Posts Tagged ‘Self-portrait with camera

27
Jun
21

Exhibition: ‘Friedrich Seidenstücker – Life in the City: Photographs from the 1920s to 1940s’ at the Käthe Kollwitz Museum, Cologne

Exhibition dates: 21st May – 15th August 2021

 

Friedrich Seidenstücker (German, 1882-1966) 'Family tandem' 1947

 

Friedrich Seidenstücker (German, 1882-1966)
Family tandem
1947
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

 

Recognising small diversions

A photographer I knew nothing about. Now I do.

The museum supplied me with 15 media images – hardly enough to give an overview of a life’s work – so I have supplemented them with more images, the best I could find, to give a broader idea of this artist’s work. Unfortunately, there are hardly any large photographs of his nudes or his important photographs of the destruction of Berlin directly after the war online.

An anonymous text on the The Wall Street Journal website (see below) observes that Seidenstücker’s pre- and post war photographs of Berlin “can seem a bit like moral disengagement when one recalls that the era saw the Nazis’ rise, World War II and the dismembering of Berlin itself… Even his shots of postwar rubble work hard to avoid the abyss. Kids and picnickers make the best of the ruins, napping amid the broken bricks or heaping them into playful piles.”

This is hardly true from the photographs I have seen. With a twinkle in his eye and a delicious sense of humour, Seidenstücker documents the mass and form of “the hardships and travail, but also of the longings, the small diversions, and the pleasures of life in the city.” Here is hard work and exhaustion, happiness and poverty, beauty and the ungainly. Impoverished Jewish women gather while coal porters trudge… and in the small photographs of his postwar ‘ruins’ work that I have viewed, hardly a picnicker can be observed.

Seidenstücker was a ‘Momentknipser’ (capturer of the moment) who “documents people in the social fabric of the modern metropolis with an attentive eye and keen intuition”. Which poses the question… does every photograph have to be political? Does every photograph have to be reinterpreted many years later for hidden ‘manifestations of will’ in which the artist knowingly or unknowingly made decisions about what, and who, to photograph?

Or can a photograph exist not only in the moment it was taken, but in the extension of that moment into present and future time just as it is? Can we simply accept that the artist captured what he was interested in through a process of Purpose – Aim – Goal – Valuation – Motivation – Intention, in “empathy, that is, the capacity to enter, so to speak, into the skin of others, and by means of intuitive imagination, become aware of the effects our words and acts may produce.”

Photographs are declarative, they make information known. To take a photograph of the world is not to image in reduction, in simplification – everything is political – for this act in itself is a form of interpretive fascism. Thus, we cannot prescribe a way for them to be interpreted much as we cannot prescribe a way for them to be taken.

As he strolls through the city Seidenstücker’s considered urges to action (the taking of photographs) arrive in the form of superconscious “illuminations” of everyday life. Through his intuitions and inspirations he records ostensibly incidental events and occurrences. These incidental events and occurrences, these puddle jumpers, can only be seen if the mind and will of the excursionist (those that run) are attuned and receptive, are empathetic to the wor(l)ds of others.

Dr Marcus Bunyan

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

 

 

Friedrich Seidenstücker (German, 1882-1966) 'Stettiner Bahnhof railway station' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Stettiner Bahnhof railway station
1930
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

 

“Friedrich Seidenstücker (1882-1966) is the flaneur among Berlin photographers. As a 22 year-old trained mechanical engineer, he came to the German capital where he worked as an airplane constructor with Zeppelin AG in Potsdam during the First World War. He cultivated his eye for detail in another regard as well, as a precise chronicler with the camera. At 32, he began another course of studies in sculpture, but always kept turning back to his other passion, photography, which he finally made a profession in 1930 upon signing a contract with Ullstein publishing. From then on, he worked for magazines such as Der Querschnitt (The Profile), Illustrierte Zeitung (Illustrated Newspaper), UHU, Die Neue Linie (The New Line), Die Dame (The Lady) and Die Woche (The Weekly). Above all, Seidenstücker became famous for his awareness of every day life, pictures from the Berliner zoo and nude photographs. Similar to Herbert List in Munich, Richard Peter in Dresden or Hermann Claasen in Cologne, he strikingly documented the post-war ruins of Berlin. What interested him overridingly was the unspectacular, the charm of the second glance.”

