Posts Tagged ‘San Francisco

26
Jan
16

Exhibition: ‘The Time Between: The Sequences of Minor White’ at the Museum of Photographic Arts, San Diego

Exhibition dates: 20th October 2015 – 31st January 2016

 

This is such as disappointing posting… not for the quality of the work, which is exceptional, but for the lack of it.

I have been waiting for this exhibition for a very long time and asked MoPA for the press images:

1/ Nine were supplied from the Jupiter Portfolio, NOT even the whole sequence, to illustrate the exhibition
2/ The images supplied were so small as to be more than useless
3/ I then wrote to the Minor White Archive at Princeton University asking for more images. No reply

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So I have scanned the images from the Jupiter Portfolio myself so that at least you can see one whole MW sequence online. Unfortunately, I can only show you the sequence vertically on this site but the space between the images, that frisson between two disparate images (what MW calls ice/fire), is part of ** what you should FEEL in your HEART. To experience this, see a horizontal version of the Jupiter Portfolio on my personal website.

In the sequence we have the line of light over the sea in the first image, Devil’s Slide, San Mateo County, California (1947), which is then picked up in the line of the upper thigh and buttock in the second image Nude Foot, San Francisco (1947) with its gorgeous sensuality. Again, that line is illuminated in the third image Columbus Avenue, San Francisco (1949) by the white above the sandblaster’s head, while the heart shape arrow points back to the buttock in the previous image, perhaps subconsciously referencing White’s homosexuality. The white lettering of this image is then intensified, expanded and abstracted in the next image, Birdlime and Surf, Point Lobos, California (1951), these markings then flowing through into the lines of the telegraph pole in the infra red photograph of two barns Vicinity of Danville, New York (1955).

Transposing down a pitch, MW then turns these lines from the horizontal plane to the vertical and they descend softly into the swirling cosmos of Windowsill Daydreaming, Rochester, New York (1958), one of my favourite photographs by the artist for its indeterminate, morphic “air.” These striations and nodules of presence are then repeated in varying forms through the next four images – through peeling paint, ice crystals, rock and the darkly printed ivy and wood. These photographs move you through the elements, like a piece of music. The markings on wood in Ivy, Portland, Oregon (1964) are then echoed in the marker in the photograph Cape Breton, Nova Scotia (1970), to be finally stretched and elongated vertically in the sublime Vermont (1971).

Just imagine holding this composition, this music (“visual literacy”) in your head for nigh on 28 years before you sequenced these images, before you had them all together and you knew what you needed to say… as a human being and as an artist. ** The time between does indeed reference references White’s belief that the space between the images is as important as the image itself, but it is also the ability of the images to speak to images further down the line (and time) of the sequence, and further down the line of the imagination. How seeds planted earlier in the sequence can reappear as puncture, prick, punctum, spirit, revelation even, the closer we come in meditation and a sense of quietness to the photographs. This is the joy of the art of Minor White.

To finish let me say a couple of things. As far as I can ascertain, this is about the only complete sequence of his online. It is such a pity that so great an artist, who taught photography as art to the world (and was my absolute hero when I started studying photography in 1991), should not have his work available to be seen as it should be seen, in a sequence. Free for everyone to see around the world, to study and to understand what he was trying to say with his revelatory art.

I am so over museums trying to protect what they have, instead of spreading the love and the understanding of the art. They are custodians of the art NOT the owners. Some of them should remember that…

Dr Marcus Bunyan

PS. Minor White was always the person I most looked up to when I started photography as I tried to photograph in meditation, forming a link between myself, the object back through the camera to the film, hoping for some form of revelation in the negative and the subsequent print. He, Paul Strand and Eugene Atget, with a bit of Stieglitz and Aaron Siskind thrown in for good measure, where my guiding stars.

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Please click on the photographs for a larger version of the image.

 

 

“Photographs side by side cannot help being mutually affected. Transpose them, the meaning changes.”

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Minor White, 1976

 

 

Minor White (American, 1908–1976) 'Jupiter Portfolio' 1975 Portfolio of 12 gelatin silver prints

 

Minor White (American, 1908-1976)
Jupiter Portfolio
1975
Portfolio of 12 gelatin silver prints

 

 

“The Museum of Photographic Arts (MOPA) presents an original exhibition dedicated to the work and legacy of American photographer Minor White (1908 – 1976) in The Time Between: The Sequences of Minor White.

The exhibition is the first major museum examination solely focusing on White’s sequences, a unique style of presentation he refined throughout his career. As a poet, writer, educator, curator and photographer, White believed in the power of images to be transformed when positioned sequentially, creating a new whole and a new level of interpretation, said MOPA Executive Director Deborah Klochko.

“One the most important American photographers of the 20th century, White’s work is still vital and important 40 years after his death,” Klochko said. “The title of the exhibition, The Time Between, references White’s belief that the space between the images is as important as the image itself.”

Many of the images in The Time Between are considered to be White’s most iconic. The exhibition features two bound albums, three digital sequences and eight print sequences presented together for the first time as White intended. White promoted the idea of “visual literacy,” which teaches the reading of images, similar to how his sequences encourage viewers to see the images in a larger context.”

Press release from MOPA

 

“Grouping photographs was Minor White’s preferred mode of presentation, and the sequence, of all his arrangements, was his most sophisticated form of pictorial expression.

Initially the sequence was an outgrowth of White’s work in poetry. However, in the realm of photographic art, perhaps his most important inspiration was the sequences of Alfred Stieglitz begun in the 1920s. Stieglitz taught that no all photographs need function as individual or summational works, but that certain images in a structured context could serve in support of others and could create a total statement more complex and multifaceted than single works alone or loose assortments of related pictures.

In addition to the influence of Stieglitz’s sequences, White learned a great deal about laying out of photographs from Nancy Newhall at the Museum of Modern Art in New York in 1945-46. She had been influenced by Stieglitz’s work and by her conversations with him beginning in the late 1930s, and it was she who encouraged Minor White to meet Stieglitz.

While White was at the museum, Nancy Newhall was organising a retrospective of Edward Weston’s photographs. Her installation of this exhibition was a revelation to him. Nancy Newhall was gifted in her understanding of photographs and had a remarkable feeling for the dynamics of expression in pictorial art and an acute sensitivity for the photographer’s unique approach. Her interpretation of the iconographic elements contained in individual photographs was superb, and the way in which she could create a sympathetic ordering of such pictures was extraordinary.

Minor White’s sequences, highly structured groupings of pictures with similar formats, sometimes contain ten, twenty, or thirty photographs. They need to be studied in a state of concentration, or heightened awareness, and involve recognition of both the content and feeling, the intellectual and emotional aspects, of each image in relation to its adjacent images. However, one must read the images as an ensemble, in their cumulative assertion of a complex and inter-connected idea, to sense the import of the artist’s statement.

Describing the sequence as “a cinema of stills,” Minor White wrote, “The time between photographs is filled by the beholder, first of all from himself, then from what he can read in the implications of design, the suggestions springing from treatment, and any symbolism that might grow from within the work itself … The meaning appears in the mood they [the symbols] raise in the beholder; and the flow of the sequence eddies in the river of his associations as he passes from picture to picture.”

