Posts Tagged ‘Rome

13
Sep
16

Exhibition: ‘Ken Domon: Master of Japanese Realism’ at the Museo dell’Ara Pacis, Rome

Exhibition dates: 27th May – 18th September 2016

 

Social Realism

I love most Japanese photography of the post-war period (1950s-1970s) and this artist’s work is no exception. What a absolute master of photography, not just of Japanese photography, he was.

Direct, focused, gritty, unflinching, the work of this initiator of social realist photography lays bare “the direct connection between the camera and the subject” in the most forthright way. While professing that the photographs are “an absolutely non-dramatic snapshot” (just like the Bechers professed that their gridded, ordered photographs were just about form and nothing else), this artist produced quality work that narrates a transcendent story of life in Japan. His images are music, and visions, from the heart of a nation. You only have to look at the photograph Gemella non vedente (1957, below) from the series Hiroshima to understand what I mean. There is just this feeling in your synapses about his pictures, as though you yourself were holding the camera …

In his portrait photographs there is quietness and contemplation; in his other work anger, sadness, joy, humour. A direct connection to reality is at the forefront of his understanding. This connection is miraculously (as in, something that apparently contravenes known laws governing the universe) transformed into other spaces and feelings – the twirling of umbrellas, the lizard on the head, the raised arms and white gloves of the traffic policeman (shot from a crouching position). While he is not an artist who creates change he certainly documents the results of change in a magnificent way. I love them all.

Marcus

.
Many thankx to the Museo dell’Ara Pacis for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Ken Domon. 'Allenamento degli allievi del corpo della Marina [Students of the Navy training]' 1936

 

Ken Domon
Allenamento degli allievi del corpo della Marina [Students of the Navy training]
1936
Yokosuka
535 x 748 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Esercitazioni delle crocerossine [Red Cross exercises]' 1938

 

Ken Domon
Esercitazioni delle crocerossine [Red Cross exercises]
1938
Azabu, Tokyo
535 x 748 mm
Ken Domon Museum of Photography

 

 

For the first time ever outside Japan, an exhibition of work by Ken Domon (1909-90), recognized as a master of realism and one of the most important figures in the history of modern Japanese photography, is being held in Rome at the Museo dell’Ara Pacis. It features about 150 photographs taken in black and white as well as colour between the 1920s and the 1970s, which illustrate the author’s path towards social realism. From the first shots of the period before and during World War II, which display a vision linked to photojournalism and propaganda, through photography of the social sphere, the exhibit follows Ken Domon’s production up to the crucial work documenting the tragedy of Hiroshima, which the photographer undertook as though in response to a call and a humanitarian duty.

Regarded as an absolute master of Japanese photography and initiator of the realistic movement, Ken Domon marked a pivotal chapter in the history of post-war Japanese photography, laying the foundations for contemporary photographic production and remaining a constant point of reference for Japanese enthusiasts. According to Domon, “The fundamental gift of quality work lies in the direct connection between the camera and the subject.” The master’s aim was indeed always to capture a wholly realistic image devoid of drama. Against the background of the renewed spirit of the post-war period, he focused on society in general and everyday life: “I am immersed in the social reality of today but at the same time in the classical culture and traditions of Nara and Kyoto. This twofold involvement has the common denominator of a search for the point at which the two realities are linked to the destinies of people, the anger, sorrow and joy of the Japanese people.”

The realistic photograph, described as “an absolutely non-dramatic snapshot”, therefore plays the leading part in an exhibition thematically laid out to illustrate the master’s vast production, transversally encompassing the whole of Japanese culture. From the early work of a photojournalistic nature and at the service of pre-war propaganda and the cultural promotion of Japan overseas (Photojournalism and Pre-War Propaganda; The Post-War Period: Towards Social Realism) to a focus on recording everyday life and the city’s transformation and westernization with ever-greater attention to social themes. His social realism is expressed in particular through two series emblematic of this period, namely Hiroshima (1958), regarded by the Nobel laureate Kenzaburō Ōe as the first great modern work of Japan, and The Children of Chikuhō, a series on poverty in the mining villages of southern Japan with a broad range of lively portraits of children encountered in the streets.

This is followed by Portraits, comprising photographs of famous figures in the worlds of art, literature, culture and science such as Yukio Mishima, Jun’ichirō Tanizaki, Tarō Okamoto and Yusaku Kamekura. The final section is devoted to his most important series, Pilgrimage to Ancient Temples, photographs of Buddhist sculptures, buildings and treasures as well as views of landscapes taken on journeys throughout Japan in search of the beauty of the sacred places of the past. Landscapes that conjure up the fascination of cultural diversity and the exotic.

Ken Domon’s work can be described as autobiographical, documentation that is private rather social, always selected on personal criteria that transform the shot into a moment of dialogue with the subject. His vision of the subject, be it a landscape, a sculpture, a person or an object, is a vehicle of the universal beauty seen through the lens, which does not omit the physical characteristics of the form captured. A multifaceted figure whose photography embraces the whole of Japanese culture before and after the war, Ken Domon is also the first photographer to have a personal museum devoted entirely to his vast work in his hometown of Sakata, inaugurated in 2003. Together with friends and other leading figures in the Japanese world of art, he initiated the cultural renewal that enabled Japan to emerge definitively from the defeat in war and led to the contemporary aesthetic that is still a point of reference for the entire world.

The show is part of a vast programme of events that will represent the cultural and technological world of Japan in Italy all through 2016: major exhibitions of art, productions from the great tradition of Noh and puppet theatre (bunraku), concerts, performances of modern and traditional dance, film festivals, exhibits of architecture, design, comics, literature, sport and so much else. The occasion is the celebration of the 150th anniversary of the first treaty of friendship and trade between Italy and Japan, signed on 25 August 1866, which initiated diplomatic relations between the two countries.

Press release from the Museo dell’Ara Pacis

 

Ken Domon. 'Esercitazioni delle crocerossine [Red Cross exercises]' 1938

 

Ken Domon
Esercitazioni delle crocerossine [Red Cross exercises]
1938
Azabu, Tokyo
535 x 748 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Pesca all'ayu' 1936

 

Ken Domon
Pesca all’ayu
1936
Izu, Prefettura di Shizuoka
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Foto commemorativa della cerimonia di diploma del corpo della Marina [Commemorative photo of the Marine Corp graduation ceremony]' 1944

 

Ken Domon
Foto commemorativa della cerimonia di diploma del corpo della Marina [Commemorative photo of the Marine Corp graduation ceremony]
1944
Tsuchiura, Ibaragi
1047 x 747 mm
Ken Domon Museum of Photography

 

 

The pre-war period

From photojournalism to propaganda photography

Domon began to work in photography in 1933 at the age of 24, carrying out the humble duties of an apprentice at Miyauchi Kōtarō’s studio in Ueno. Right from the start he won prizes and began to write for photography magazines and journals, publishing his first photo in Asahi Camera in August 1935. The 10th of October of the same year marked an important turning point in his career. He replied to an advertisement published by the Nippon Kōbō studio in Ginza, which was looking for a photo technician. Founded by Natori Yōnosuke (1910-1962) when he returned from his experience in Berlin at the Berliner Illustrierte Zeitung, the studio spread in Japan for the first time concepts such as editing and reporting and a new system of production based on the collaboration between photographer and graphic designer under the supervision of an art director, which led to the large-scale diffusion of photojournalism.

Domon began his first reportage for the magazine Nippon, published in English in order to promote Japanese culture abroad with a mix of information and propaganda. The first photographic reportage was on the traditional Shichigosan Festival on the occasion of the presentation of children in the Meiji Jingu shrine, realised with his model C Leica. This was followed by services that presented handicrafts, traditions, industrial and military progress and the progressive aspects of Japan, which in the 1930s had become increasingly nationalistic.

The war years and the bunraku puppet theatre

During the years of maximum Japanese expansion in the Pacific, immediately prior to the Second World War, even photography had to comply with the strict rules of military policy. Only few selected professional photographers could obtain photographic materials for assignments deemed to be “essential”, and naturally the “essential” photographic services were subject to the requirements of government propaganda, the Ministry of Foreign Affairs, the International Tourism Agency and the International Cultural Relations Company.

Thus many photographic publications were discontinued, with economic repercussions for photographers. In fact, Domon had difficulty maintaining a family of seven. He also had the added anxiety of the probable arrival of a “red card” that would have called him to arms and probably to the front in a group of photo-reporters. In response to this critical situation, Domon decided to retire from the public scene, dedicating himself to culture, in particular to Buddhist temples and the bunraku puppet theatre.

On the 8th of December, 1941 he was in the backstage of the Yotsubashi Bunraku Theatre in Osaka when he read the special edition of a newspaper announcing the declaration of war to the United States. It was not easy to gain the respect and collaboration of the master puppeteers – national living treasures such as Yoshida Bungorō, Yoshida Eiza and Kiritake Monjūrō – in the key moment of taking the shot with a camera that did not go unnoticed due to its size and long exposure times. However, by 1943 he had shot about 7,000 negatives, which were collected in the book entitled Bunraku published in 1972.