Dr Boris von Brauchitsch. “Friedrich Seidenstücker,” on the Lumas website [Online] Cited 20/06/2021

 

“Friedrich Seidenstücker (1882-1966) didn’t sell his first photograph until he was 46. Trained as a sculptor, he never lost his eye for mass and form. His photographs of Berlin daily life during the 1920s, ’30s and ’40s freeze passersby in poses either accidentally graceful or, more frequently, droll and ungainly. In Shine (1925), four women clamber out of a swimming pool; the title refers to the wet gleam of the fabric on their behinds… Seidenstücker relished confounding man and beast, as in the image of a curious rhino peering at a seemingly captive zookeeper. On a trip to Copenhagen, he snapped a man whose splay-footed waddle evokes nothing so much as a penguin – indeed, he is dragging a box of fish down the sidewalk. But the irony on display … can seem a bit like moral disengagement when one recalls that the era saw the Nazis’ rise, World War II and the dismembering of Berlin itself. ‘This entire period did not agree with me’ was Seidenstücker’s understated explanation – though during the war he sustained a Jewish friend with gifts of food. Even his shots of postwar rubble work hard to avoid the abyss. Kids and picnickers make the best of the ruins, napping amid the broken bricks or heaping them into playful piles.”

Anonymous. “Photo-Op: Zoo View,” on The Wall Street Journal website [Online] Cited 20/06/2021

 

 

Friedrich Seidenstücker (1882-1966) is one of the most important chroniclers of everyday life in Berlin during the Weimar Republic. His atmospheric photographs, mostly taken on his strolls through the city, tell of ostensibly incidental events and occurrences: of Sunday fun and everyday work, of children playing in the street and the goings-on at railway stations and in the zoo. Seidenstücker shows – often from a humorous perspective – the people and life in the metropolis. At the same time, his photographs make the hardships of big-city existence visible and, in the background, repeatedly allow the contrasts of social reality in the interwar years to shine through.

The exhibition featuring 100 works from the Ann and Jürgen Wilde Foundation, Bavarian State Painting Collections, Munich, invites you to follow Friedrich Seidenstücker on his walks through Berlin 100 years ago.

 

The art of the moment

With few exceptions, the ‘Momentknipser’ (capturer of the moment), as he called himself, found his motifs outside on the street. As visual metaphors, his famous photographs of ‘Pfützenspringerinnen’ (puddle-leapers) represent metropolitan modernity and urban life. With a portable camera and a light-sensitive lens, he instinctively documented many other scenes and figures – including small tradesmen such as porters, coachmen, and travelling salesmen, as well as nannies, rubbish collection workers, and newspaper vendors – in their daily activities, but also while waiting or resting.

 

“I am an excursionist / I’m a day tripper

Seidenstücker characterised himself thusly and set out to accompany his models to the Wannsee beach or to see the cherry blossoms in Werder. His favourite place, however, was the Berlin Zoological Garden. In his photographs taken here, it is not only the enthusiasm of the zoo visitors that becomes visible – occasionally, the observer and the observed seem to reverse their roles: Are the animals also interested in the people?

Seidenstücker’s photographs from the 1920s to the ’40s are images of everyday life, early street photography that documents people in the social fabric of the modern metropolis with an attentive eye and keen intuition. With a twinkle in his eye, he created images that give us today an idea of the hardships and travail, but also of the longings, the small diversions, and the pleasures of life in the city.

The exhibition was organised in special cooperation and with the scientific support of the Ann and Jürgen Wilde Foundation, Bavarian State Painting Collections, Munich.

Press release from Käthe Kollwitz Museum translated from the German

 

Friedrich Seidenstücker (German, 1882-1966) 'Puddle jumpers' 1925

 

Friedrich Seidenstücker (German, 1882-1966)
Puddle jumpers
1925
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemälde, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Children in the city' 1928

 

Friedrich Seidenstücker (German, 1882-1966)
Children in the city
1928
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Dog painter' 1928

 

Friedrich Seidenstücker (German, 1882-1966)
Dog painter
1928
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Encounters in the zoo' 1926

 

Friedrich Seidenstücker (German, 1882-1966)
Encounters in the zoo
1926
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Lastenträger' (Load carrier) 1928

 

Friedrich Seidenstücker (German, 1882-1966)
Lastenträger (Load carrier)
1928
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Hotel servant' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Hotel servant
1930
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Potsdamer Platz' After 1931