Reading White’s sequences depends on understanding both the symbolic and the descriptive capabilities of his photography…”

“The Sequence,” from Bunnell, Peter. Minor White: The Eye That Shapes. The Art Museum, Princeton University, 1989, p. 231

 

Minor White (American, 1908–1976) 'Devil's Slide, San Mateo County, California' 1947

 

Minor White (American, 1908-1976)
Devil’s Slide, San Mateo County, California
1947
No. 1 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Nude Foot, San Francisco' 1947

 

Minor White (American, 1908-1976)
Nude Foot, San Francisco
1947
No. 2 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Columbus Avenue, San Francisco' 1949

 

Minor White (American, 1908-1976)
Columbus Avenue, San Francisco
1949
No. 3 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Birdlime and Surf, Point Lobos, California' 1951

 

Minor White (American, 1908-1976)
Birdlime and Surf, Point Lobos, California
1951
No. 4 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Vicinity of Danville, New York' 1955

 

Minor White (American, 1908-1976)
Vicinity of Danville, New York
1955
No. 5 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Windowsill Daydreaming, Rochester, New York' 1958

 

Minor White (American, 1908-1976)
Windowsill Daydreaming, Rochester, New York
1958
No. 6 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Rochester, New York' 1959

 

Minor White (American, 1908-1976)
Rochester, New York
1959
No. 7 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Beginnings, Rochester, New York' 1962

 

Minor White (American, 1908-1976)
Beginnings, Rochester, New York
1962
No. 8 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Notom, Utah' 1963

 

Minor White (American, 1908-1976)
Notom, Utah
1963
No. 9 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Ivy, Portland, Oregon' 1964

 

Minor White (American, 1908-1976)
Ivy, Portland, Oregon
1964
No. 10 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Cape Breton, Nova Scotia' 1970

 

Minor White (American, 1908-1976)
Cape Breton, Nova Scotia
1970
No. 11 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White (American, 1908–1976) 'Vermont' 1971

 

Minor White (American, 1908-1976)
Vermont
1971
No. 12 from Jupiter Portfolio, sequenced 1975
Gelatin silver print
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

 

Museum of Photographic Arts
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Phone: 619.238.7559

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17
Oct
14

Review: ‘Minor White: Manifestations of the Spirit’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 8th July – 19th October 2014

Curator: Paul Martineau is associate curator in the Department of Photographs at the J. Paul Getty Museum.

 

Never the objective camera, always a mixture of spirit and emotion

Minor White and Eugène Atget. Eugène Atget and Minor White. These two photographers were my heroes when I first started studying photography in the early 1990s. They remain so today. Nothing anyone can say can take away from the sheer simple pleasure of really looking at photographs by these two icons of the art form.

I have waited six years to do a posting on the work of Minor White, and this exhibition is the first major retrospective of White’s work since 1989. This posting contains thirty seven images, one of the biggest collections of his photographs available on the web.

What drew me to his work all those years ago? I think it was his clarity of vision that so enthralled me, that showed me what is possible – with previsualisation, clear seeing, feeling and thinking – when exposing a photograph. And that exposing is really an exposing of the Self.

Developing the concept of Steiglitz’s ‘equivalents’ (where a photograph can stand for an/other state of being), White “sought to access, and have connection to, fundamental truths… Studying Zen Buddhism, Gurdjieff and astrology, White believed in the photographs’ connection to the subject he was photographing and the subject’s connection back via the camera to the photographer forming a holistic circle. When, in meditation, this connection was open he would then expose the negative in the camera hopeful of a “revelation” of spirit in the subsequent photograph.” (MB) The capturing of these liminal moments in the flux of time and space is such a rare occurrence that one must be patient for the sublime to reveal itself, if only for a fraction of a second.

Although I cannot view this exhibition, I have seen the checklist of all the works in the exhibition. The selection is solid enough covering all the major periods in White’s long career. The book is also solid enough BUT BOTH EXHIBITION AND BOOK ARE NOT WHAT WE REALLY WANT TO SEE!

At first, Minor White photographed for the individual image – and then when he had a body of work together he would form a sequence. He seemed to be able to switch off the sequence idea until he felt “a storm was brewing” and his finished prints could be placed in another context. It was only with the later sequences that he photographed with a sequence in mind (of course there is also the glorious fold-out in The Eye That Shapes that is the Totemic sequence that is more a short session that became a sequence). In his maturity Minor White composed in sequences of images, like music, with the rise and fall of tonality and range, the juxtaposition of one image next to another, the juxtaposition of twenty or more images together to form compound meanings within a body of work. This is what we really need to see and are waiting to see: an exhibition and book titled: THE SEQUENCES OF MINOR WHITE. I hope in my lifetime! **

How can you really judge his work without understanding the very form that he wanted the work to be seen in? We can access individual images and seek to understand and feel them, but in MW their meaning remains contingent upon their relationship to the images that surround them, the ice/fire frisson of that space between images that guides the tensions and relations to each other. Using my knowledge as an artist and musician, I have sequenced the first seven images in this posting just to give you an idea of what a sequence of associations may look like using the photographs of Minor White. I hope he would be happy with my selection. I hope I have made them sing.

Other than a superb range of tones (for example, in Pavilion, New York 1957 between the flowers in shadow and sun – like an elegy to Edward Weston and the nautilus shell/pepper in the tin) the size, contrast, lighter/darker – warmer/cooler elements of MW’s photographs are all superb. These are the first things we look at when we technically critique prints from these simple criteria, and there aren’t many that pass. But these are all well made images by MW. He was never Diogenes with a camera, never the objective camera, he was always involved… and his images were printed with a mixture of spirit and emotion. Now, try and FEEL your response to the first seven images that I have put together. Don’t be too analytical, just try, with clear, peaceful mind and still body, to enter into the space of those images, to let them take you away to a place that we rarely allow ourselves to visit, a place that is is out of our normal realm of existence. It is possible, everything is possible. If photography becomes something else -then it does -then it does.

Finally, I want to address the review of the book by Blake Andrews on the photo-eye blog (October 6, 2014). The opening statement opines: “Is photography in crisis again? Well then, it must be time for another Minor White retrospective.” What a thrown away line. As can be seen from the extract of an interview with MW (published 1977, below), White didn’t care what direction photography took because he could do nothing about it. He just accepted it for what it is and moved with it. He was not distressed at the direction of contemporary photography because it was all grist to the mill. To say that when photography is in crisis (it’s always in crisis!) you wheel out the work of Minor White to bring it back into line is just ridiculous… photography is -what it is, -what it is.

Blake continues, “Minor White was a jack-of-all-styles in the photo world, trying his hand at just about everything at one time or another. The plates in the book give a flavor of his shifting – some might say dilettantish – photo styles.” Obviously he agrees with this assessment otherwise he would not have put it in. I do not. Almost every artist in the world goes on a journey of discovery to find their voice, their metier, and that early experimentation is part of the overall journey, the personal and universal narrative that an artist pictures. Look at the early paintings of Jackson Pollock or Mark Rothko in their representational ease, or the early photographs of Aaron Siskind and how they progress from social documentary to abstract expressionism. The same with MW. In this sense every artist is a dilettante. Every photograph is part of his journey as an artist and has value in an of itself.

And I don’t believe that his mature voice was “internalized, messy, and deliberately obtuse,” – it is only so to those that do not understand what he sought to achieve through his images, those who don’t really understand his work.

Blake comments, “Twenty-five years later White’s star is rising again. One could speculate the reasons for the timing, that photography is in crisis, or at least adrift, and in need of a guru. But the truth is photography has been on the therapist’s couch since day one, going through this or that level of doubt or identity crisis. Is it an art? Science? Documentation? Can it be trusted? When Minor White came along none of these questions had been resolved, and they never will. But every quarter century or so it sure feels good to hang your philosopher’s hat on something solid. Or at least someone self-assured.”