 

Ken Domon. 'Vigile urbano a Ginza 4-chōme [Traffic policeman in Ginza 4-chōme]' 1946

 

Ken Domon
Vigile urbano a Ginza 4-chōme [Traffic policeman in Ginza 4-chōme]
1946
Tokyo
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Donne a passeggio [Women walking]' 1950

 

Ken Domon
Donne a passeggio [Women walking]
1950
Sendai
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'L'attrice Yamaguchi Yoshiko [The actress Yoshiko Yamaguchi]' 1952

 

Ken Domon
L’attrice Yamaguchi Yoshiko [The actress Yoshiko Yamaguchi]
1952
535 x 748 mm.
Ken Domon Museum of Photography

 

Ken Domon. 'Pescatrici di perle (ama san) [Pearl fisherwomen]' 1948

 

Ken Domon
Pescatrici di perle (ama san) [Pearl fisherwomen]
1948
457 x 559 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Sit-in studentesco a Tachikawa contro l'ampliamento della base americana [Student sit-in in Tachikawa against the expansion of US base]' 1955

 

Ken Domon
Sit-in studentesco a Tachikawa contro l’ampliamento della base americana [Student sit-in in Tachikawa against the expansion of US base]
1955
Tokyo
457 x 560 mm
Ken Domon Museum of Photography

 

 

The postwar period

The affirmation of realism in photography

The tragic events related to the Second World War and to the defeat of Japan, marked by the atrocities of the atomic bomb, revealed the great deception of the war propaganda. Defeat led to the collapse of the imperial myth and state Shintoism, which had been the basis of military ideology.

If on the one hand, by the end of the 1940s there had been considerable intellectual rebirth leading to a rapid resumption of the diffusion of magazines, publications, exhibitions and artistic circles, on the other hand there was no language that seemed suitable for expressing such a tragic reality. There was a need to document a society undergoing profound change and in this sense Domon became the promoter of realistic photography, becoming a landmark for amateur photographers. He embraced the western trends that had taken over the city, but also the alleys and the poorest sectors of the population.

The high point of the realist tendency was reached around 1953, thanks to the exhibition, Photography Today: Japan and France, held in 1951 at the National Museum of Modern Art in Tokyo, provided the opportunity to make comparisons with names such as Cartier Bresson, Brassai, Doisneau. Domon’s last word on realism appeared in the magazine Photo Art in 1957 with an article that debated the two fundamental concepts of photography: jijitsu, reality, and shinjitsu, truth.

 

Ken Domon. 'Bambini che fanno roteare gli ombrelli [Kids twirling umbrellas]' c. 1937

 

Ken Domon
Bambini che fanno roteare gli ombrelli [Kids twirling umbrellas]
c. 1937
Dalla serie Bambini (Kodomotachi)
From the series Children (Kodomotachi)
Ogōchimura
535 x 748 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Sorelline orfane, Rumie e Sayuri [Orphan sisters, Rumie and Sayuri]' 1959

 

Ken Domon
Sorelline orfane, Rumie e Sayuri [Orphan sisters, Rumie and Sayuri]
1959
Dalla serie I bambini di Chikuhō (Chikuhō no kodomotachi)
From the series Children of  Chikuhō
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Rumie' 1959

 

Ken Domon
Rumie
1959
Dalla serie I bambini di Chikuhō (Chikuhō no kodomotachi)
From the series Children of  Chikuhō
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Lucertola [Lizard]' 1955

 

Ken Domon
Lucertola [Lizard]
1955
Dalla serie I bambini di Kōtō (Kōtō no kodomotachi)
From the series Children of  Chikuhō
Tokyo
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Pioggerella [Drizzle]' 1952 - 1954

 

Ken Domon
Pioggerella [Drizzle]
1952 – 1954
Dalla serie Bambini (Kodomotachi)
From the series Children (Kodomotachi)
Atami
457 x 560 mm
Ken Domon Museum of Photography

 

 

Children and miners’ villages

Domon adored children. His first services for Nippon were focused on the Shichigosan Festival and then on children fishing in Izu. But in 1952 he began to photographing children all over Japan, capturing the vitality of the streets and of the poorer neighbourhoods in Tokyo, Ginza, Shinbashi, Nagoya and Osaka and in particular in the Kōtō area where he lived. Probably due to the loss of his second child in 1946 in an accident, Domon moved increasingly toward a realist if not a socialist approach, which allowed him to deal with current themes in an indirect way through the innocent eyes of children.

Several books were dedicated to this theme: The Children of Kōtō (Kōtō no kodomotachi), whose publication was stopped by Domon himself, dissatisfied with his work in 1956; The Children of Chikuhō (Chikuhō no kodomotachi), published in January 1960, and its continuation which followed in November, The Father of Little Rumie is Dead (Rumie chan has otōsan ga shinda), which showed the miserable conditions of children in the villages of the mining area on the island of Kyūshū, and in particular the story of two orphan sisters, whose story moved Japan becoming a best seller. Lastly, the collection Children (Kodomotachi), published in 1976 by master of graphics and friend, Yūsaku Kamekura, and published by Nikkor Club, the amateur photographers’ association linked to Nikon and Domon.

 

Ken Domon. 'Bagno presso il fiume davanti allo Hiroshima Dome [Bath at the river in front of the Hiroshima Dome]' 1957

 

Ken Domon
Bagno presso il fiume davanti allo Hiroshima Dome [Bath at the river in front of the Hiroshima Dome]
1957
Dalla serie Hiroshima
535 x 748 mm
Ken Domon Museum of Photography

 

Ken Domon. 'La morte di Keiji [The death of Keiji]' 1957

 

Ken Domon
La morte di Keiji [The death of Keiji]
1957
Dalla serie Hiroshima
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Paziente in ospedale [Hospital patient]' 1957

 

Ken Domon
Paziente in ospedale [Hospital patient]
1957
Dalla serie Hiroshima
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Donna in cura per le lesioni da bomba atomica [Women being treated for injuries from atomic bomb]' 1957

 

Ken Domon
Donna in cura per le lesioni da bomba atomica [Women being treated for injuries from atomic bomb]
1957
Dalla serie Hiroshima
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Gemella non vedente [Blind twin (female)]' 1957

 

Ken Domon
Gemella non vedente [Blind twin (female)]
1957
Dalla serie Hiroshima
457 x 560 mm
Ken Domon Museum of Photography

 

 

Hiroshima

Published in March 1958, the year prior to the first brain hemorrhage to strike Domon Ken, the Hiroshima collection presents 180 photographs introduced by a short explanatory essay. The work, completed thirteen years after the dropping of an atomic bomb on Hiroshima and then on Nagasaki, focused the attention of the world once again on the still open but almost forgotten wounds of Hiroshima, with a strong social impact.

The importance of this event in the life of the photographer is also evidenced by Domon’s recording in his notebook in the day and time of his arrival: July 23rd, 1957, 2.40 pm. From then until November he went there six times, for thirty-six days, producing more than 7,800 negatives, of which Hiroshima is only the synthesis. Domon realized that until then he had ignored and been afraid of what Hiroshima had actually meant. With his 35mm camera he revealed the places and people directly and indirectly affected by the atomic bomb, coldly recording with tears in his eyes the material damage, physical injuries, scars, deformations, and the plastic surgery and transplants undergone by the victims of the bomb, dedicating 14 pages at the beginning of the book to the progress made in the field of plastic surgery, which became a real photographic dossier.

The public shock that followed the publication of the dossier made him the object of harsh criticism that, however, failed to undermine his determination to represent reality. In an article published in the magazine Shinchō in 1977 the Nobel Prize winner Ōe Kenzaburō defined Hiroshima as the first work of modern art that dealt with the theme of the atomic bomb, talking about the living instead of the dead.

 

Ken Domon. 'Autoritratto [Self-portrait]' 1958

 

Ken Domon
Autoritratto [Self-portrait]
1958
Pubblicato sul numero di novembre della rivista Sankei Camera
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Shiga Naoya (scrittore/writer)' 1951

 

Ken Domon
Shiga Naoya (scrittore/writer)
1951
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Shiga Kiyoshi (medico ricercatore/medical researcher)' 1949

 

Ken Domon
Shiga Kiyoshi (medico ricercatore/medical researcher)
1949
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Takami Jun (scrittore/writer)' 1948

 

Ken Domon
Takami Jun (scrittore/writer)
1948
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Kuga Yoshiko (attrice/actress) and Ozu Yasujirō (regista/director)' 1958

 

Ken Domon
Kuga Yoshiko (attrice/actress) and Ozu Yasujirō (regista/director)
1958
457 x 560 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Ushi (Bue), dai dodici guardiani (jūnishinshō) del Murōji [Ushi (Ox), one of the twelve guardians (jūnishinshō) of Muroji]' 1941-1943

 

Ken Domon
Ushi (Bue), dai dodici guardiani (jūnishinshō) del Murōji [Ushi (Ox), one of the twelve guardians (jūnishinshō) of Muroji]
1941-1943
Murōji, Nara
535 x 748 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Hitsuji (Pecora), dai dodici guardiani (jūnishinshō) del Murōji [Hitsuji (Sheep), one of the twelve guardians (jūnishinshō) of Muroji]' 1941-1943

 

Ken Domon
Hitsuji (Pecora), dai dodici guardiani (jūnishinshō) del Murōji [Hitsuji (Sheep), one of the twelve guardians (jūnishinshō) of Muroji]
1941-1943
Murōji, Nara
535 x 748 mm
Ken Domon Museum of Photography

 

 

Portraits (Fūbō)

In 1953 the publication of the Portraits (Fūbō) collection of photographs, which came out in paperback the following year, concluded fifteen years of work dedicated to the portrait that had begun with the first photograph in May 1936 portraying the writer Takeda Rintarō, continuing during the war and until the year in which the collection was published. Domon gathered in a single volume 83 portraits of friends and acquaintances, personalities from the world of entertainment, literature, theatre and politics, stressing in the introduction that they were “[…] people I respect and like and am close to […] The choice of people was surprisingly subjective and random and no claim to any strictly historical or cultural meaning can be made.”