 

Friedrich Seidenstücker (German, 1882-1966)
Potsdamer Platz
After 1931
© Stiftung Ann und Jürgen Wilde,
Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Celebrities snapped, Berlin Zoological Garden' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Celebrities snapped, Berlin Zoological Garden
1930
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Photo school' 1920-30s

 

Friedrich Seidenstücker (German, 1882-1966)
Photo school, amateur photographers, Berlin
1920-30s
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Berlin Nord im Wedding' 1923

 

Friedrich Seidenstücker (German, 1882-1966)
Berlin Nord im Wedding
1923
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Zebras' 1920-30s

 

Friedrich Seidenstücker (German, 1882-1966)
Zebras
1920-30s
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'In his father's trousers' c. 1950

 

Friedrich Seidenstücker (German, 1882-1966)
In his father’s trousers
c. 1950
© Stiftung Ann und Jürgen Wilde, Bayerische Staatsgemäldesammlungen, München

 

Friedrich Seidenstücker (German, 1882-1966) 'Self-portrait with camera' c. 1925

 

Friedrich Seidenstücker (German, 1882-1966)
Self-portrait with camera
c. 1925
© Archiv Ann und

 

Seidenstücker poster for the special exhibition

 

Poster for the special exhibition
Design: Michael Krupp
Motif: Friedrich Seidenstücker, family tandem, 1947
© Ann and Jürgen Wilde Foundation, Bayerische Staatsgemäldesammlungen, Munich

 

 

More photographs

Friedrich Seidenstücker (German, 1882-1966) 'Untitled (Sch)' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Untitled (Sch)
1930

 

Friedrich Seidenstücker Untitled, c. 1930

 

Friedrich Seidenstücker (1882-1966)
Untitled
c. 1930
Vintage print
6 15/16 x 5 1/16 in. (17.6 x 12.9cm)
Galerie Berinson, Berlin
Photo: Galerie Berinson, Berlin

 

 

Friedrich Seidenstücker (1882-1966) is noted for his atmospheric photographs of everyday life in Berlin during the Weimar Republic. Thanks to his compassionate studies of animals, he has an almost legendary reputation among animal and zoo lovers, and his haunting pictures of Berlin in ruins are a precious source of material for historians. His images seem to be spontaneous, sympathetic examples of the kind of photography that excels at capturing the moment. They are free of any exaggeration or extravagance, and display a sense of humour rarely found in photography. His work is buoyed by a fundamental optimism, yet it does not ignore the harshness, poverty, and suffering that prevailed at that time.

 

Friedrich Seidenstücker (German, 1882-1966) 'Potsdamer Bahnhof, Berlin' 1932

 

Friedrich Seidenstücker (German, 1882-1966)
Potsdamer Bahnhof, Berlin
1932

 

Friedrich Seidenstücker (German, 1882-1966) 'Alexanderplatz, Berlin' 1928

 

Friedrich Seidenstücker (German, 1882-1966)
Alexanderplatz, Berlin
1928

 

Friedrich Seidenstücker (1882-1966) 'Two walruses emerging from water' 1925-1935

 

Friedrich Seidenstücker (German, 1882-1966)
Two walruses emerging from water
1925-1935

 

Friedrich Seidenstücker (1882-1966) 'Polar bear, Berlin Zoo' 1929

 

Friedrich Seidenstücker (German, 1882-1966)
Polar bear, Berlin Zoo
1929

 

 

Polar bear perspective: who is actually behind bars here? Photographer Seidenstücker often seemed to have been closer to animals than to humans – this is the impression made by many of his photographs, such as those from 1929 at the Berlin Zoo.