Every quarter of a century, hang your philosophers hat on something solid? Or at least someone self-assured? The last thing that you would say about MW was that the was self-assured (his battles with depression, homosexuality, God, and the aftermath of his experiences during the Second World War); and the last thing that you would say about the philosophy and photographs of MW is that they are something solid and immovable.

For me, the man and his images are always moving, always in a constant state of flux, as avant-garde (in the sense of their accessing of the eternal) and as challenging and essential as they ever were. Through his work and writings Minor White – facilitator, enabler – allowed the viewer to become an active participant in an aesthetic experience that alters reality, creating an über reality (if you like), one whose aesthetics promotes an interrogation of both ourselves and the world in which we live.

“There are plays written on the simplest themes which in themselves are not interesting. But they are permeated by the eternal and he who feels this quality in them perceives that they are written for all eternity.”

Constantin Stanislavsky, (1863 – 1938) / My Life in Art.

 

Dr Marcus Bunyan for the Art Blart blog

** The Minor White Archive at Princeton University Museum of Art has a project called The Minor White Archive proof cards: “The ultimate goal of this project is a stand-alone website dedicated to the Minor White Archive, and the completely scanned proof cards represent significant progress to this end. The website will be an authoritative source for the titles and dates of White’s photographs. All of the scanned proof cards will be available on the website so that users can search the primary source information as well as major published titles. Additionally, the website will include White’s major published sequences, with additional sequences uploaded gradually until the complete set is online. Eventually, the hope is to have subject-term browsing available, adding another access point to the Archive.”

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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.

 

 

“Self-discovery through a camera? I am scared to look for fear of discovering how shallow my Self is! I will persist however … because the camera has its eye on the exterior world. Camera will lead my constant introspection back into the world. So camerawork will save my life.”

“When you try to photograph something for what it is, you have to go out of yourself, out of your way, to understand the object, its facts and essence. When you photograph things for what ‘Else’ they are, the object goes out of its way to understand you.”

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Minor White

 

 

When Paul Martineau, an associate curator at the J. Paul Getty Museum, in Los Angeles, was collecting photographs for a new retrospective of Minor White’s photography, he discovered an album called The Temptation of Saint Anthony Is Mirrors. Only two copies of the volume were produced, each containing thirty-two images of Tom Murphy, Minor’s student and model. “It’s a visual love letter: he only created two, one given to Tom and one for him,” Martineau told me.

Martineau’s show, Minor White: Manifestations of the Spirit, is the first major retrospective of White’s work since 1989. White was born in Minneapolis, in 1908, took photographs for the Works Progress Administration during the nineteen-thirties, and served in the Army during the Second World War. He kept company with Ansel Adams, Alfred Steiglitz, and Edward Steichen, and, in 1952, he helped found the influential photography magazine Aperture. Martineau said that, while the Getty retrospective “comes at a time when life is rife with visual imagery, most of it designed to capture our attention momentarily and communicate a simple message,” White aimed to more durably express “our relationships with one another, with the natural world, with the infinite.” White believed that all of his photographs were self-portraits; as Martineau put it, “he pushed himself to live what he called a life in photography.”

 

 

Minor White. 'Vicinity of Rochester, New York' 1954

 

Minor White 
Vicinity of Rochester, New York
1954
Gelatin silver print
18.4 x 23.2 cm (7 1/4 x 9 1/8 in.)
Promised gift of Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Stony Brook State Park, New York' 1960

 

Minor White 
Stony Brook State Park, New York
1960
Gelatin silver print
30.5 x 24.1 cm (12 x 9 1/2 in.)
Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. '72 N. Union Street, Rochester, New York' 1960

 

Minor White 
72 N. Union Street, Rochester, New York
1960
Gelatin silver print
30.5 x 24.1 cm (12 x 9 1/2 in.)
Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'The Sound of One Hand Clapping, Pultneyville, New York' 1957

 

Minor White 
The Sound of One Hand Clapping, Pultneyville, New York
1957
Gelatin silver print
24.4 x 25.1 cm (9 5/8 x 9 7/8 in.)
Purchased in part with funds provided by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Haags Alley, Rochester, New York' 1960

 

Minor White
Haags Alley, Rochester, New York
1960
Gelatin silver print
30.5 x 24.1 cm (12 x 9 1/2 in.)
Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Tom Murphy, San Francisco, California' 1948

 

Minor White
Tom Murphy, San Francisco, California
1948
Gelatin silver print
12.5 x 10 cm (4 15/16 x 3 15/16 in.)
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White. '72 N. Union Street, Rochester, New York' 1958

 

Minor White 
72 N. Union Street, Rochester, New York
1958
Gelatin silver print
26.7 x 29.2 cm (10 1/2 x 11 1/2 in.)
Promised gift of Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

 

“Controversial, misunderstood, and sometimes overlooked, Minor White (American 1908-1976) pursued a life in photography with great energy and ultimately extended the expressive possibilities of the medium. A tireless worker, White’s long career as a photographer, teacher, editor, curator, and critic was highly influential and remains central to understanding the history of photographic modernism. Minor White: Manifestations of the Spirit, on view July 8 – October 19, 2014 at the J. Paul Getty Museum, Getty Center is the first major retrospective of his work since 1989.

The exhibition includes never-before-seen photographs from the artist’s archive at Princeton University, recent Getty Museum acquisitions, a significant group of loans from the collection of Daniel Greenberg and Susan Steinhauser, alongside loans from the Museum of Modern Art, New York, the Portland Art Museum, and the Los Angeles County Museum of Art. Also featured is White’s masterly photographic sequence Sound of One Hand (1965).

“Minor White had a profound impact on his many students, colleagues, and the photographers who considered him a true innovator, making this retrospective of his work long overdue” says Timothy Potts, director of the J. Paul Getty Museum. “The exhibition brings together a number of loans from private and public collections, and offers a rare opportunity to see some of his greatest work alongside unseen photographs from his extensive archive.”

One of White’s goals was to photograph objects not only for what they are but also for what they may suggest, and his pictures teem with symbolic and metaphorical allusions. White was a closeted homosexual, and his sexual desire for men was a source of turmoil and frustration. He confided his feelings in the journal he kept throughout his life and sought comfort in a variety of Western and Eastern religious practices. This search for spiritual transcendence continually influenced his artistic philosophy.

Early Career, 1937-45

In 1937, White relocated from Minneapolis, where he was born and educated, to Portland, Oregon. Determined to become a photographer, he read all the photography books he could get his hands on and joined the Oregon Camera Club to gain access to their darkroom. Within five years, he was offered his first solo exhibition at the Portland Art Museum (1942). White’s early work exhibits his nascent spiritual awakening while exploring the natural magnificence of Oregon. His Cabbage Hill, Oregon (Grande Ronde Valley) (1941) uses a split-rail fence and a coil of barbed wire to demonstrate the hard physical labor required to live off the land as well as the redemption of humankind through Christ’s sacrifice on the cross.

During World War II, White served in Army Intelligence in the South Pacific. Upon discharge, rather than return to Oregon, he spent the winter in New York City. There, he studied art history with Meyer Shapiro at Columbia University, museum work with Beaumont Newhall at the Museum of Modern Art, and creative thought in photography with photographer, gallerist, and critic Alfred Stieglitz (American, 1864-1946).