It seems that the initial choice of the faces to be included in the collection was made by Domon with a list written in ink on a sliding door on the second floor of his house in 1948. This list was subjected to the comments and opinions of friends and publishers who went to his house and subsequently underwent substitutions and changes. Through familiar faces and less well-known personalities, Domon bears witness to a crucial era in Japan, one of great writers such as Mishima, Kawabata and Tanizaki, of actors and directors of the caliber of Mifune and Ozu, of great artists who were often his friends and gave rise to a new important artistic trends in the country, such as the sculptor Noguchi, the graph artist Kamekura, the founder of the Ikebana School, Sōgetsu Teshigahara, or painters like Fujita, Umehara, Okamoto. Each picture is accompanied by the name of the subject, their occupation and the date it was taken. There are also short texts describing the relationship between Domon and the person depicted, in addition to the atmosphere created during the shooting.

Sometimes subjects were exasperated by the professional stubbornness of Domon, as is clear in the portrait of Umehara that reveals an air of irritation close to intolerance. Outrightness and instantaneousness, which were always Domon’s objectives, became easier to achieve thanks to technological developments. He passed from a camera assembled for cabinet card portraits – with a dry plate and flash that worked with magnesium powder, used before the war – to a small Leica in the post-war period.

 

Ken Domon. 'Ōnodera, campana e ciliegi [Onodera, bell and cherry trees]' 1977

 

Ken Domon
Ōnodera, campana e ciliegi [Onodera, bell and cherry trees]
1977
Nara
535 x 748 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Pagoda del Murōji con la neve [Pagoda Muroji with snow]' 1978

 

Ken Domon
Pagoda del Murōji con la neve [Pagoda Muroji with snow]
1978
Nara
535 x 748 mm
Ken Domon Museum of Photography

 

Ken Domon. 'Buddha Shaka ligneo a figura intera presso il Mirokudō del Murōji [Buddha Shaka wooden full-length at the Mirokudō Muroji]' c. 1943

 

Ken Domon
Buddha Shaka ligneo a figura intera presso il Mirokudō del Murōji [Buddha Shaka wooden full-length at the Mirokudō Muroji]
c. 1943
Nara
457 x 560 mm.
Ken Domon Museum of Photography

 

 

Pilgrimage to the ancient temples (Kojijunrei)

Murōji

The Murōji temple, small and immersed in the greenery of the Nara mountains, was for Domon the first stage of a “pilgrimage to the ancient temples”, a sort of journey of the soul that accompanied him throughout his life and from which came the encyclopaedic work Kojijunrei (Pilgrimage to the Ancient Temples). It all began in 1939 with a simple excursion, suggested by friend and art historian Mizusawa Sumio (1905-1975): an experience that changed his life. In the first year alone he returned more than forty times and on many more occasions over the course of the following years.

At first Domon focused his photographic work on buildings, from the five-story pagoda – the smallest in Japan – to the architectural details, focusing on the sculptures inside, but also on the imposing profile of the Miroku Buddha of Ōnodera, excavated on the rocky wall facing the river along the road that leads to Murōji. Later he concentrated on wooden statues (kōninbutsu) of the Heian era (794-1185) inside the temple and starting with wide, overall shots he then moved on to capture the most minute details of the wood, so as to emphasize the folds and hems of the vestments and the gestures of the hands and eyes. His favourite statue was of Buddha Shaka, enthroned Mirokudō, who with his “beautiful and compassionate face” was, he claimed, the “most beautiful man on earth.”

For this particular job he used a basic Konishiroku (now Konika) camera made of wood, especially suitable for cabinet card portraits that he had purchased in 1941, but also an Eyemo with a tripod, often carried by his assistants. Evidence of Domon’s numerous pilgrimages and countless photographs can be found in the 1954 Murōji collection. The expanded, definitive edition of this work, Nyonin Takano Murōji, was published in 1978 and includes photographs taken subsequently with the new post-war techniques.

 

Pilgrimage to the ancient temples (Kojijunrei)

Around the temples

The thousands of shots that Domon took in 39 temples from 1939 to the seventies made up the Pilgrimage to the Ancient Temples (Kojijunrei), the masterpiece of his career for which, even today, he is known worldwide. It consists of five volumes published over a number of years (the first in 1963, the second in 1965, the third in 1968, the fourth in 1971 and the fifth in 1975) which put together 462 colour pictures and 325 photogravures of temples and statues built between the seventh and the sixteenth century, following a subjective criterion and not expecting such large proportions. It is first and foremost a work that documents the beauty of architecture, sculpture, gardens and landscapes around the temples and shrines selected by Domon. And yet it is also a testimony of the progression of photographic technique in those years, such as the transition to colour film of 1958, and of Domon’s health problems that influenced his choices.

In December 1959 he suffered a brain haemorrhage that paralysed the right part of his body, thus making it impossible to hold the camera, even after a long period of rehabilitation. Therefore, he resolved to use a tripod. He suffered a second haemorrhage on the June 22nd, 1968, which this time confined him to a wheelchair. And even with this umpteenth misfortune he did not stop taking photographs. With the help of assistants and by moving his point of view further down, he continued to work. He had a third haemorrhage in 1979, followed by a long stay in hospital and his death on the September 15th, 1990.

 

 

Museo dell’Ara Pacis
Lungotevere in Augusta, Rome

Opening hours:
Daily 9.30 am –  19.30 pm

Museo dell’Ara Pacis website

LIKE ART BLART ON FACEBOOK

Back to top

12
Apr
13

Marcus Bunyan black and white archive: Ignudi, 1994

.

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY- IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

.
This series of photographs is a reconceptualisation of Michelangelo’s Ignudi from the Sistine Chapel. The Ignudi (singular: ignudo, from the Italian adjective nudo, meaning “naked”) are the 20 athletic, nude male figures that Michelangelo painted at the four corners of the five smaller scenes of Creation. Recontextualising the figures implicitly fetches elements from other texts, the meaning of the male body based on its meaning in other contexts and ages (beauty, desire, homoeroticism, nudity, power of the body/phallus), realising a continual unfolding of texts, discourses and conversations in a field of production.

These prints are incredibly rare. There are probably 3 vintage photographs on fibre-base paper of each image at 12″ x 16″ size.

.
I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image; remember these are just straight scans of the negatives !

.

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'Untitled' 1994 from the series 'Ignudi'

.

Marcus Bunyan
Untitled
1994
From the series Ignudi
Silver gelatin photograph

.

Marcus Bunyan. 'The Lovers (Major Arcana)' 1994 from the series 'Ignudi'

.

Marcus Bunyan
The Lovers (Major Arcana)
1994
From the series Ignudi
Silver gelatin photograph

.

.

Marcus Bunyan black and white archive page

LIKE ART BLART ON FACEBOOK

Back to top

20
Oct
12

Review: ‘Gregory Crewdson: In A Lonely Place’ at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 28th September – 11th November 2012

.

.

.

Installation photographs of the series Beneath the Roses (2003-2008) from the exhibition Gregory Crewdson: In A Lonely Place at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne (Photos: Dr Marcus Bunyan)

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

.

.

.

Details of one of Gregory Crewdson’s works from the series Beneath the Roses (2003-2008) (Photos: Dr Marcus Bunyan)

.

.

“The American middle-class nightmare: nothing is clean, orderly, idyllic, or romantic. In his perfectly staged, hyperrealistic tableaux, photographer Gregory Crewdson reveals the claustrophobic limbo and abyss of spiritual repression that is the typical suburb. Here, hushed-up violence, alienation, isolation, and emptiness are nothing new or unfamiliar, but rather part of the everyday neighbourhood experience.”

.
Gregory Crewdson, In a Lonely Place, Abrams Publishing, New York, 2011

.
“I have always been fascinated by the poetic condition of twilight. By its transformative quality. Its power of turning the ordinary into something magical and otherworldly. My wish is for the narrative in the pictures to work within that circumstance. It is that sense of in-between-ness that interests me.”

.
Gregory Crewdson

.

.
Downfall of a dream: (n)framing the enigma in Gregory Crewdson’s
Beneath the Roses

After the excoriating, unreasonably subjective diatribe by Robert Nelson in The Age newspaper (“Unreal stills, unmoving images” Wednesday October 17 2012) I hope this piece of writing will offer greater insight into the work of this internationally renowned artist. With some reservations, I like Crewsdon’s work, I like it a lot – as do the crowds of people flocking to the Centre for Contemporary Photography, Fitzroy to see the exhibition. Never have I seen so many people at the CCP looking at contemporary photography before and that can only be a good thing.

