began with motif of the Three Graces as depicted by artists from the ancient Greeks to the nineteenth century, but took the reference in fresh directions. 

He selected one female and two male models of different racial backgrounds to achieve a range of skin tones from light to dark and to invite new, non-binary interpretations of gender, race, and sexual preference. Mapplethorpe trained his lens on the models’ conjoined bodies, purposely excluding their heads from the frame. Although he identified his models by name in the title, instead of a portrait, he created an elegant study of form and tone.

.

Self Portraits

From 1970 until his untimely death in 1989, Mapplethorpe continually returned to the self-portrait as a means of expression. Despite his elaborate pompadour and face so attractive as to be almost pretty, the artist’s stare in this self-portrait is forceful and direct. Mapplethorpe’s sophisticated use of lighting gives the outlines of his mouth, nostrils, and earlobes a refined, even sculptural quality. The same elements of glamour and striking simplicity for which he is known in his celebrity and fashion portraiture are visible here, including a tightly cropped composition and uncluttered background that further dramatize the face. Mapplethorpe drew on his early commercial work for magazines, including Vogue. This aspect of his career followed the examples of other noted photographers such as Edward Steichen, Irving Penn, Richard Avedon, and Herb Ritts.

.

Robert Mapplethorpe. 'Self-Portrait' 1980

.

Robert Mapplethorpe
Self-Portrait
1980
Gelatin silver print
14 x 14 in.
Jointly acquired by The J. Paul Getty Trust and the Los Angeles County Museum of Art. Partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by The J. Paul Getty Trust and the David Geffen Foundation
© Robert Mapplethorpe Foundation

.

.

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

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

The J. Paul Getty Museum website

LIKE ART BLART ON FACEBOOK

Back to top

15
Apr
12

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

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

.

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

.

.

.

Cindy Sherman
Untitled Film Still #56
1980
© Cindy Sherman. Courtesy of the Artist and Metro Pictures

.

.

Samuel Fosso
Sans titre. De la série Années 70
1970-1980
© Samuel Fosso, Courtesy JM Patras/Paris

.

.

Robert Mapplethorpe
Patti Smith
1979
© Robert Mapplethorpe Foundation

.

.

Robert Mapplethorpe
Self Portrait
1980
© Robert Mapplethorpe Foundation

.

.

Seydou Keïta
Untitled #419
1950-1952
© Seydou Keïta / SKPEAC

.

.

Seydou Keïta
Untitled #420
1950-1952
© Seydou Keïta / SKPEAC

.

.

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

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

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

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

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

Press release from the Moderna Museet website

.

.

Elina Brotherus
Honeymoon (detail)
1997
© Elina Brotherus

.

.

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

.

.

Andy Warhol
Gianni Agnelli
1972
© Andy Warhol/BUS 2012

.

.

Andy Warhol
John Chamberlain and Lorraine
1978
© Andy Warhol/BUS2012

.

.

Andy Warhol
Ladies and Gentlemen (Wilhelmina Ross)
1974
© Andy Warhol/BUS 2012

.

.

Moderna Museet Malmö
Gasverksgatan 22 in Malmö

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

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

Moderna Museet Malmö website

LIKE ART BLART ON FACEBOOK

Back to top

04
Aug
10

Exhibition: ‘Robert Mapplethorpe’ at NRW-Forum Dusseldorf

Exhibition dates: 6th February – 15th August 2010

.

Robert Mapplethorpe was a classical photographer with a great eye for form and beauty, an artist who explored the worlds he knew and lived (homosexuality, sadomasochistic practices, desire for black men) with keen observations into the manifestations of their existence, insights that are only shocking to those who have never been exposed to these worlds. If we observe that our history is written as a series of interpretive shifts then perhaps we can further articulate that the development of an artist’s career is a series of interpretations, an “investigation into the events that have led us to constitute ourselves and to recognize ourselves as subjects of what we are doing, thinking, saying.”1 Mapplethorpe was such an artist.

The early work is gritty and raw, exposing audiences to sexuality and the body as catalyst for social change, photographs the “general public” had never seen before. Early photographs such as the sequence of photographs “Charles and Jim,” (1974) feature ‘natural’ bodies – hairy, scrawny, thin – in close physical proximity with each other, engaged in gay sex. There is a tenderness and affection to the sequence as the couple undress, suck, kiss and embrace.