Midcareer, 1946-64

In 1946, famed photographer Ansel Adams (American, 1902-1984) invited White to teach photography at the California School of Fine Arts (CSFA) in San Francisco. The following year, White established himself as head of the program and developed new methods for training students. His own work during this period began to shift toward the metaphorical with the creation of images charged with symbolism and a critical aspect known as “equivalence,” meaning an image may serve as an idea or emotional state beyond the subject pictured. In 1952, White co-founded the seminal photography journal Aperture and was its editor until 1975.

In 1953, White accepted a job as an assistant curator at the George Eastman House (GEH) in Rochester, New York, where he organized exhibitions and edited GEH’s magazine Image. Coinciding with his move east was an intensification of his study of Christian mysticism, Zen Buddhism, and the I Ching. In 1955, he began teaching a class in photojournalism at the Rochester Institute of Technology and shortly after began to accept one or two live-in students to work on a variety of projects that were alternately practical and spiritually enriching. During the late 1950s and continuing until the mid-1960s, White traveled the United States during the summers, making his own photographs and organizing photographic workshops in various cities across the country.

By the late 1950s, at the height of his career, White pushed himself to do the impossible – to make the invisible world of the spirit visible through photography. White’s masterpiece – and the summation of his persistent search for a way to communicate ecstasy – is the sequence Sound of One Hand, so named after the Zen koan which asks “What is the sound of one hand clapping?”

“White’s sequences are meant to be viewed from left to right, preferably in a state of relaxation and heightened awareness,” says Paul Martineau, associate curator of photographs at the J. Paul Getty Museum and curator of the exhibition. “White called on the viewer to be an active participant in experiencing the varied moods and associations that come from moving from one photograph to the next.”

Late Career, 1965-76

In 1965, White was appointed professor of creative photography at the Massachusetts Institute of Technology (MIT), where he developed an ambitious program in photographic education. As he aged, he became increasingly concerned with his legacy, and began working on his first monograph, Mirrors Messages Manifestations, which was published by Aperture in 1969. The following year, White was awarded a Guggenheim Foundation Fellowship, and he was the subject of a major traveling retrospective organized by the Philadelphia Museum of Art in 1971.

Beginning in the late 1960s and continuing until the early 1970s, White organized a series of groundbreaking thematic exhibitions at MIT – the first of which served as a springboard for forming the university’s photographs collection. In 1976, White died of heart failure and bequeathed his home to the Aperture Foundation and his photographic archive of more than fifteen thousand objects to Princeton University. The exhibition also includes work by two of White’s students, each celebrated photographers in their own right, Paul Caponigro (American, born 1932) and Carl Chiarenza (American, born 1935).

“An important aspect of Minor White’s legacy was his influence on the next generation of photographers,” says Martineau. “Over the course of a career that lasted nearly four decades, he managed to maintain personal and professional connections with hundreds of young photographers – an impressive feat for a man dedicated to the continued exploration of photography’s possibilities.”

Press release from the J. Paul Getty Museum website

 

Minor White. 'Navarro River, California' 1947

 

Minor White 
Navarro River, California
1947
Gelatin silver print
35.6 x 45.7 cm (14 x 18 in.)
Lent by Gloria Katz and Willard Huyck
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Nude Foot, San Francisco, California' Negative, 1947; print, 1975

 

Minor White 
Nude Foot, San Francisco, California
Negative, 1947; print, 1975
Gelatin silver print
22.9 x 30.5 cm (9 x 12 in.)
Promised gift of Daniel Greenberg and Susan Steinhauser Reproduced with permission of the Minor White Archive, Princeton University Art Museum. © Trustees of Princeton University

 

Minor White. 'Pavilion, New York' 1957

 

Minor White 
Pavilion, New York
1957
Gelatin silver print
22.5 x 29.5 cm (8 7/8 x 11 5/8 in.)
Purchased in part with funds provided by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Cabbage Hill, Oregon (Grande Ronde Valley)' 1941

 

Minor White
Cabbage Hill, Oregon (Grande Ronde Valley)
1941
Gelatin silver print
18 x 22.9 cm (7 1/16 x 9 in.)
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White. 'Self-Portrait, West Bloomfield, New York' 1957

 

Minor White
Self-Portrait, West Bloomfield, New York
1957
Gelatin silver print
17.8 x 20.6 cm (7 x 8 1/8 in.)
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

 

Interview with Minor White

Q. How would you like to see photography develop?

A. It makes absolutely no difference what I want it to do. It’s going to do what it’s going to do. All I can do is stand back and observe it.

Q. What don’t you want it to do?

A. That doesn’t make any difference either, It’ll do that whether I want it to or not!

Q. Surely , you’ve got to have some feelings?

A. In one sense I don’t care what photography does at all. I can just watch it do it. I can control my photography, I can do what I want with it  – a little. If I can get into  contact  with something much wiser than myself , and it says get out of photography , maybe I would. I hesitate to say this because I know its going to be misunderstood. I’ll put I this way  – I’m trying to be in contact with my Creator when I photograph. I know perfectly well its not possible to do this all the time, but there can be moments.

Q. Do you see anything in contemporary photography that distresses you?

A. What ever they do is fine.

Q. Is there any work that you are particularly interested in?

A. What ever my students are doing.

Q. There seems to be a passing on of certain sets of ideas and understandings. Do you feel yourself to be an inheritor of a set of ideas or ideals?

A. Naturally. After all I have two parents, so I inherited some thing.  I’ve had many spiritual fathers for example. The photographers who I have been influenced by for example. There have been many other external influences. Students have had an influence. In a sense that’s an inheritance. After a while we work with material that comes to us and it becomes ours, we digest it. It becomes energy and food for us, its ours . And then I can pass it on to somebody else with a sense of responsibility and validity. I am quoting it in my words, it has become mine and that person will take it from me – just as I have taken it from people who have influenced me. Take what you can use, digest it, make it yours, and then  transmit it to your children or your students.

Q. It’s a cycle?

A. No, it’s a continuous line. Not a cycle at all.

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Interview by Paul Hill and Thomas Cooper of Minor White, published in 3 parts in the January, February and March editions of Camera 1977.

 

Minor White. 'Point Lobos, California' 1948

 

Minor White 
Point Lobos, California
1948
Gelatin silver print
16.8 x 19.5 cm (6 5/8 x 7 11/16 in.)
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White. 'San Francisco, California' 1949

 

Minor White
San Francisco, California
1949
Gelatin silver print
18.5 x 18.7 cm (7 5/16 x 7 3/8 in.)
The Museum of Modern Art, New York. Purchase
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Vicinity of Dansville, New York' Negative, 1955; print, 1975

 

Minor White 
Vicinity of Dansville, New York
Negative, 1955; print, 1975
Gelatin silver print
22.9 x 30.5 cm (9 x 12 in.)
Promised gift of Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White Images in the bound sequence 'The Temptation of Saint Anthony Is Mirrors'

 

(top)
Minor White
Images 9 and 10 in the bound sequence The Temptation of Saint Anthony Is Mirrors
1948
Gelatin silver prints
9.3 x 11.8 cm; 11.2 x 9.1 cm
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

(bottom)
Minor White
Images 27 and 28 in the bound sequence The Temptation of Saint Anthony Is Mirrors
1948
Gelatin silver prints
5.3 x 11.6 cm; 10.6 x 8.9 cm
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White. 'Rochester, New York' 1963

 

Minor White 
Rochester, New York
1963
Gelatin silver print
9.2 x 7.3 cm (3 5/8 x 2 7/8 in.)
Promised gift of Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

 

Minor White: Manifestations of the Spirit book

Controversial, eccentric, and sometimes overlooked, Minor White (1908-1976) is one of the great photographers of the twentieth century, whose ideas and philosophies about the medium of photography have exerted a powerful influence on a generation of practitioners and still resonate today. Born and raised in Minneapolis, his photographic career began in 1938 in Portland, Oregon with assignments as a “creative photographer” for the Oregon Art Project, an outgrowth of the Works Progress Administration (WPA).