Let’s get the basics out of the way first. The early series Fireflies are small silver gelatin photographs that capture “the tiny insects’ transient moments of light as they illuminate the summer night.” These are minor works that fail to transcend the ephemeral nature of photography, fail to light the imagination of the viewer when looking at these scenes of dusky desire and discontinuous lives. The series of beautiful photographs titled Sanctuary (2010) evidence the “ruin of the legendary Cinecittà studios, which was founded by Mussolini in the 1930s and is associated with the great Italian film director Federico Fellini.” Wonderful photographs of doorways, temples, dilapidated stage sets with excellent use of soft miasmic light creating an atmosphere of de/generation (as though a half-remembered version of Rome had passed down through the generations) interfaced with contemporary Rome as backdrop. The digital prints show no strong specular highlights, no deep blacks but a series of transmutable grey and mid tones that add to the overall feeling of romantic ruin. It is a pity that these photographs are not printed as silver gelatin photographs, for they would have had much more depth of feeling than they presently possess. They just feel a little “thin” to me to sustain the weight of atmosphere required of them.

But it is the series Beneath the Roses (2003-2008) that has made Crewdson truly famous. Shot using a large format camera, Crewdson makes large-scale photographs of elaborate and meticulously staged tableaux, which have been described as “micro-epics” that probe the dark corners of the psyche. Working in the manner of a film director, he leads a production crew, which includes a director of photography, special effects and lighting teams, casting director and actors. He typically makes several exposures that he later digitally combines to produce the final image. Photographs in the series of “brief encounters” include external dioramas (shot in a down at heel Western Massachusetts town), where Crewdson shuts down streets and lights the whole scene; to interior dialogues where houses are built on sound stages and the artist can control every detail of the production. Influences on these works include, but are not limited to:

David Lynch (Blue Velvet, Twin Peaks), Alfred Hitchcock (Vertigo), Steven Spielberg (Close Encounters), the paintings of Edward Hopper, Diane Arbus (the detritus of her photographic interiors), film noir, psychoanalysis, American suburbia, the American dream, the photographs of Walker Evans, Cindy Sherman and surrealism. Concepts that you could link to the work include loneliness, alienation, apathy, resignation, mystery, contemplation and confusion, identity, desire, memory and imagination.

.
Now to the nuts and bolts of the matter.

Another major influence that I will add is that of the great Italian director Federico Fellini (La Dolce Vita – The Sweet Life) who shot most of that film on the sets at Cinecittà studios in Rome. It is perhaps no coincidence that Crewdson, on his first overseas film shoot, shot the series Sanctuary at the very same location. Crewdson’s photographs in the series Beneath the Roses are an American form of  “The Sweet Life.” In 1961, the New York Times film critic Bosley Crowther praised Fellini’s “brilliantly graphic estimation of a whole swath of society in sad decay and, eventually, a withering commentary on the tragedy of the over-civilized… Fellini is nothing if not fertile, fierce and urbane in calculating the social scene around him and packing it onto the screen. He has an uncanny eye for finding the offbeat and grotesque incident, the gross and bizarre occurrence that exposes a glaring irony. He has, too, a splendid sense of balance and a deliciously sardonic wit that not only guided his cameras but also affected the writing of the script. In sum, it is an awesome picture, licentious in content but moral and vastly sophisticated in its attitude and what it says.”1 The same could equally be said of the Crewdson and his masterpieces in Beneath the Roses. Crewdson is in love with Fellini’s gesture – of the uplifting of the characters and their simultaneous descent into “sweet” hedonism, debauchery and decadence using the metaphor of downfall (downfall links each scene in La Dolce Vita, that of a “downward spiral that Marcello sets in motion when descending the first of several staircases (including ladders) that open and close each major episode.”)2 Crewdson’s “spectacular apocalypses of social enervation”3 mimic Fellini’s gestural flourishes becoming Crewdson’s theme of America’s downfall, America as a moral wasteland. Crewdson’s is “an aesthetic of disparity” that builds up a cumulative impression on the viewer that finds resolution in an “overpowering sense of the disparity between what life has been or could be, and what it actually is.”4

Crewdson’s cinematic encounters are vast and pin sharp when seen in the flesh. No reproduction on the web can do their physical presence justice; it is the details that delight in these productions. You have to get up close and personal with the work. His dystopic landscapes are not narratives as such, not stills taken from a movie (for that implies an ongoing story) but open-ended constructions that allow the viewer to imagine the story for themselves. They do not so much evoke a narrative as invite the viewer to create one for themselves – they are an “invitation” to a narrative, one that explores the anxiety of the (American) imagination, an invitation to empathise with the dramas at play within contemporary environments. For me, Crewdson’s extra ordinary photographs are a form of enigma (a puzzling or inexplicable occurrence or situation), the picture as master puzzle (where all the pieces fit perfectly together in stillness) that contains a riddle or hidden meaning. Clues to this reading can be found in one of the photographs from the series (Blue Period, see detail image, above) where Crewdson deliberately leaves the door of a bedside cupboard open to reveal a “Perfect PICTURE PUZZLE” box inside. The viewer has to really look into the image and understand the significance of this artefact.

Another reading that I have formulated is of the transience of space and time within Crewdson’s series. In the disquieting, anonymous townscapes people look out from their porches (or the verandas are lit and empty), they abandon their cars or walk down desolate streets hardly ever looking directly out at the viewer. The photographs become sites of mystery and wonder hardly anchored (still precisely anchored?) in time and space. This disparity is emphasised in the interior dialogues. The viewer (exterior) looks at a framed doorway or window (exterior) looking into an scene (interior) where the walls are usually covered with floral wallpaper (interior / exterior) upon which hangs a framed image of a Monet-like landscape (exterior) (see detail image, above). Exterior, exterior, interior, interior / exterior, exterior. The trees of the landscape invade the home but are framed; exterior/framed, interior/mind. There is something mysterious going on here, some reflection of an inner state of mind.

In his visual mosaics Crewdson engages our relationship with time and space to challenge the trace of experience. His tableaux act as a kind of threshold or hinge of experience – between interior and exterior, viewer and photograph. His photographs are a form of monism in which two forces (interior / exterior) try to absorb each other but ultimately lead to a state of equilibrium. It is through this “play” that the context of the photographs and their relationship to each other and the viewer are “framed.” This device emphasises the aesthetic as much as information and encourages the viewer to think about the relationship between the body, the world of which it is part and the dream-reason of time.5 This intertextual (n)framing (n meaning unspecified number in mathematics) encourages the viewer to explore the inbetween spaces in the non-narrative / meta-narrative,”and by leaps (intuitive leaps, poetic leaps, leaps of faith)”6 encourage escapism in the imagination of the viewer. It is up to us as viewers to seek the multiple, disparate significances of what is concealed in each photograph as “felt knowledge” (Walter Benjamin), recalling to mind the sensory data placed before our eyes, something that can be experienced but cannot be explained by man: “the single moment of the present amidst the transience of life and searching for some kind of eternal truth.”7

Finally, in a more adverse reading of the photographs from the series Beneath the Roses, I must acknowledge the physically (not mentally) static nature of the images where every detail of the mise-en-scène is fully articulated and locked down: from the perfect trickle of blood running from the woman’s vagina in Blue Period, to the reflections in mirrors, the detritus of living scattered on the bedroom floor, the dirty telephone, packed suitcases and keys in locks to the desolate looks of the participants that never engage with the viewer. Despite allusions of despair, in their efficacy (their static and certain world order), there is no real chthonic madness here, no real messiness of the capture of death, murder and the wastage of human life (famine, AIDS, cancer or the blood running over the pavement in one of Weegee’s murder scenes for example). This is Fellini’s gross and bizarre LITE. Americurbana “is being addressed with the same reserve and elegance that ensures that the institution – artistic, political, what you will – is upheld and never threatened. It is pre-eminently legible, it elicits guilt but not so much as to cause offence.”8 I must also acknowledge the male-orientated viewpoint of the photographs, where men are seated, clothed, lazy or absent and all too often women are doing the washing or cooking, are naked and vulnerable. In their portrayal of (usually) half dressed or naked females the photographs evidence a particularly male view of the world, one that his little empathy or understanding of how a female actually lives in the world. For me this portrait of the feminine simply does not work. The male photographer maintains control (and power) by remaining resolutely (in)visible.

Overall this is a outstanding exhibition that thoroughly deserves that accolades it is receiving. Sitting in the gallery space for an hour and a half and soaking up the atmosphere of these magnificent works has been for me one of the art experiences of 2012. Make sure that you do not miss these mesmerising prophecies.

Dr Marcus Bunyan for the Art Blart blog

.
Many thankx to the artist, Gagosian Gallery and the Centre for Contemporary Photography for allowing me to publish the photographs in the posting. Special thankx to Director of the CCP Naomi Cass and Ms. James McKee from Gagosian Gallery for facilitating the availability of the media images. Please click on the photographs for a larger version of the image.

All photographs © Gregory Crewdson. Courtesy Gagosian Gallery.

Installation and detail photographs Dr Marcus Bunyan

.

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

.