 

Friedrich Seidenstücker (1882-1966) 'Pelican, Berlin Zoo' 1928

 

Friedrich Seidenstücker (German, 1882-1966)
Pelican, Berlin Zoo
1928

 

Friedrich Seidenstücker (1882-1966) 'Berlin Zoo' 1933

 

Friedrich Seidenstücker (German, 1882-1966)
Berlin Zoo
1933

 

Friedrich Seidenstücker (1882-1966) 'Berlin Zoo' 1936

 

Friedrich Seidenstücker (German, 1882-1966)
Berlin Zoo
1936

 

Friedrich Seidenstücker (1882-1966) 'Curious goat' 1920-30s

 

Friedrich Seidenstücker (German, 1882-1966)
Curious goat
1920-30s

 

Friedrich Seidenstücker (1882-1966) 'Monday morning, Oberbaumbrücke, Berlin' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Monday morning, Oberbaumbrücke, Berlin
1930

 

Friedrich Seidenstücker (1882-1966) 'Posing javelin thrower' 1932-1938

 

Friedrich Seidenstücker (German, 1882-1966)
Posing javelin thrower
1932-1938

 

Friedrich Seidenstücker (1882-1966) 'Berlin' 192

 

Friedrich Seidenstücker (German, 1882-1966)
Berlin
1925

 

Friedrich Seidenstücker (1882-1966) 'Kleines Mädchen malt mit Kreide auf den Straßenasphalt' (Little girl paints with chalk on the asphalt road) 1925-1930

 

Friedrich Seidenstücker (German, 1882-1966)
Kleines Mädchen malt mit Kreide auf den Straßenasphalt (Little girl paints with chalk on the asphalt road)
1925-1930

 

Friedrich Seidenstücker (1882-1966) 'Elderly couple in Berlin' 1929

 

Friedrich Seidenstücker (German, 1882-1966)
Elderly couple in Berlin
1929

 

Friedrich Seidenstücker (1882-1966) 'At the Waterpump' 1927

 

Friedrich Seidenstücker (German, 1882-1966)
At the Waterpump
1927

 

Friedrich Seidenstücker (1882-1966) 'Woman Jumping Puddle, Berlin' 1925

 

Friedrich Seidenstücker (German, 1882-1966)
Woman Jumping Puddle, Berlin
1925

 

Friedrich Seidenstücker (1882-1966) 'Puddle Jumper' 1925

 

Friedrich Seidenstücker (German, 1882-1966)
Puddle Jumper
1925

 

Friedrich Seidenstücker (1882-1966) 'Puddle Jumpers' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Puddle Jumpers
1930

 

Friedrich Seidenstücker (1882-1966) 'Faschingsfigur' (Carnival figure) 1925

 

Friedrich Seidenstücker (German, 1882-1966)
Faschingsfigur (Carnival figure)
1925

 

Friedrich Seidenstücker (1882-1966) 'The front stairs are scrubbed' 1928

 

Friedrich Seidenstücker (German, 1882-1966)
The front stairs are scrubbed
1928

 

Friedrich Seidenstücker (1882-1966) 'Vor dem Bäckerladen' 1929

 

Friedrich Seidenstücker (German, 1882-1966)
Vor dem Bäckerladen
1929

 

Friedrich Seidenstücker (1882-1966) 'Ice cream after school' 1931

 

Friedrich Seidenstücker (German, 1882-1966)
Ice cream after school
1931

 

Friedrich Seidenstücker (1882-1966) 'Verarmte Jüdinnnen in de Grenadierstraße' (Impoverished Jewish women in de Grenadierstrasse) c. 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Verarmte Jüdinnnen in de Grenadierstraße (Impoverished Jewish women in de Grenadierstrasse)
c. 1930

 

Friedrich Seidenstücker (1882-1966) 'Konzentration vor dem Abschuß des Pfeils' (Concentration before the arrow is fired) 1932

 

Friedrich Seidenstücker (German, 1882-1966)
Konzentration vor dem Abschuß des Pfeils (Concentration before the arrow is fired)
1932

 

Friedrich Seidenstücker (1882-1966) 'Stove-fitter' 1930-35

 

Friedrich Seidenstücker (German, 1882-1966)
Stove-fitter
1930-35

 

Friedrich Seidenstücker (1882-1966) 'Coal porter' 1930

 

Friedrich Seidenstücker (German, 1882-1966)
Coal porter
1930

 

Friedrich Seidenstücker (1882-1966) 'Next to Wertheim' c. 1935

 

Friedrich Seidenstücker (German, 1882-1966)
Next to Wertheim
c. 1935

 

Friedrich Seidenstücker (1882-1966) 'Jungfernbrücke an der Friedrichsgracht' (Maiden Bridge on the Friedrichsgracht) 1946

 

Friedrich Seidenstücker (German, 1882-1966)
Jungfernbrücke an der Friedrichsgracht (Maiden Bridge on the Friedrichsgracht)
1946

 

Friedrich Seidenstücker (1882-1966) 'Ein rollstuhlfahrer passiert die ruine des stadtschlosses' (A wheelchair user passes the ruins of the city palace) 1947

 

Friedrich Seidenstücker (1882-1966)
Ein rollstuhlfahrer passiert die ruine des stadtschlosses (A wheelchair user passes the ruins of the city palace)
1947

The Hohenzollern residence, located in the eastern sector, bore the legend, “remove war criminals from all positions!!!”