After serving in World War II as a military intelligence officer, White studied art history at Columbia University in New York. It was during this period that White’s focus started to shift toward the metaphorical. He began to create images charged with symbolism and a critical aspect called “equivalency,” which referred to the invisible spiritual energy present in a photograph made visible to the viewer and was inspired by the work of Alfred Stieglitz. White’s belief in the spiritual and metaphysical qualities in photography, and in the camera as a tool for self-discovery, was crucial to his oeuvre.

Minor White: Manifestations of the Spirit (Getty Publications, 2014) gathers together for the first time a diverse selection of more than 160 images made by Minor White over five decades, including some never published before. Accompanying the photographs is an in-depth critical essay by Paul Martineau entitled “‘My Heart Laid Bare’: Photography, Transformation, and Transcendence,” which includes particularly insightful quotations from his journals, which he kept for more than forty years.

The result is an engaging narrative that weaves through the main threads of White’s work and life – his growth and tireless experimentation as an artist; his intense mentorship of his students; his relationships with Edward Weston, Alfred Stieglitz, and Ansel Adams, who had a profound influence on his work; and his labor of love as cofounder and editor of Aperture magazine from 1952 until 1976. The book also addresses White’s life-long spiritual search and ongoing struggle with his own sexuality and self-doubt, in response to which he sought comfort in a variety of religious practices that influenced his continually metamorphosing artistic philosophy.

Published here in its entirety for the first time is White’s stunning series The Temptation of Anthony Is Mirrors, consisting of 32 photographs of White’s student and model Tom Murphy made in 1947 and 1948 in San Francisco. White’s photographs of Murphy’s hands and feet are interspersed within a larger group of portraits and nude figure studies. White kept the series secret for years as at the time he made the photographs it was illegal to publish or show images with male frontal nudity. Anyone making such images would be assumed to be homosexual and outed at a time when this invariably meant losing gainful employment.

Other works shown in this rich collection are White’s early images of the city of Portland that depict his experimentations with different styles and nascent spiritual awakening; his photographs of the urban streets of San Francisco where he lived for a time; his elegant images of rocks, sandy beaches and tidal pools in Point Lobos State Park in Northern California that are an homage to Edward Weston; and the series The Sound of One Hand made in the vicinity of Rochester, New York where he also taught classes at the Rochester Institute of Technology (RIT) and curated shows at the George Eastman House (GEH). Paul Martineau describes this iconic series as “White’s chef d’oeuvre, the work that is the summation of his persistent search or a way to communicate ecstasy.” Among the eleven images in the Getty collection are Windowsill Daydreaming, Rochester, Night Icicle, 72 N. Union Street, Rochester, and Pavilion, New York.

Text from the J. Paul Getty Museum

 

Minor White. '"Something Died Here," San Francisco, California' 1947

 

Minor White 
“Something Died Here,” San Francisco, California
1947
Gelatin silver print
22.8 x 17.5 cm (9 x 6 7/8 in.)
The Minor White Archive, Princeton University Art Museum, bequest of Minor White
© Trustees of Princeton University

 

Minor White. 'Dodd Building, Portland, Oregon' c. 1939

 

Minor White 
Dodd Building, Portland, Oregon
c. 1939
Gelatin silver print
34.3 x 26.7 cm (13 1/2 x 10 1/2 in.)
Fine Arts Program, Public Buildings Service, U.S. General Services Administration

 

Minor White. 'San Mateo County, California / Leonard Nelson, Vicinity of Stinson Beach, Marin County, California, November 1947' 1947

 

Minor White 
San Mateo County, California / Leonard Nelson, Vicinity of Stinson Beach, Marin County, California, November 1947
1947
Gelatin silver print
30.5 x 50.8 cm (12 x 20 in.)
Los Angeles County Museum of Art, Ralph M. Parsons Fund
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Lily Pads and Pike, Portland, Oregon' c. 1939

 

Minor White 
Lily Pads and Pike, Portland, Oregon
c. 1939
Gelatin silver print
34 x 26.8 cm (13 3/8 x 10 9/16 in.)
Fine Arts Program, Public Buildings Service, U.S. General Services

 

Minor White. 'Design (Cable and Chain), Portland, Oregon' c. 1940

 

Minor White 
Design (Cable and Chain), Portland, Oregon
c. 1940
Gelatin silver print
33.8 x 25.8 cm (13 5/16 x 10 3/16 in.)
Fine Arts Program, Public Buildings Service, U.S. General Services Administration

 

Minor White. 'Peeled Paint, Rochester, New York' 1959

 

Minor White 
Peeled Paint, Rochester, New York
1959
Gelatin silver print
31.1 x 22.9 cm (12 1/4 x 9 in.)
Promised gift of Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Empty Head, 72 N. Union Street, Rochester, New York' 1962

 

Minor White
Empty Head, 72 N. Union Street, Rochester, New York
1962
Gelatin silver print
30 x 23 cm (11 13/16 x 9 1/16 in.)
Purchased in part with funds provided by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Burned Mirror, Rochester, New York' 1959

 

Minor White 
Burned Mirror, Rochester, New York
1959
Gelatin silver print
30.5 x 22 cm (12 x 8 11/16 in.)
Purchased in part with funds provided by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Essence of Boat, Lanesville, Massachusetts' 1967

 

Minor White 
Essence of Boat, Lanesville, Massachusetts
1967
Gelatin silver print
31.8 x 23.8 cm (12 1/2 x 9 3/8 in.)
Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Ivy, Portland, Oregon' Negative,1964; print, 1975

 

Minor White 
Ivy, Portland, Oregon
Negative,1964; print, 1975
Gelatin silver print
22.9 x 30.5 cm (9 x 12 in.)
Promised gift of Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. '72 N. Union Street, Rochester, New York' 1960

 

Minor White 
72 N. Union Street, Rochester, New York
1960
Gelatin silver print
30.5 x 24.1 cm (12 x 9 1/2 in.)
Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Moencopi Strata, Capitol Reef National Park, Utah' 1962

 

Minor White 
Moencopi Strata, Capitol Reef National Park, Utah
1962
Gelatin silver print
32.7 x 24.1 cm (12 7/8 x 9 1/2 in.)
Promised gift of Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Windowsill Daydreaming, Rochester, New York' 1958

 

Minor White 
Windowsill Daydreaming, Rochester, New York
1958
Gelatin silver print
24.4 x 25.1 cm (9 5/8 x 9 7/8 in.)
Purchased in part with funds provided by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Notom, Utah' 1963

 

Minor White 
Notom, Utah
1963
Gelatin silver print
39.4 x 31.1 cm (15 1/2 x 12 1/4 in.)
The J. Paul Getty Museum, Los Angeles
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Gloucester, Massachusetts' 1973

 

Minor White
Gloucester, Massachusetts
1973
Gelatin silver print
21.6 x 29.2 cm (8 1/2 x 11 1/2 in.)
Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Batavia, New York' 1958

 

Minor White
Batavia, New York
1958
Gelatin silver print
34 x 20.3 cm (13 3/8 x 8 in.)
Purchased in part with funds provided by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. 'Night Icicle, 72 N. Union Street, Rochester, New York' 1959