“In a Lonely Place presents selections from three major series by Gregory Crewdson, Fireflies (1996), Beneath the Roses (2003-2008), Sanctuary (2010) and, presented for the first time, the video Field Notes (2009). The exhibition title comes from Nicholas Ray’s 1950s film noir of the same name, one of many films that inspired Crewdson. In a Lonely Place is evocative of an underlying mood-a quiet feeling of alienation and loneliness that links the three series selected by curators Estelle Af Malmborg, Jens Erdman Rasmussen and Felix Hoffmann. In a Lonely Place presents the first comprehensive exhibition of Crewdson’s work in Australia.

In Beneath the Roses, anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios. Crewdson’s scenes are tangibly atmospheric: visually alluring and often deeply disquieting. Never anchored precisely in time or place, these and the other narratives of Beneath the Roses are located in the dystopic landscape of the anxious American imagination. Crewdson explores the American psyche and the dramas at play within quotidian environments.

In his most recent series, Sanctuary (2010), Crewdson has taken a new direction, shooting for the first time outside the US. During a trip to Rome, he visited the legendary Cinecittà studios, which was founded by Mussolini in the 1930s and is associated with the great Italian film director Federico Fellini. Crewdson discovered fragments of a past glory, with occasional unexpected views of the surrounding contemporary Roman suburbia. Cinecittà is a lonely place deserted by the film crews who once used the site to recreate settings of ancient Rome, medieval Italy and nineteenth-century New York.

In the intimate photographs of Fireflies, Crewdson portrays the mating ritual of fireflies at dusk, capturing the tiny insects’ transient moments of light as they illuminate the summer night. Unlike the theatrical scale of the Beneath the Roses and Sanctuary series, Fireflies is a quiet meditation on the nature of light and desire, as the images reflect not only upon the fleeting movements of the insects in their intricate mating ritual, but upon the notion of photography itself, in capturing a single ephemeral moment.

Gregory Crewdson received a BA from the State University of New York, Purchase, New York in 1985 and an MFA in Photography from Yale School of Art, Yale University, New Haven, Connecticut in 1988. He has exhibited widely in the United States and Europe. He is Associate Professor and Director of Graduate Studies in Photography at the Yale School of Art, Yale University. Gregory Crewdson is represented by Gagosian Gallery and White Cube Gallery.”

Press release from the Gagosian Gallery website

.

.

.

Installation photographs the series Sanctuary (2010) from the exhibition Gregory Crewdson: In A Lonely Place at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne (Photos: Dr Marcus Bunyan)

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

.

.

1. Crowther’s review first published in The New York Times, April 20, 1961. In Fava and Vigano, 105 quoted in Anon. “La Dolce Vita,” on Wikipedia Footnote 30 [Online] Cited 20/10/2012. en.wikipedia.org/wiki/La_Dolce_Vita

2. Anon. “La Dolce Vita,” on Wikipedia Footnote 30 [Online] Cited 20/10/2012. en.wikipedia.org/wiki/La_Dolce_Vita

3. Sultanik, Aaron. Film, a Modern Art. Cranbury, N.J: Cornwall Books, 1986, p.408

4. Richardson, Robert. “Waste Lands: The Breakdown of Order,” in Bondanella (ed.), Federico Fellini: Essays in Criticism, p.111 quoted in Anon. “La Dolce Vita,” on Wikipedia Footnote 30 [Online] Cited 20/10/2012.
en.wikipedia.org/wiki/La_Dolce_Vita

5. Bacon, Julie Louise. “Liquid Archive: On Ambivalence,” in Liquid Archive. Melbourne: Monash University Museum of Art (MUMA), 2012, p.119

6. Kirshenblatt-Gimblett, Barbara. “The Museum – A Refuge for Utopian Thought,” in Rüsen, Jörn; Fehr Michael, and Ramsbrock, Annelie (eds.). Die Unruhe der Kultur: Potentiale des Utopischen. Velbrück Wissenschaft, 2004. In German.

7. Kataoka, Mami commenting on the work of Allan Kaprow. “Transient Encounters,” in Broadsheet: Criticism, Theory, Art Vol 41.3, September 2012, p.174

8. Geczy, Adam. “A dish served lukewarm,” in Broadsheet: Criticism, Theory, Art Vol 41.3, September 2012, p.177

.

.

Centre for Contemporary Photography
404 George St, Fitzroy
Victoria 3065, Australia
T: + 61 3 9417 1549

Opening Hours:
Wednesday – Saturday, 11am – 6pm
Sunday, 1pm – 5pm

Gagosian Gallery website

Centre for Contemporary Photography website

LIKE ART BLART ON FACEBOOK

Back to top

10
Jun
12

Exhibition: ‘Francesca Woodman’ at The Guggenheim Museum, New York

Exhibition dates: 16th March – 13th June 2012

.

In 1981, at the age of twenty-two, she committed suicide. Simple words, profound effect.

The world lost one of its truly unique artists and at such a young age. What we have left is a remarkable body of work compiled in a brief six year period. These are strong, sensuous photographs of the female body in space. The body, her body, seems to have an absent presence as it is pressed into walls and occluded by wallpaper. It passes from view, as she did in her physical form.

In small ways the work reminds me of the blurred photographs of Ralph Eugene Meatyard in their gothic Surrealism. But there is nothing quite like a Woodman. As soon as you see one of the photographs you know it is her work instinctively; there is nobody else’s voice like hers. The work will not soon be passing out of sight, memory, or existence. The light still burns bright for hers was a truly remarkable talent.

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

.

.

.

Installation view: Francesca Woodman, Solomon R. Guggenheim Museum, March 16 – June 13, 2012
Photos: David Heald © Solomon R. Guggenheim Foundation

.

.

Francesca Woodman
Untitled
1980
MacDowell Colony, Peterborough, New Hampshire
Gelatin silver print
11.4 x 11.4 cm
Courtesy George and Betty Woodman
© 2012 George and Betty Woodman

.

.

Francesca Woodman
Untitled (from the Angels series)
1977
Rome
Gelatin silver print
7.6 x 7.6 cm
Courtesy George and Betty Woodman
© 2012 George and Betty Woodman

.

.

Francesca Woodman
House #4
1976
Providence, Rhode Island
Gelatin silver print
14.6 x 14.6 cm
Courtesy George and Betty Woodman
© 2012 George and Betty Woodman

.

.

Francesca Woodman
Caryatid
1980
New York
Diazotype
227.3 x 92.1 cm
Courtesy George and Betty Woodman
© 2012 George and Betty Woodman

.

.

Francesca Woodman, the most comprehensive exhibition of the artist’s work since Woodman’s untimely death in 1981 at the age of 22, will be on view at the Guggenheim Museum from March 16 through June 13, 2012. Spanning the breadth of her production, the exhibition includes more than 120 vintage photographs, artist books, and a selection of recently discovered and rarely seen short videos, presenting a historical reconsideration of Woodman’s brief but extraordinary career.

Francesca Woodman is the first comprehensive survey of the artist’s brief but extraordinary career to be seen in North America. More than thirty years after her death, the moment is ripe for a historical reconsideration of her work and its reception. This retrospective offers an occasion to examine more closely the maturation and expression of a highly subjective and coherent artistic vision. It also presents an important and timely opportunity to reassess the critical developments that took place in the 1970s in American photography and video.

Woodman’s oeuvre represents a remarkably rich and singular exploration of the human body in space and of the genre of self-portraiture in particular. Her interest in female subjectivity, seriality, Conceptualist practice, and photography’s relationship to both literature and performance are also the hallmarks of the heady moment in American photography during which she came of age. This retrospective offers an occasion to examine more closely the maturation and expression of a highly subjective and coherent artistic vision. It also presents an important and timely opportunity to reassess the critical developments that took place in the 1970s in American photography.

Born in 1958 into a family of artists, Woodman began photographing at the age of thirteen. By the time she enrolled at the Rhode Island School of Design (RISD) in 1975, she was already an accomplished artist with a remarkably mature and focused approach to her work. During her time at RISD, she spent a year in Rome, a place she had visited as a child, and which proved to be a fertile source of inspiration. After completing her degree, she moved to New York, where she continued to photograph. While making several large-scale personal projects, she also experimented with fashion photography, engaging in the age-old artist’s struggle to reconcile making art and making a living. In 1981, at the age of twenty-two, she committed suicide. Woodman’s tragic death is underscored by the startlingly compelling, complex, and artistically resolved body of work she produced during her short lifetime.

Woodman’s favorite subject was herself. From the very first time she picked up a camera, she used it to thoroughly plumb the genre of self-portraiture. Using a square-format camera, Woodman photographed her body in a variety of spaces. She had an affinity for decaying and decrepit interiors, particularly the richly layered surfaces of walls covered with graffiti or peeling wallpaper. In these settings the body is evanescent, appearing and disappearing behind objects, pressed into cupboards and cabinets, camouflaged against walls, or dissolving into a blur of movement. She frequently included objects within the frame – gloves, eels, mirrors – thereby investing them with a symbolic charge, and often making deliberate allusions to tropes from the Surrealist and gothic fiction she admired.