 

Friedrich Seidenstücker (1882-1966) 'Untitled (Bismarck)' 1946

 

Friedrich Seidenstücker (German, 1882-1966)
Untitled (Bismark)
1946

 

Friedrich Seidenstücker (1882-1966) 'The Twins, Hilde und Helga Fischer' 1948

 

Friedrich Seidenstücker (1882-1966)
The Twins, Hilde und Helga Fischer
1948

 

Friedrich Seidenstücker (1882-1966) 'Aufstieg der Begabten, Berlin' (Rise of the gifted, Berlin) 1950

 

Friedrich Seidenstücker (German, 1882-1966)
Aufstieg der Begabten, Berlin (Rise of the gifted, Berlin)
1950

 

Friedrich Seidenstücker (German, 1882-1966) 'Pachyderms: Zoo visitors at the elephant enclosure in Berlin' 1950

 

Friedrich Seidenstücker (German, 1882-1966)
Pachyderms: Zoo visitors at the elephant enclosure in Berlin
1950

 

Friedrich Seidenstücker (German, 1882-1966) 'Autumn in the Zoo, African Rhinoceros' c. 1955

 

Friedrich Seidenstücker (German, 1882-1966)
Autumn in the Zoo, African Rhinoceros
c. 1955

 

Friedrich Seidenstücker (1882-1966) 'Nude' Nd

 

Friedrich Seidenstücker (German, 1882-1966)
Nude
Nd

 

 Friedrich Seidenstücker (German, 1882-1966) 'Untitled (Self-portrait with dove)' 1952

 

Friedrich Seidenstücker (German, 1882-1966)
Untitled (Self-portrait with dove)
1952

 

 

Käthe Kollwitz Museum Köln
Neumarkt 18-24 / Neumarkt Passage
50667 Köln
Phone: +49 (0)221 227 2899
Phone: +49 (0)221 227 2602

Opening hours:
Tuesday – Sunday 11am – 6pm

Käthe Kollwitz Museum Cologne website

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21
Dec
19

Exhibition: ‘In Focus: The Camera’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 30th July 2019 – 5th January 2020

Curator: Paul Martineau

 

 

Lisette Model (American, born Austria, 1901-1983) 'Weegee, New York' 1945

 

Lisette Model (American, born Austria, 1901-1983)
Weegee, New York
1945
Gelatin silver print
34.1 × 27 cm (13 7/16 × 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Lisette Model, courtesy Baudoin Lebon/Keitelman

 

 

Apologies. A filler posting from me as I am sick at the moment. Although I love the design of the old cameras – when viewed from the outside, through the media images, the exhibition seems to also be a bit of a filler from the Getty.

Where are the interesting questions?

How can a box of metal and glass, a machine, capture onto film and pixels, something that so transcends time and space that, at its best, it preserves the spirit of our existence, the condition of our becoming?

How does the camera impart its own reality, and how, through looking, do photographers understand how different cameras impart different realities? How do we intimately see what the camera sees, without looking through the machine?

How have digital cameras altered how we use the camera and how we see the world, moving us from a viewfinder and vanishing point, to looking at a flat screen on the back of the camera?

How does the physicality of the camera, from large format to iPhone, affect how we hold the machine, how we interact with it’s ontology and enact its rationale – in particular perspectives of abstraction, becoming, existence, reality, as well as the basic categories of being and their relations: Substance, Relation, Quantity and Quality; Place, Time, Situation, Condition, Action, Passion?

Marcus

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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.

 

Once a simple wooden box with a primitive lens and cap for controlling light, the modern camera has undergone enormous change since its invention in the early nineteenth-century. Flexible film stocks, built-in light meters, motor drives, and megapixels are a few of the advancements that have transformed the way this ingenious device captures and preserves a moment in time. This display explores the evolution of the camera through the Museum’s collection of historic cameras and photographs.