 

Minor White 
Night Icicle, 72 N. Union Street, Rochester, New York
1959
Gelatin silver print
30.5 x 23 cm (12 x 9 1/16 in.)
Purchased in part with funds provided by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Minor White. '203 Park Ave., Arlington, Massachusetts' 1966

 

Minor White
203 Park Ave., Arlington, Massachusetts
1966
Gelatin silver print
34.3 x 12.7 cm (13 1/2 x 5 in.)
Promised gift of Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

gm_34199701-WEB

 

Minor White 
Easter Sunday, Stony Brook State Park, New York
1963
Gelatin silver print
23.7 x 9.2 cm (9 5/16 x 3 5/8 in.)
Promised gift of Daniel Greenberg and Susan Steinhauser
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

 

Minor White. 'Mission District, San Francisco, California' 1949

 

Minor White 
Mission District, San Francisco, California
1949
Gelatin silver print
33.8 x 9.5 cm (13 5/16 x 3 3/4 in.)
The Museum of Modern Art, New York. Purchase
Reproduced with permission of the Minor White Archive, Princeton University Art Museum. © Trustees of Princeton University

 

 

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

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

The J. Paul Getty Museum website

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01
Oct
12

Exhibition: ‘Lutz Bacher / MATRIX 242’ at the Berkeley Art Museum and Pacific Film Archive (BAMPFA), University of California, Berkeley, San Francisco

Exhibition dates: 18th July – 7th October 2012

 

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

 

 

 

Lutz Bacher
Bien Hoa (detail)
2006-07
inkjet print mounted on aluminum
24 x 36 in.
Courtesy of Ratio 3, San Francisco

 

 

Lutz Bacher
Bien Hoa (detail)
2006-07
inkjet print mounted on aluminum
24 x 36 in.
Courtesy of Ratio 3, San Francisco

 

 

“Since Lutz Bacher’s first MATRIX exhibition in 1993, the Berkeley-based artist has become a leading figure in contemporary art; she was the subject of a retrospective at MoMA PS1 in 2009 and was included in the 2012 Whitney Biennial. MATRIX 242 presents an important but rarely seen series from 2006–07 that sheds light on the artist’s often elusive practice.

Bien Hoa is is based on a set of ten photographs Bacher discovered at a Berkeley salvage store. All of the photographs were created by an American soldier named Walter, who was stationed at Bien Hoa Air Base during the Vietnam War. Walter inscribed the backs of all but two of the pictures before mailing them home to his partner in Oakland. Bacher has enlarged and reprinted the photographs to hang above the verso of the originals, which disclose Walter’s annotations. These have a surprisingly casual tone, given what must have been the harrowing experience of being a soldier stationed in Vietnam. In some cases, Walter’s inscriptions sound almost like a tourist writing a postcard; in others, he seems to have been more concerned with the composition of the image than with the grisly content of a scene. “This is Bien Hoa looking at it from the Air Base. This is a pretty good picture. Now do you think that’s beautiful? Can you see the wire, keeping the people from attacking the Air Base? That’s what those fences are out there for.” 

By strategically juxtaposing these images and texts, and placing them in a museum setting, Bacher reveals the slippery nature of perception. She prompts us to wonder, Why was Walter so concerned with the quality of his images? Why were these photographs discarded? What became of Walter?”

Text from the BAM/PFA website

 

 

Lutz Bacher
Bien Hoa (detail)
2006-07
inkjet print mounted on aluminum
24 x 36 in.
Courtesy of Ratio 3, San Francisco

 

 

The ten photographic sets that make up Lutz Bacher’s Bien Hoa (2006-07) are deceptively simple. Large color inkjet images, reproductions of yellowed black-and­white photographs, are presented above handwritten notes written on the backs of the original prints. The annotations were made by a man stationed at Vietnam’s Bien Hoa Air Force Base in 1969, identified only as Walter, who is alternately the author and the subject of the images. We see Walter posing at a military desk with his section chief, in an armed helicopter adorned with a playboy bunny, in front of sand­bagged barracks, and at gunpoint, “surrendering” to a Vietnamese woman. Other photographs depict the bleak situation – burned-out helicopters, fire drills, and fences separating the base from the local town. Bacher found the cache of photographs, which had been mailed from Vietnam, at a Berkeley salvage store. Originally meant for an intimate audience, the photos are displaced by Bacher’s decision to remake them as her art. She channels the voice of an African American man fighting in the Vietnam War, decisively situating that voice, through her own authorship, in a new time and context.

On their own, the images are charged with America’s uneasy history of armed aggression and recall our complex legacy of racism and popular unrest; with Walter’s notes, however, that general discomfort becomes deeply personal. Referring to an image of himself seated inside a helicopter he writes: “This is a Huey Cobra, the badest [sic] Helicopter in Vietnam. Those are rockets on the side of the ship. I wish I could take off and come home. Your Man, Walter.” With his comments, Walter reveals feelings of complicity in the military apparatus of the war, as well as his desire to return home. It is hard not to wonder how Walter wound up in Vietnam and what became of him: was he drafted or enlisted by the many recruiters targeting African American neighborhoods at the time, promising subsidies? Did he return home safely?

Presented, as they are here, in a museum setting, Walter’s self-conscious commentaries on his photographs take on new relevance. In some cases, Walter’s inscriptions sound almost like a tourist writing a postcard; in others, he seems to have been more concerned with the composition of the image than with the grisly content of a scene: “This is a practice session that the Fire Department has every now and then. They are practicing on a burning helicopter. I messed up on my border at the top of the picture.” Bacher’s enlargements invite us to hone in on these details and scrutinize the photographs aesthetically, as Walter directs: “This is Bien Hoa looking at it from the Air Base. This is a pretty good picture. Now do you think that’s beautiful? Can you see the wire, keeping the people from attacking the Air Base?” Walter’s grim interjections foil our sense of detached aesthetic judgment.

Likewise, Bacher, conspiring with Walter, complicates easy explanations of her work. Curiously, the only two photographs in the series that remain unannotated feature a gun. In the first, Walter poses solemnly in front of sandbagged barracks in full military uniform. In the second, he is dressed in Vietnamese garb, playfully surrendering at gunpoint to a local woman. This reversal, from American soldier to Vietnamese prisoner, illustrates not only the paradox of Walter’s situation, but also Bacher’s. Without captions to describe Walter’s feelings, it is unclear if he fought willingly or if, like many soldiers at that time, he was ambivalent about our presence in Vietnam, or perhaps even sympathized with the local’s desire to enact political change. Faced with these gaps in explanation, viewers are left to wonder about Walter’s intentions in setting up the photographs as he did, with this strange role reversal. The reasons for Bacher’s own reversal, exchanging her voice for Walter’s, is also left ambiguous.

Shifting between Walter, of whom nothing is known, and Bacher, Bien Hoa’s narrative refuses to be fixed in any one time or place. For that reason, the work feels contemporary, alive with the contradictions that make up our present moment. Bacher uses found images, objects, and text to confound easy understandings of authorship, gender, race, violence, and power. Despite being composed of discarded photographs, Bien Hoa resonates as a pivotal description of a fraught moment in United States history, yet this history still feels open to interpretation. Bacher, exhuming the photographs and aligning her voice with Walter’s, inverts any sense of their cohesion.”