The presentation at the Guggenheim will comprise approximately 120 vintage photographs, including Woodman’s earliest student experiments at RISD, work from her time spent studying in Rome, her forays into fashion photography upon moving to New York, and the late, large-scale blueprint studies of caryatid-like figures for the ambitious Temple project (1980). The exhibition will include two of her artist books – diaristic collages of her own photographs and writings – which were an important form of expression, particularly at the end of her career. Woodman also experimented with moving images; six recently discovered and rarely seen short videos will be presented in the exhibition.

Francesca Woodman is organized by the San Francisco Museum of Modern Art (SFMOMA). The exhibition has been curated by Corey Keller, Associate Curator of Photography, SFMOMA, where it opened in November 2011. The New York presentation of Francesca Woodman is organized by Jennifer Blessing, Senior Curator, Photography, Solomon R. Guggenheim Museum.”

Text from The Guggenheim website

.

.

Francesca Woodman
Polka Dots
1976
Providence, Rhode Island
Gelatin silver print
13.3 x 13.3 cm
Courtesy George and Betty Woodman
© 2012 George and Betty Woodman

.

.

Francesca Woodman
Space2
1976
Providence, Rhode Island
Gelatin silver print, 13.7 x 13.3 cm
Courtesy George and Betty Woodman
© 2012 George and Betty Woodman

.

.

Francesca Woodman
Self-Portrait talking to Vince
1975-78
Providence, Rhode Island
Gelatin silver print
13 x 12.9 cm
Courtesy George and Betty Woodman
© 2012 George and Betty Woodman

.

.

Francesca Woodman
Untitled
1976
Providence, Rhode Island
Gelatin silver print
13.3 x 13.5 cm
Courtesy George and Betty Woodman
© 2012 George and Betty Woodman

.

.

Solomon R. Guggenheim Museum
1071 5th Avenue (at 89th Street)
New York

Opening hours:
Monday – Wednesday, Friday 10 am – 5.45 pm
Saturday 10 am – 7.45 pm
Thursday closed

Solomon R. Guggenheim Museum website

LIKE ART BLART ON FACEBOOK

Back to top

22
Apr
12

Exhibition: ‘Cy Twombly: Photographs 1951 – 2010’ at the Centre for Fine Arts, Brussels

Exhibition dates: 1st February – 29th April 2012

.

“In a certain sense, Twombly operates like the pictorialists: his photographs look almost like paintings in which light is captured in brushstrokes.”

Text from the press release

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

.

.

.

Cy Twombly
Foundry, Rome
2000
Dryprint on cardboard
43.1 x 27.9 cm
© Schirmer/Mosel Verlag – Nicola Del Roscio Foundation

.

.

Cy Twombly
Untitled (Rome)
1966
Oil, wall paint, grease crayon on canvas
190 x 200 cm
Sammlung Lambrecht-Schadeberg / Rubenspreisträger der Stadt Siegen im Museum für Gegenwartskunst

.

.

Cy Twombly
Yard Sale, Lexington
2008
Dryprint on cardboard
43.1 x 27.9 cm
© Schirmer/Mosel Verlag – Nicola Del Roscio Foundation

.

.

Cy Twombly
Untitled, Lexington
2008
Dryprint on cardboard
43.1 x 27.9 cm
© Schirmer/Mosel Verlag – Fondazione Nicola del Roscio

.

.

Cy Twombly
The Artist’s Shoes, Lexington
2005
Dryprint on cardboard
43.1 x 27.9 cm
© Schirmer/Mosel Verlag – Nicola Del Roscio

.

.

“As a tribute to the recently deceased artist, the Centre for Fine Arts is turning the spotlight on a less familiar aspect of his oeuvre. The exhibition includes more than 100 dryprint Polaroid photographs (selected by Twombly himself), along with a selection of other works by Twombly and a film portrait by Tacita Dean.

Cy Twombly (who was born in Lexington in 1928 and died in Rome in 2011) was one of the most important US artists of his generation. He made his name with large-scale abstract paintings whose free form and spontaneous dynamism recall calligraphy and graffiti. In his work Twombly often referred to the myths of Classical Greek and Roman Antiquity, to literature and to art history.

The exhibition focuses on a less familiar aspect of Twombly’s oeuvre: his photographic work. The photographs are an addition to the artist’s creative world and throw new light on it. At the request of the publishers Schirmer/Mosel, Twombly selected more than 100 never previously published Polaroid photographs for a catalogue that was published just before his death on 5 July 2011. This selection is the subject of a travelling exhibition that has already been seen in Germany at the Museum Brandhorst (in Munich) and the Museum für Gegenwartskunst (in Siegen). At the Centre for Fine Arts the exhibition is being expanded, in collaboration with Dr. Hubertus von Amelunxen, who wrote an essay for the Twombly catalogue and who has made a selection for BOZAR of drawings and paintings by Twombly that reveal in greater depth the interplay of lines and light in his work. In addition, the exhibition is complemented by the screening of Tacita Dean’s intimate film portrait “Edwin Parker” (which takes its name from Twombly’s official given names).

.

Twombly and photography

Twombly took up photography back in his student days in the 1950s and continued to take photographs throughout his career. It was only in the 1990s, however, that he went public with his photographic work in gallery exhibitions and publications.

All the photographs in the exhibition were taken with a Polaroid camera, enlarged, printed using a special kind of dryprint, and reproduced in limited editions. This procedure, developed by Twombly himself, gives the photographs a hazy glow and a coarse grain. Twombly further reinforced this impression of blurring by playing with light and shade, by overexposure and sophisticated colour saturation, and by employing extreme close-ups. The lack of definition gives his photographs a certain indefinable quality and a poetic dimension. Our attention is no longer drawn to the subject, but to the texture of the picture. In a certain sense, Twombly operates like the pictorialists: his photographs look almost like paintings in which light is captured in brushstrokes.

The subjects of his Polaroid photographs are extremely diverse. There are traditional still lifes with tulips, lemon leaves, and angel trumpets, alongside photographs of temples and atmospheric landscapes. Twombly surprises the viewer with intimate images of everyday objects such as his slippers, a detail from a painting, his brushes, a snapshot of his studio, etc.

The photographs are fascinating because they throw new light on Twombly’s creative spirit and visual language. These intangible, fragile images are permeated by the same themes that inspired the artist’s paintings, drawings, sculptures, and graphic art. The atmospheric colours and diffuse motifs of his photographs are an unexpected addition to his creative universe. Twombly’s oeuvre, moreover, is all about light – and is photography not the medium of light par excellence?

.

Tacita Dean

In the course of the exhibition circuit visitors can see an intimate film portrait of Twombly, Edwin Parker by the British artist Tacita Dean. The film takes its title from Twombly’s official given names (“Cy” is a traditional nickname in his family). The publicity-shy Twombly had become a mythical figure in the world of contemporary art. Dean’s film offers a rare insight into the artist’s life. The camera follows Twombly as he looks at his pictures in his studio, reads letters, looks through the louvres at the traffic in the city of his birth, or sits around a table with old friends and orders a meal. Tacita Dean is a British contemporary artist, known above all for her films. Her latest work to date is FILM, a 35 mm film continuously projected on a 13-metre-high monolith, which can be seen in the Turbine Hall at Tate Modern until 11 March 2012.”

Press release from the Centre for Fine Arts website

.

.

Cy Twombly
Tulips, Rome
1985
Dryprint on cardboard
43.1 x 27.9 cm
© Schirmer/Mosel Verlag – Nicola Del Roscio Foundation

.

.

Cy Twombly
Cabbages, Gaeta
1998
Dryprint on cardboard
43.1 x 27.9 cm
© Schirmer/Mosel Verlag – Nicola Del Roscio Foundation

.

.

Cy Twombly
Painting detail of Roses, Gaeta
2009
Dryprint on cardboard
43.1 x 27.9 cm
© Schirmer/Mosel Verlag – Fondazione Nicola del Roscio

.

.

Cy Twombly
Sunset, Gaeta
2009
Dryprint on cardboard
43.1 x 27.9 cm
© Schirmer/Mosel Verlag – Nicola Del Roscio Foundation

.

.

Cy Twombly
Painting Detail and “By the Ionian Sea” Sculpture, Bassano in Teverina
1992
Dryprint on cardboard
43.1 x 27.9 cm
© Schirmer/Mosel Verlag – Nicola Del Roscio Foundation

.

.

Cy Twombly
Interior, Rome
1980
Dryprint on cardboard
43.1 x 27.9 cm
© Schirmer/Mosel Verlag – Fondazione Nicola del Roscio

.

.

Centre for Fine Arts
Rue Ravenstein 23
1000 Bruxelles
Info and Tickets 02 507 82 00

Opening hours:
Tuesday to Sunday, from 10.00 – 18.00, and until 21.00 on Thursdays

BOZAR website

LIKE ART BLART ON FACEBOOK

Back to top

03
Jan
12

Exhibition: ‘Caravaggio and His Followers in Rome’ at the Kimbell Art Museum, Fort Worth, Texas

Exhibition dates: 16th October 2011 – 8th January 2012

.