 

 

Unknown maker (European) 'Camera Obscura' c. 1750-1800

 

Unknown maker (European)
Camera Obscura
c. 1750-1800
Wood, brass, and glass
Object: H: 7.9 × W: 10.8 × D: 23.5 cm (3 1/8 × 4 1/4 × 9 1/4 in.)
Object (Extended): H: 31.1 cm (12 1/4 in.)
Lid extended: H: 15.9 cm (6 1/4 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Gloria and Stanley Fishfader

 

Unknown maker (French) 'Daguerreotype/Wet-plate Camera' c. 1851

 

Unknown maker (French)
Daguerreotype/Wet-plate Camera
c. 1851
Wood, brass, and glass
Object: H: 18.1 × W: 21.6 × D: 31.1 cm (7 1/8 × 8 1/2 × 12 1/4 in.)
Lens: H: 9.2 × Diam: 7.3 cm (3 5/8 × 2 7/8 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Gloria and Stanley Fishfader

 

Unknown maker (British) 'Camera box' 1860

 

Unknown maker (British)
Camera box
1860
Wood, glass, metal
The J. Paul Getty Museum, Los Angeles, Gift of Gloria and Stanley Fishfader

 

August Semmendinger (American, 1820-1885) 'Mammoth Plate Wet-Collodion Camera' 1874-1885

 

August Semmendinger (American, 1820-1885)
Mammoth Plate Wet-Collodion Camera
1874-1885
wood, metal, fabric, and glass
The J. Paul Getty Museum, gift in memory of Beaumont Newhall

 

 

August Semmendinger (1820 – August 6, 1885) was a manufacturer of photographic apparatuses and the inventor of the Excelsior Wet Plate Camera. Semmendinger first made his cameras in New York City. The second factory where he built his cameras was located in Fort Lee, New Jersey.

 

Kodak (American) 'The Kodak' 1888

 

Kodak (American, founded 1888)
The Kodak
1888
Wood, leather, brass, and glass
Object: H: 9.5 × W: 8.3 × D: 17.1 cm (3 3/4 × 3 1/4 × 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Gloria and Stanley Fishfader

 

The very first Kodak camera.

 

John F. Collins (American, 1888-1990, active 1904-1974) '[Kodak Ektra Camera]' c. 1930

 

John F. Collins (American, 1888-1990, active 1904-1974)
[Kodak Ektra Camera]
c. 1930
Gelatin silver print
38.4 × 48.1 cm (15 1/8 × 18 15/16 in.)
Gift of Nina and Leo Pircher

 

Eastman Kodak Company (American, founded 1888) 'Kodak Bantam Special' 1936

 

Eastman Kodak Company (American, founded 1888)
Kodak Bantam Special
1936
Metal, enamel, and glass
The J. Paul Getty Museum, gift of Gloria and Stanley Fishfader

 

Eastman Kodak Company (American, founded 1888) 'World War II "Matchbox" Spy Camera' 1944

 

Eastman Kodak Company (American, founded 1888)
World War II “Matchbox” Spy Camera
1944
Metal and glass
The J. Paul Getty Museum, gift of Gloria and Stanley Fishfader

 

Polaroid Corporation (American, founded 1937) 'Polaroid Land Camera Model 95' c. 1948-1949

 

Polaroid Corporation (American, founded 1937)
Polaroid Land Camera Model 95
c. 1948-1949
Leather and steel Object (Closed): L: 24.1 × W: 11.4 × D: 5.7 cm (9 1/2 × 4 1/2 × 2 1/4 in.)
Case: H: 19.1 × W: 26.7 × D: 7 cm (7 1/2 × 10 1/2 × 2 3/4 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Gloria and Stanley Fishfader

 

Steineck Kamerawerk (Tutzing, West Germany) 'Steineck ABC Wristwatch Camera' 1949

 

Steineck Kamerawerk (Tutzing, West Germany)
Steineck ABC Wristwatch Camera
1949
Metal, enamel, leather, and glass

 

 

Made in Germany by Steineck Kamerawerk. Subminiature camera for discs of film 25mm diameter, 8 exposures 7mm diameter. Steinhetl VI lens F:12.5mm f/2.8 fixed aperture, coated cobir enamel. Two-speed rotary shutter. Refelcting finder – concave mirror and ball and pin sight. Wristwatch shaped. Designed in Germany by Dr R Steineck.