Dena Beard
Assistant Curator
Exhibition brochure

 

 

Lutz Bacher
Bien Hoa (detail)
2006-07
inkjet print mounted on aluminum
24 x 36 in.
Courtesy of Ratio 3, San Francisco

 

 

Lutz Bacher
Bien Hoa (detail)
2006-07
inkjet print mounted on aluminum
24 x 36 in.
Courtesy of Ratio 3, San Francisco

 

 

Berkeley Art Museum and Pacific Film Archive

BAMPFA is located at 2155 Center Street
between Oxford Street and Shattuck Avenue, in downtown Berkeley
Phone: (510) 642-0808

Opening hours:
Wednesday, Thursday, Sunday, 11 am – 7 pm
Friday and Saturday, 11 am – 9 pm

Berkeley Art Museum and Pacific Film Archive website

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01
Jun
12

Exhibition: ‘Arthur Tress: San Francisco 1964’ at the de Young Museum, San Francisco

Exhibition dates:  3rd March – 3rd June 2012

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These early figurative urbanscapes by Arthur Tress show the beginnings of his later Surrealist pictorial style (do a Google images search on Tress to see what I mean). From the Eggleston-esque tricycle in Untitled (Ocean Beach), the three spooky faces in Untitled (Coit Tower)* to the most prescient, the photograph Untitled (Legion of Honor Museum), there is a direct thematic link to the later, more famous 1970s work. What a beautiful and disturbing photograph Legion of Honor Museum is.

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

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*Notice the low vantage point of the camera at knee level (as the photographer crouched down) that imparts a monumental, robo-human feel to the sculptures.

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Arthur Tress
Untitled (Van Ness at Geary Boulevard)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (City Hall)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (Coit Tower)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (Ocean Beach)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (Fisherman’s Wharf)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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“In the summer of 1964, San Francisco was ground zero for a historic culture clash as the site of both the 28th Republican National Convention (the “Goldwater Convention”) and the launch of the Beatles’ first North American tour. The young photographer Arthur Tress arrived at this opportune moment in the city’s history and found himself in the midst of large-scale civil rights demonstrations and chaotic political pageantry. With a unique sensibility perfectly attuned to this quirky metropolis, he set about to capture the odd spectacle of San Francisco.

Over 70 photographs included in Arthur Tress: San Francisco 1964 range from public gatherings to impromptu street portraits, views of the peculiar contents of shop windows and commercial signs. This is the first museum exhibition of a virtually unknown body of Tress’s early work. Curator James Ganz explains, “This exhibition offers an evocative time capsule of the City by the Bay and makes a fascinating contribution to the region’s rich photographic legacy.” The exhibition runs March 3 to June 3, 2012 at the de Young Museum.

The subject matter of Arthur Tress: San Francisco 1964 breaks down into three broad categories: public gatherings, including civil rights and political rallies; portrait studies of San Franciscans; and views of shop windows, commercial signs and architectural fragments. Often these categories overlap. In photographing events such as the Auto Row demonstrations, Tress was interested in recording passive bystanders, as well as active participants. His candid images of spectators lining the streets of San Francisco, whether isolated or in groups, capture the distinctive fashions, expressions and body language of the era. The frequent incursions of commercial logos and signage add to the contemporary flavor of the photographs, effectively fixing time and place. The exhibition captures the flavor of San Francisco without featuring its most familiar monuments. Tress’s approach to the city was idiosyncratic, generally avoiding popular tourist sites such as the Golden Gate Bridge and Chinatown, while favoring mundane locales like laundromats and coffee shops. Ganz observes, “Tress is a photographer of people rather than landmarks. Given the option of pointing his lens at an attraction like Coit Tower or at a tourist observing the monument, he will always favor the human element over the architectural setting.”

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Brief Biography

Born in 1940, Arthur Tress was raised in Brooklyn and started experimenting with photography in his teens. After graduating from Bard College in 1962, Tress traveled internationally for four years as an ethnographic and documentary photographer. It was during this international tour that he spent the summer of 1964 in San Francisco focusing his lens on city life. Tress developed his San Francisco negatives in a communal darkroom in the Castro District and mounted two small exhibitions in North Bay galleries that summer. He went on to pursue a long and accomplished career in photography that continues to this day.”

Press release from the de Young Museum website

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Arthur Tress
Untitled (Legion of Honor Museum)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (Powell Street)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (Union Square)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (City Hall)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (5th and Market)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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The de Young Museum
50 Hagiwara Tea Garden Drive
Golden Gate Park
San Francisco

Opening hours:
Tuesday – Sunday 9:30 am – 5:15 pm
Monday Closed

The de Young Museum website

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27
Nov
11

Exhibition: ‘Postwar Propliners in Miniature: Models from the Collection of Anthony J. Lawler’ at SFO Museum (SFOM), San Francisco International Airport

Exhibition dates: June 2011 – December 2011

Location: Aviation Museum and Library 1 – Front Wall Cases

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One of my favourite postings in a long while. As an inveterate collector how I would love to have these in my collection. What beautiful aircraft; what graceful models; what simple, gorgeous photographs by photographer Chad Michael Anderson. The Lockheed Constellation /Starliner has to be one of the most delirious aircraft ever made!

Many thankx to John Hill, Assistant Director, Aviation for his help and to SFO Museum for allowing me to publish the text and the photographs. Attribution for the photographs is to the SFO Museum (actual photographer unknown). Please click on the photographs for a larger version of the image.

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Lockheed Aircraft Co., Burbank, California
American Overseas Airlines Lockheed L-049 Constellation
c. 1946
Scale 1:44
metal, paint
Collection of Anthony J. Lawler

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Maarten Matthys Verkuyl (Dutch)
KLM (Koninklijke Luchtvaart Maatschappij) Royal Dutch Airlines Douglas DC-6
c. 1950
scale 1:48
metal, paint
Collection of Anthony J. Lawler

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Shawcraft Models, Uxbridge, England
BEA Airspeed AS.57 Ambassador
1950s
scale 1:48
wood, metal, paint
Collection of Anthony J. Lawler

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La Maquette d’Etude et d’Exposition à Aubervilliers, France
Air France Breguet 763 Provence
1950s
scale 1:50
wood, plastic, metal, paint
Collection of Anthony J. Lawler

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“Immediately following the end of World War II in 1945, airlines and passengers benefited from a surplus of inexpensive, advanced propeller-driven transport aircraft, or “propliners.” Over the next fifteen years, commercial aviation expanded rapidly as airlines persistently requested improved propliner designs to lower costs, attract new customers, and gain advantages over competitors. In meeting these demands the manufacturers of North America and Europe developed increasingly superior aircraft. These included the jet-powered turboprop airliners that flew successively faster, higher, and farther.

Making scale models of these airliners was an important part of the design, manufacturing, and marketing process during this period. Crafted by in-house model shops or independent model makers, they represented the new designs in miniature for convenient three-dimensional analysis. Accurately painted livery schemes on the models helped the airlines to imagine the new airliner operating within their fleet. Carriers also commissioned the making of models to promote their improved services in airline offices and travel agencies. During the late 1940s and early 1950s, they were usually made of sheet or cast metal and complemented with metal bases often formed into unique streamline shapes. By the late 1950s, models began to be produced from plastic, which was easier to mold into intricate shapes and reflected the proliferation of new synthetic resins.

These models represent the age of postwar propliners, which lasted until the 1960s when faster, more fuel-efficient and propeller-less turbojet airliners began to supersede them. They are from the collection of Anthony J. Lawler, an aviation industry professional and avid airplane model collector since first seeing the De Havilland Comet – the world’s first jetliner – fly over his boyhood home in Rhodesia. Mr. Lawler has spent decades assembling one of the finest collections of scale airliner display models, most of which were acquired while working as a senior sales representative for Airbus North America during the 1980s and 1990s. His collection spans a century of commercial aviation design innovation.”