Observe if you will:

  1. The treatment of the background behind Boy Bitten by a Lizard (1594-96)
  2. The tension of the hands in this painting
  3. The pallor of the skin of Sick Bacchus (1593-94)
  4. The colour of the bunch of grapes in the same painting
  5. The critical distance between the two apricots and the bowed sash resting on the pediment in the same painting
  6. The youthful innocence of the dupe in The Cardsharps (c. 1595)
  7. The deep, foreboding shadows under the eyes of Saint John the Baptist in the Wilderness (1604-5)
  8. The astonishingly beautiful skin tones in Gerrit van Honthorst’s Saint Sebastian (c. 1623) and how the blood from the leg wound at left runs in two directions: one direction when Saint Sebastian was standing up, one when he has slumped down. Inspired.

.

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

.

.

One of the most influential figures in the history of art, Caravaggio (1571-1610) overturned the artistic conventions of the day and created stunningly dramatic paintings, both sacred and secular. This ambitious exhibition explores the profound impact of his work on the wide range of painters of Italian, French, Dutch, Flemish, and Spanish origin who resided in Rome. Arranged by theme, it includes over 50 paintings, with Caravaggio’s compelling images juxtaposed with those he inspired. This is the second largest display of his paintings in North America and only the third Caravaggio exhibition to be held in the United States.

.
Music and Youth

Many of Caravaggio’s early paintings feature handsome youths, whether singly or in groups. He seems to have used the same favorite models repeatedly – and sometimes his own features, which a contemporary tells us he studied in a mirror. The origins of these novel paintings lay in the types of pictures – portraits, still lifes, and allegories – that were painted in a realistic style in the artist’s native Lombardy, in the north of Italy, although he blurred the boundaries between genres to suggest real-life scenes. Caravaggio’s paintings of musicians would have appealed to Roman collectors who were passionate patrons of music, and likely were created to decorate rooms used for performances. They have a dreamy, slightly melancholy air. If the songs are about love, as we can assume they are, they are surely about the painful side of love rather than its joys. Caravaggio’s early paintings of youths are usually scenes of sensual pleasure but with a built-in warning against indulgence, as when a youth has his finger bitten by a lizard lurking in some fruit. He brings us close to his figures, often having them make eye contact with us, and includes lovingly observed still-life details that enhance the naturalism and immediacy of the scene. Even when there is a visitation from the beyond, like the winged Cupid in The Musicians, he treats this in a matter-of-fact way, attentive always to breaking down the boundaries between the painted world and our own. Caravaggio’s musical paintings caught on throughout Europe in the work of his followers, who brought their own innovations to the genre.

.

.

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
The Musicians
c. 1595
Oil on canvas
36 1/4 x 46 5/8 in (92.1 x 118.4 cm)
The Metropolitan Museum of Art, New York. Rogers Fund, 1952

.
In this scene, Caravaggio shows some young musicians preparing for a concert. We are brought very close to the figures, as if we share the same space. Caravaggio breaks down the boundaries between art and life, and our reality and the painted world become entwined. The instruments are modern, but the musicians wear antique-inspired dress. The lute player tunes his instrument, and the horn player (possibly a self-portrait) catches our gaze. Another youth studies the musical score; it is no longer legible, but doubtless featured love madrigals. The winged Cupid with a quiver of arrows who is handling some grapes makes explicit the bond between music and love. Wine, like music, makes the spirits light. This painting belonged to Cardinal Francesco Maria del Monte, who hosted concerts at his palace and invited musicians to live in his household, along with artists like Caravaggio.

.

.

Theodoor Rombouts (Flemish, 1597-1637)
A Lute Player
c. 1620
Oil on canvas
43 7/8 x 39 1/4 in (111.1 x 99.7 cm)
Philadelphia Museum of Art. John G. Johnson Collection, 1917

.
Caravaggio’s paintings of musicians inspired Rombouts’s depiction of a musician tuning his lute. His intense expression suggests that he is both listening to the sound and sizing up the viewer, his audience. The vividly described carpet and still-life objects on the table recall Caravaggio’s similar close-up presentations. However, the colorful treatment of the costume and the robust delineation of the objects place Rombouts’s work within traditions of Flemish and Dutch painting. The still life, like ephemeral music, serves to remind us of the pleasures of life, but also that pleasure is fleeting. The artist also alludes to the five senses: hearing (the lute), taste (the tankard), smell (the pipe), sight (the musical scores), and touch (the knife).

.

.

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
Boy Bitten by a Lizard
1594-96
Oil on canvas
25 5/8 x 20 1/2 in (65 x 52 cm)
Fondazione di Studi di Storia dell’Arte Roberto Longhi, Florence

.
One of Caravaggio’s biographers wrote that “he also painted a boy bitten by a lizard emerging from flowers and fruits; you could almost hear the boy scream, and it was done meticulously.” The picture has suggested various interpretations. As an allegory of touch, it provides the basis for a study of how emotion is expressed physically, and arguably Caravaggio alludes to all the five senses (flowers as smell and so on). With the still life of fruits and roses, common emblems of love, he invokes age-old adages – pain can follow pleasure, and love is a rose with thorns that prick. Poets from Petrarch onward played on the similarity of the Italian words for “love” and “bitter” – amore and amaro – to which Caravaggio adds ramarro (lizard), ingeniously enlarging the joke.

.

.

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
Sick Bacchus
1593-94
Oil on canvas
Galleria Borghese, Rome

.

.
Cardsharps and Fortune Tellers

The young Caravaggio introduced another new kind of painting to the Roman art world with his scenes from the seamy side of life, its frauds and ruses. He painted these works on a large scale with half-length figures, and they were among his most widely imitated creations. His followers played countless variations on the same themes, trying various levels of subtlety and buffoonery in the humor and facial expressions. These highly animated compositions conjure up an underworld of wily cardsharps, soldiers of fortune, foolish dupes, sensuous and deceitful gypsy women, pickpockets, and thugs. They are based partly on everyday observations in the streets, partly on the stock characters and improvised comedies of the commedia dell’arte, partly on sheer fantasy. In such works, Caravaggio and his followers developed ingenious ways of involving us in the action. We read these amusingly moralizing pictures through gestures and expressions – but to unravel the trickery takes time. Despite being frozen in a static image, the story seems to unfold before our eyes like one of the popular plays that were its inspiration. The artist extends the theme of deception by painting his subjects with such a high level of naturalism that the viewer is duped and astounded by his artistry.

.

.

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
The Cardsharps
c. 1595
Oil on canvas
37 1/8 x 51 5/8 in (94.2 x 130.9 cm)
Kimbell Art Museum, Fort Worth

.
The players are engaged in a game of primero, a forerunner of poker. Engrossed in his cards, the dupe is unaware that the older cardsharp signals his accomplice, who reaches to pull a hidden card from his breeches. The fingertips of the cheat’s gloved hand are exposed to better feel marked cards. According to an early biographer, Cardinal Francesco Maria del Monte, a great patron of the arts, took the young Caravaggio into his household soon after purchasing this picture. It hung along with The Gypsy Fortune Teller in his palace. Together they would surely have reminded the cardinal and his guests of the story of the prodigal son, warning about the perils of greed and fraud. Caravaggio has treated this subject not as a caricature of vice but in a fresh way, in which the interaction of gesture and glance evokes the drama of deception and lost innocence in the most human of terms. He structures the picture to allow us to witness everything, implicating us in the trickery.

.

.

Simon Vouet (French, 1590-1649)
The Fortune Teller
c. 1620
Oil on canvas
National Gallery of Canada, Ottawa

.

.
Saints

Caravaggio grounded his saints in everyday reality, indicating their spiritual states by means of natural phenomena, especially light. In his early painting of Saint Francis, he shows the saint’s ecstasy – his mystic identification with Christ – by directing a strong light upon his figure and the consoling angel. God’s grace is signaled by light in other images of the saints, such as the scene of Mary Magdalene’s conversion from her former life of sin. In paintings of Saints Matthew and Jerome in their studies, much emulated in Caravaggio’s circle, light is a metaphor of divine inspiration. Generally the saints seem to be emerging from darkness into light, which adds drama, symbolism, and also a sense of mass – as if they were sculpted, not merely painted. In a break from Roman and Florentine traditions, Caravaggio rejected the practice of refining his composition through drawings before he began to paint and instead worked directly from a live model in the studio, preserving that model’s particular appearance, never making the features or body conform to an ideal of beauty. The effect, central to Caravaggio’s art and that of many of his followers, was startling. At this time, many people believed that the painting of sacred personages such as saints called for a special, elevated style that set them apart from the mundane reality of the here and now. Caravaggio’s radical departure from this principle brought him much harsh criticism. He was accused of merely copying and so failing to capture a higher truth. But others recognized in his work a new kind of religious art that directly engaged the faithful and made old subjects new and alive.

.

.

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
Saint John the Baptist in the Wilderness
1604-5
Oil on canvas
68 x 52 in (172.7 x 132.1 cm)
The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase William Rockhill Nelson Trust

.
Caravaggio’s practice of painting a live model in his studio brings this young, brooding saint to life – as if his image were inhabited by the model’s being. Ottavio Costa, a Roman banker, commissioned this painting for a chapel on a pilgrimage route in the countryside outside of Genoa, where his family had its origins. We can imagine what a powerful experience it would have been to encounter the image of the scarlet-robed saint there, dramatically emerging from the shadows into a strong light. When Caravaggio delivered the painting, Costa decided to keep it and placed a copy in the chapel. But even the copy proved inspiring. An early guide described how it “moves not only the members of the brotherhood but also visitors to penitence.”