At the same time that Mapplethorpe was photographing the first of his black nudes (Mapplethorpe’s photographs of black men come from a lineage that can be traced back to Fred Holland Day who also photographed black men), he was also portraying acts of sexual progressiveness in his photographs of the gay S/M scene. In these photographs the bodies are usually shielded from scrutiny by leather and rubber but are revealing of the intentions and personalities of the people depicted in them, perhaps because Mapplethorpe was taking part in these activities himself as well as depicting them. There is a sense of connection with the people and the situations that occur before his lens in the S/M photographs.

As time progresses the work becomes more about surfaces and form, about the polished perfection of the body, about that exquisite corpse, the form of the flower. Later work is usually staged against a contextless background (see photographs below) as though the artefacts have no grounding in reality, only desire. Bodies are dissected, cut-up into manageable pieces – the objectified body. Mapplethorpe liked to view the body cut up into different libidinal zones much as in the reclaimed artefacts of classical sculpture. The viewer is seduced by the sensuous nature of the bodies surfaces, the body objectified for the viewers pleasure. The photographs reveal very little of the inner self of the person being photographed. The named body is placed on a pedestal (see photograph of ‘Phillip Prioleau’ (1980) below) much as a trophy or a vase of flowers. I believe this isolation, this objectivity is one of the major criticisms of most of Mapplethorpe’s later photographs of the body – they reveal very little of the sitter only the clarity of perfect formalised beauty and aesthetic design.

While this criticism is pertinent it still does not deny the power of these images. Anyone who saw the retrospective of his work at the Museum of Contemporary Art in Sydney in 1995 can attest to the overwhelming presence of his work when seen in the flesh (so to speak!). Mapplethorpe’s body of work hangs from a single thread: an inquisitive mind undertaking an investigation in the condition of the world’s becoming. His last works, when he knew he was dying, are as moving for any gay man who has lost friends over the years to HIV/AIDS as anything on record, are as moving for any human being that faces the evidence of their own mortality. Fearless to the last, never afraid to express who he was, how he felt and what he saw, Mapplethorpe will long be remembered in the annals of visual art.

Marcus Bunyan for the Art Blart blog

.

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

.

.

.

Robert Mapplethorpe
‘Phillip Prioleau’
1980
© Robert Mapplethorpe Foundation
Used by permission

.

.

Robert Mapplethorpe
‘Parrot Tulips’
1988
© Robert Mapplethorpe Foundation
Used by permission

.

.

Robert Mapplethorpe
‘Ajitto’
1981
© Robert Mapplethorpe Foundation
Used by permission

.

.

Robert Mapplethorpe
‘David Hockney’
1976
© Robert Mapplethorpe Foundation
Used by permission

.

.

“Robert Mapplethorpe, who was born in 1946 and passed away in 1989, is one of the few artists who truly deserve to be known far beyond the borders of the art world. Mapplethorpe dominated photography in the late twentieth century and paved the way for the recognition of photography as an art form in its own right; he firmly anchored the subject of homosexuality in mass culture and created a classic photographic image, mostly of male bodies, which found its way into commercial photography.

In 2010, the NRW-Forum in Düsseldorf will organise a major retrospective of Robert Mapplethorpe’s photographs. His work was first shown in Germany in 1977 as part of documenta 6 in Kassel and then in a European solo exhibition in 1981 with German venues in Frankfurt, Hamburg and Munich. In addition to various museum and gallery exhibitions the largest museum exhibition in Germany of Mapplethorpe’s work took place in 1997 when the worldwide Mapplethorpe retrospective, which opened at the Louisiana Museum of Modern Art in Denmark, traveled to the Staatsgalerie in Stuttgart. The last time Robert Mapplethorpe’s works were shown in Düsseldorf was in the exhibition ‘Mapplethorpe versus Rodin’ at the Kunsthalle in 1992.

Both during his life and since his death, Mapplethorpe’s work has been the subject of much controversial debate, particularly in the USA. Right up until the end of the twentieth century, exhibitions of his photographs were sometimes boycotted, censured, or in one case cancelled. His radical portrayals of nudity and sexual acts were always controversial; his photos of sadomasochistic practices in particular caused a stir and frequently resulted in protests outside exhibitions and in one instance, a lawsuits was brought against a museum director.