Text from the SFO Museum website

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Raise-Up Models, Rotterdam, Netherlands
REAL (Redes Estaduais Aéreas Limitadas) Transportes Aéreos Lockheed 1049H Super Constellation
1950s
metal, paint
Collection of Anthony J. Lawler

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Peter V. Nelson, Reading, England
Trek Airways Lockheed 1649 Starliner
early 1960s
scale 1:62
metal, paint
Collection of Anthony J. Lawler

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Westway Models, London, England
BOAC Bristol Britannia 300
late 1950s
scale 1:72
metal, plastic, wood, paint
Collection of Anthony J. Lawler

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U.S.S.R.
Aeroflot Tupolev Tu-114 Rossiya
early 1960s
scale 1:100
metal, paint, plastic
Collection of Anthony J. Lawler

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SFO Museum 
San Francisco International Airport
P.O. Box 8097
San Francisco, CA 94128 USA
T: 650.821.6700

SFO Museum website

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03
Jan
10

Exhibition: ‘Lisette Model’ at the Instituto de Cultura, Fundacion MAPFRE, Madrid

Exhibition dates: 23rd September 2009 – 10th January 2010

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An interesting discussion of the life and work of Lisette Model (and her influence on Diane Arbus and vice versa) can be found on the AMERICANSUBURB X: THEORY website in an article titled Ann Thomas on Lisette Model.” More photographs by Lisette Model can be found on the Masters of Photography website including some fabulous “Running Legs” images.

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Lisette Model
‘Albert-Alberta, Hubert’s Forty-second Street Flea Circus’
New York
1945

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Lisette Model
‘Running Legs, 5th Avenue [Jambes de passants, 5e avenue]’
New York
c. 1940-1941

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Lisette Model
‘Riviera – elderly woman’ from the series ‘Promenade des Anglais’
Nice
c.1934

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Lisette Model
‘Sammy’s’
New York
1940-44

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Lisette Model
‘Belmont Park’
New York
1956

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“If Lisette Model took up photography as a way of earning a living, it is also true that she always fought for her own subjects, rather than simply carry out the assignments given by editors. She believed that for a photograph to be successful its subject had to be something that “hits you in the stomach.” This could be something familiar or something unfamiliar. For Model, the camera was an instrument for probing the world, a way of capturing aspects of a permanently changing reality that otherwise we would fail to see.

Model always said that she looked but did not judge. Yes, her photographs of the Promenade des Anglais in Nice were published by the left-wing journal Regards, in 1935, but she was not interested exclusively either in the rich or in the poor, and her images are much more about human relations. Her work evinces empathy, curiosity, compassion and admiration, and reflects the photographer’s attraction to voluminous forms, energy and liveliness, to emphatic gesture and expression: the world as stage. The critic Elizabeth McCausland has described Model’s camerawork as expressing “a subconscious revolt against the rules.”

This exhibition of some 120 of Lisette Model’s most representative photographs illustrates the very bold and direct approach to reality that made her one of the most singular proponents of street photography, the particular form of documentary photography that developed in New York during the 1940s, through the camerawork of such as Helen Levitt, Roy de Carava and Weegee.

Alongside the photographs, archive film and sound recordings of Lisette Model will evoke the photographer’s life, and there will be copies of magazines to which she contributed (Regards, Harper’s Bazaar, etc.).

Exhibition organized by Jeu de Paume and Fundación MAPFRE, Madrid.”

Text from the Jue de Paume website

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Lisette Model
‘Metropole Cafe’
New York
c. 1946

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Lisette Model
‘Gambler, French Riviera’
1937

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Lisette Model
‘San Francisco’
1949

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Lisette Model
‘Reflection [Reflet]’
New York
c. 1939-1945

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Lisette Model
‘Woman with Veil, San Francisco’
1949

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Lisette Model
‘Coney Island Bather [Baigneuse, Coney Island]’
New York
c. 1939-1941

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Jeu de Paume website

Lisette Model – Fundacion MAPFRE website

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11
Aug
09

Exhibition: ‘Hunted and Gathered: Photographs’ from the Private Collection of Robert Flynn Johnson at Modernism, San Franciso

Exhibition dates: July 9th – August 29th, 2009

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Anonymous. 'The Dancer, Ted Shawn, Boston Dance Theater' 1929

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Anonymous
‘The Dancer, Ted Shawn, Boston Dance Theater’
1929

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Pierre Nobel. 'Still Life' c.1935

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Pierre Nobel
‘Still Life’
c.1935

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Charles Jones. 'Plum, Laxton Early Red' c.1910

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Charles Jones
‘Plum, Laxton Early Red’
c.1910

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Anonymous. 'Acrobat Piroska at the Latin Quarter (Published in Life Magazine)' c.1945

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Anonymous
‘Acrobat Piroska at the Latin Quarter (Published in Life Magazine)’
c.1945

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Modernism presents a wonderful and intriguing selection of photographs from the private collection of Robert Flynn Johnson. Robert Flynn Johnson is emeritus faculty in the Printmaking department. He is the curator in charge of the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco, a position he has held since 1975.

This exhibition coincides with the publication of his second book on vernacular photography, The Face in the Lens: Anonymous Photographs (University of California Press).

“When I am asked what it takes to become an accomplished collector, it is not the qualities of knowledge, judgment or that elusive term “taste” that comes to mind. Instead, it is the ability to be curious that is the crucial element in the makeup of a true collector – the ability to ask questions, to learn, and to get answers regarding works of art that catch your eye and move your emotions,” Robert Flynn Johnson said.

He added, “For more than thirty-five years I have followed my curiosity in passionately seeking out photographs that have stirred my imagination. Some of them have been by great artistic masters of the medium, while others have been anonymous photographic orphans that have nothing going for them but the image itself. Both types of photographs are included in this exhibition.”

“I have made a varied, and some may say eccentric, selection of images. From a heart-stopping snapshot of acrobats posed in a three-man handstand perched on the ledge of the 108th floor of the Empire State building, to a tender portrait of Marilyn Monroe and Joe DiMaggio that captures the instant before their lips meet in their first kiss as a married couple, They these pictures are a true reflection of my collecting philosophy that is attracted to profound, beautiful, humorous, and absurd aspects of life and art.”

“Nevertheless, I hope they these works convey some of the visual surprise and delight to you that I felt when I first saw each and every one of them.”

Oscar Wilde once said that the only person that liked all art equally was an auctioneer! I do not expect viewers to appreciate all the photographs in this exhibition, but through my visual curiosity in collecting them over time, I did, and that is why they are here together today.”

Text from Artdaily.org website

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Anonymous. 'Czechoslovakia Train' c.1930

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Anonymous
‘Czechoslovakia Train’
c.1930

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Anonymous. 'United Kingdom Train' c.1930

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Anonymous
‘United Kingdom Train’
c.1930

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Sasha. 'Archer Leaping Through the Air' c.1930

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Sasha
‘Archer Leaping Through the Air’
c.1930

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Leopold Hugo. 'Craters of the Moon, Idaho' 1920

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Leopold Hugo
‘Craters of the Moon, Idaho’
1920

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Modernism
685 Market St., Suite 290
San Francisco, CA 94105

Opening Hours: Tuesday – Saturday, 10am – 5:30pm

Modernism website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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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.

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