.

.

Gerrit van Honthorst (Dutch, 1592-1656)
Saint Sebastian
c. 1623
Oil on canvas
The National Gallery, London

.

.
The Sacred Narrative

Caravaggio was a masterful storyteller who could bring home the drama and significance of a biblical event with tremendous power. In his scenes from the Old and New Testaments, he created a new kind of painting – dramatic, even theatrical, yet grounded in the observation of ordinary reality – and it proved infectious among his contemporaries in Rome. His approach was to make the scene clear and simple, with the main actors in the drama seen close-up and caught in midaction at a decisive moment, embodying the whole meaning of the event. He played down the setting, sometimes to the point that it is a mere pool of darkness from which the figures emerge. It was the actions and states of mind of the characters in the story that counted, and Caravaggio presented these with sometimes shocking directness and intensity, breaking all the rules of decorum that restrained more conventional painters. He mastered the art of concealing art, re-creating a scene with such a flavor of reality that it comes across as an eyewitness account. It was his power to draw viewers into the emotion and importance of a scene that made his work an essential object of study, even for such an independent genius as the great Peter Paul Rubens.

.

.

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
Martha and Mary Magdalene
c. 1598
Oil and tempera on canvas
38 1/2 x 52 1/4 in (97.8 x 132.7 cm)
Detroit Institute of Arts. Gift of the Kresge Foundation and Mrs. Edsel B. Ford

.
Martha’s expressive hands, intensely illuminated, underscore her attempt to convert her sister Mary Magdalene from a life of worldly pleasures to one of spirituality. Several details recall Mary’s life of indulgence: the elegant dress, the ivory comb, the alabaster cosmetic jar. The mirror, a powerful symbol of vanity, becomes here an instrument reflecting the divine light that is penetrating Mary’s soul. Martha’s words seem to have been convincing, and her open mouth signals her amazement as she witnesses Mary’s transformation. The orange blossom in Mary’s right hand and the ring on her left indicate her new status as the blessed bride of Christ.

.

.

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
Sacrifice of Isaac
1602-3
Oil on canvas
41 x 53 1/8 in (104 x 135 cm)
Galleria degli Uffizi, Florence

.

.

Kimbell Art Museum
3333 Camp Bowie Boulevard,
Fort Worth, TX 76107

Opening hours:
Tuesdays – Thursdays and Saturdays, 10 a.m. – 5 p.m.
Fridays, noon – 8 p.m.
Sundays, noon – 5 p.m.
Closed Mondays, New Year’s Day, July 4, Thanksgiving, and Christmas Day

Kimbell Art Museum website

LIKE ART BLART ON FACEBOOK

Back to top

20
Sep
11

Exhibition: ‘Twombly and Poussin: Arcadian Painters’ at the Dulwich Picture Gallery, London

Exhibition dates: 29th June – 25th September 2011

.

Many thankx to the Dulwich Picture Gallery for allowing me to publish the images in the posting. Please click on them for a larger version of the image.

.

.

Robert Rauschenberg
Cy and Relics
1952
Photograph
© The Rauschenberg Foundation

.

.

Nicolas Poussin
The Triumph of Pan
c. 1636
Pen and ink with wash over stylus and black chalk
581 x 410 x 29 mm
Lent by Her Majesty the Queen. The Royal Collection
© 2011 Her Majesty Queen Elizabeth II

.

.

Cy Twombly
Bacchanalia-Fall (5 Days in November) Blatt 4, InvNr. UAB 457
1977
collage, oil, chalk, gouache, on fabriano paper, graph paper
101.2 x 150.5 cm
Bayerische Staatsgemäldesammlungen – Museum Brandhorst, München
Leihgeber: Udo Brandhorst, © Cy Twombly

.

.

Cy Twombly
Pan
1975
148 x 100cm
Private Collection
© Cy Twombly, Courtesy: Cy Twombly Archive

.

.

Nicolas Poussin
The Triumph of David
1628-1631
© By permission of the Trustees of Dulwich Picture Gallery

.

.

Cy Twombly
Hero and Leandro
1985
202 x 254cm
Private Collection, Courtesy Thomas Ammann Fine Art AG, Zurich
© Cy Twombly

.

.

“I would’ve liked to have been Poussin, if I’d had a choice, in another time.”

Cy Twombly

Dulwich Picture Gallery is proud to announce a revelatory exhibition of the work of Cy Twombly and Nicolas Poussin. Organised to celebrate the Bicentenary of the Gallery, this major show will explore, for the first time, the unexpected yet numerous parallels and affinities between the two artists. The exhibition will draw upon the world-class permanent collection of works at Dulwich Picture Gallery by Nicolas Poussin, alongside other works from major collections around the world by both Poussin and Twombly.

In 1624 and 1957, the two artists, aged around thirty, moved to Rome. Nicolas Poussin and Cy Twombly subsequently spent the majority of their lives in the Eternal City, and went on to become the pre-eminent painters of their day. Rather than recent exhibitions that have sought to compare and contrast old masters with contemporary artists through superficial visual appearances, this groundbreaking show will instead juxtapose works which may seem radically disparate in terms of style, yet ones that share deep and timeless interests. Both Poussin and Twombly were artists of prodigious talent who found in the classical heritage of Rome a life-long subject. Both spent their lives studying, revivifying and making newly relevant for their own eras antiquity, ancient history, classical mythology, Renaissance painting, poetry and the imaginary, idealised realm of Arcadia.

Curated by Dr. Nicholas Cullinan, Curator of International Modern Art at Tate Modern, the exhibition examines how Twombly and Poussin, although separated by three centuries, nonetheless engaged with the same sources and will explore the overlapping subjects that the two artists have shared. It will consist of around thirty carefully-chosen paintings, drawings and sculptures, structured thematically around six sections devoted to key shared themes, from both artists’ early fascinations with Arcadia and the pastoral when they first moved to Rome, Venus and Eros, Anxiety and Theatricality, Apollo, Parnassus and Poetry, Pan and the Bacchanalia, through to the theme of The Four Seasons.

The exhibition will be accompanied by the British premiere of Tacita Dean’s new 16mm film portrait of Cy Twombly, Edwin Parker (2011). The film documents Twombly in his studio in Lexington, Virginia, and follows on from Dean’s series of filmed depictions of subjects such as the choreographer Merce Cunningham, the poet Michael Hamburger and the artist Mario Merz, where the inner life of the sitter is implied through their physical demeanour and surroundings. A series of talks will also accompany the exhibition, including Sir Nicholas Serota, Director of Tate, in conversation with Dr. Nicholas Cullinan on the topic of curating Twombly, and Malcolm Bull (Ruskin School of Drawing, University of Oxford) and T. J. Clark (Professor Emeritus of Modern Art at the University of California, Berkeley; and Visiting Professor, University of York) who will discuss the work of Poussin and Twombly and the themes raised by the exhibition.

Ian Dejardin, Director of Dulwich Picture Gallery explains that the exhibition “fits in with a philosophy I have pursued here – that exhibitions can conduct a dialogue with the permanent collection. In the past Howard Hodgkin, Lucian Freud and Paula Rego have all hung their paintings within the collection, so Poussin and Twombly seemed like a natural extension of those experiments.” 

The exhibition has received enthusiastic support and loans from major private and public collections around the world, including The National Gallery and Tate in London; The Royal Collection; The Duke of Devonshire; The Fitzwilliam Museum, Cambridge; Museo del Prado, Madrid; The Brandhorst Museum, Munich and The Art Institute of Chicago. The exhibition has been developed in close collaboration with Cy Twombly himself, and will include works that have never been exhibited before.”

Press release from the Dulwich Picture Gallery

.

.

Nicolas Poussin
Rinaldo and Armida
c. 1630
© By permission of the Trustees of Dulwich Picture Gallery

.

.

Nicolas Poussin
The Nurture of Jupiter
mid 1630s
© By permission of the Trustees of Dulwich Picture Gallery

.

.

Cy Twombly
Quattro Stagioni: Primavera
1993-5
Acrylic, oil, crayon and pencil on canvas
3230 x 1996 x 67mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

.

.

Cy Twombly
Quattro Stagioni: Estate
1993-5
Acrylic and pencil on canvas
3241 x 2250 x 67mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

.

.

Nicolas Poussin
Venus and Mercury
c. 1627/1629
© By permission of the Trustees of Dulwich Picture Gallery

.

.

Cy Twombly
Quattro Stagioni: Autunno
1993-5
Acrylic, oil, crayon and pencil on canvas
3230 x 2254 x 67mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

.

.

Cy Twombly
Quattro Stagioni: Inverno
1993-5
Acrylic, oil and pencil on canvas
3229 x 2300 x 67mm
Tate: Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002
© Tate, London, 2010, © Cy Twombly

.

Dulwich Picture Gallery
Gallery Road, London, SE21 7AD

Opening hours: Tue – Fri 10am–5pm
Weekends and Bank Holiday Mondays 11am–5pm
Closed Mondays except Bank Holidays

Dulwich Picture Gallery website

Back to top




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 1,770 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

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 2016
M T W T F S S
« Nov    
 1234
567891011
12131415161718
19202122232425
262728293031  

Archives

Categories