In 2008, the Supreme Court in Japan ruled that Mapplethorpe’s erotic images did not contravene the country’s ban on pornography and released a volume of his photographs that had been seized and held for over eight years. As far as the American critic Arthur C. Danto was concerned, Mapplethorpe created ‘some of the most shocking and indeed some of the most dangerous images in modern photography, or even in the history of art.’

In Germany, on the other hand, Mapplethorpe’s photographs were part of the ‘aesthetic socialisation’ of the generations that grew up in the 1980s and early 1990s. Lisa Ortgioes, the presenter of the German women’s television programme ‘frau tv’, notes that during this time, Mapplethorpe’s photos were sold as posters; his ‘black’ portraits in particular being a regular feature on the walls of student bedrooms at the time.

The curator of the exhibition, Werner Lippert, is quick to point out that ‘this exhibition needs no justification. Mapplethorpe was quite simply and unquestionably one of the most important photographers of the twentieth century. It is an artistic necessity.’

The exhibition in the NRW-Forum covers all areas of Mapplethorpe’s work, from portraits and self-portraits, homosexuality, nudes, flowers and the quintessence of his oeuvre the photographic images of sculptures, including early Polaroids. The photographs are arranged according to themes such as ‘self portraits’, which includes the infamous shot of him with a bullwhip inserted in his anus, as well as his almost poetic portraits of his muse, Patti Smith, the photographs of black men versus white women, the body builder Lisa Lyon, the juxtaposition of penises and flowers (which Mapplethorpe himself commented on in an interview: ‘… I’ve tried to juxtapose a flower, then a picture of a cock, then a portrait, so that you could see they were the same’), and finally those images of classical beauty based on renaissance sculptures, and impressive portraits of children and celebrities of the day.

Despite the obvious references to the Renaissance idea of what constitutes ideal beauty and the history of photography from Wilhelm von Gloeden to Man Ray, this exhibition shows Robert Mapplethorpe as an artist who is firmly anchored is his era; his contemporaries are Andy Warhol and Brice Marden; Polaroids were the medium of choice in the 1970s, and the focus on the body and sexuality was, at the time, for many artists like Vito Acconci or Bruce Nauman a theme that was key to social change. Above all, Robert Mapplethorpe developed his own photographic style that paid homage to the ideals of perfection and form. ‘I look for the perfection of form. I do this in portraits, in photographs of penises, in photographs of flowers.’ The fact that the photographs are displayed on snow-white walls underpins this view of his work and consciously moves away from the coy Boudoir-style presentation of his photographs on lilac and purple walls a dominant feature of exhibitions of Mapplethorpe’s work for many years and opens up the work to a more concept-based, minimalist view of things.

The selection of over 150 photographs covers early Polaroids from 1973 to his final self-portraits from the year 1988, which show how marked he was by illness and hint at his impending death, and also includes both many well-known, almost iconic images as well as some never-before seen or rarely shown works. The curators delved deep into the collection of the New York-based Robert Mapplethorpe Foundation to create this retrospective.”

Press release from the NRW-Forum Dusseldorf website

.

.

Robert Mapplethorpe
‘Greg Cauley-Cock’
1980
© Robert Mapplethorpe Foundation
Used by permission

.

.

Robert Mapplethorpe
‘Patti Smith’
1975
© Robert Mapplethorpe Foundation
Used by permission

.

.

Robert Mapplethorpe
‘Self Portrait’
1988
© Robert Mapplethorpe Foundation
Used by permission

.

.

Robert Mapplethorpe
‘Lowell Smith’
1981
© Robert Mapplethorpe Foundation
Used by permission

.

.

Robert Mapplethorpe
‘Thomas’
1987
© Robert Mapplethorpe Foundation
Used by permission

.

.

Foucault, Michel. ‘What is Enlightenment?’, trans. C. Porter in Rabinow, Paul (ed.,). The Essential Works of Michel Foucualt, 1954 – 1984. Vol.1. New York: New Press, 1997, p.315.

.

NRW-Forum Kultur und Wirtschaft
Ehrenhof 2, 40479 Düsseldorf
Tel.: +49 (0)211 – 89 266 90
Fax: +49 (0)211 – 89 266 8

Opening hours:
Tuesday to Sunday 11:00 to 20:00
Friday until 24:00

NRW-Forum Dusseldorf website

Bookmark and Share




Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Mask’ 1994

Join 2,552 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

November 2019
M T W T F S S
« Oct    
 123
45678910
11121314151617
18192021222324
252627282930  

Archives

Categories