Looks like a large wristwatch. Came with a 12.5mm (f2.5) fixed-focus lens. Single shutter speed. Eight round exposures with a 5.5 mm diameter are produced on a round disk of film 24mm in diameter. Disks can be cut from standard 35mm film. A cassette, with its own exposure counter, is used to hold the film. To load the camera, the cassette is pressed lightly into place in the opening in the back of the camera, and the knurled rim of the cassette is turned firmly to the right until it stops and the red dots on the camera body and cassette are aligned. Film advance is automatic – the film is readied for the next frame immediately after an exposure is made. The lens is a 12.5m f/2.5, made by Steinheil. It is fixed-focus so that everything from 4.25 ft. to infinity is sharp. The lens has a two-point aperture setting: one for bright light (red dot), the other for dim light (blue dot), set by a control knob on the face of the camera. The metal focal-plane shutter has only one speed, 1/125 sec. In making an exposure, the camera is held between the index finger and thumb, the shutter release being depressed by the thumb while the index finger serves to steady the camera by exerting a counter pressure. No separate action is required to advance the film or cock the shutter; as soon as the exposure has been made, the camera is ready to take the next picture. The A-B-C has two parallax-corrected finders: an optical hollow mirror viewfinder, which permits sighting from above when the camera, worn on the wrist, is held in picture-taking position. The other, a direct-vision viewfinder, is used at eye level, requiring that the camera be removed from the wrist. When the direct-vision finder is used, you sight through the hole in the back (cassette) with the camera close to the eye; the camera is held by the straps, both thumbs steadying the body, and the shutter release is operated by the index finger. The original accessories included filters, close-up lenses, and even a special enlarger. Steineck planned an M-sync flash for a future A-B-C, as well as a built-in filter carousel (to be put in front of the aperture control), and even a tripod-mount accessory that fits through the eye-level finder!

Text from Ebay website

 

Hasselblad AB (Swedish, founded 1841) 'Hasselblad wide angle camera' 1954-1959

 

Hasselblad AB (Swedish, founded 1841)
Hasselblad wide angle camera
1954-1959
Metal, artificial leather, glass
Object: 13 × 11 × 15 cm (5 1/8 × 4 5/16 × 5 7/8 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Gloria and Stanley Fishfader

 

Nippon Kogaku K.K. (Japanese, founded 1917) 'Nikon "Reporter" large load 35mm camera' after 1959

 

Nippon Kogaku K.K. (Japanese, founded 1917)
Nikon “Reporter” large load 35mm camera
after 1959
Plastic, metal, and imitation leather-covered body
The J. Paul Getty Museum, Los Angeles, Gift of Gloria and Stanley Fishfader

 

Canon Inc. (Japanese, founded 1937) 'Canon S 35mm camera with rare F2 lens' 1946

 

Canon Inc. (Japanese, founded 1937)
Canon S 35mm camera with rare F2 lens
1946
Metal, glass
Object: 8 × 14.5 × 10 cm (3 1/8 × 5 11/16 × 3 15/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Gloria and Stanley Fishfader

 

Introduced in 1938, the Canon S is the younger sibling of the Hansa Canon. It was developed to compete in quality with the German Leica II, but at a price more accessible to the Japanese public.

 

Polaroid Corporation (American, founded 1937) 'Polaroid SX-70' 1972

 

Polaroid Corporation (American, founded 1937)
Polaroid SX-70
1972
Metal, plastic, leather, and glass
Private collection

 

 

Exhibition includes a selection of rare cameras from the 19th century to present

The camera, once a simple wooden box with a primitive lens and cap for controlling light, has undergone enormous changes since its invention, eventually becoming a tool that is in most people’s back pockets. In Focus: The Camera, on view July 30, 2019 – January 5, 2020 at the J. Paul Getty Museum, Getty Center, explores the evolution of this ingenious device through a selection of historic cameras and photographs.

During the early 19th, the three essential components of photography – a dark chamber, a light-sensitive substrate, and a method of fixing the image – were used in different ways in the experiments of Nicéphore Niépce (French, 1765-1833), Louis-Jacques-Mandé Daguerre (French, 1787-1851), and William Henry Fox Talbot (British, 1800-1877). In subsequent decades, advancements such as flexible film stocks, built-in light meters, motor drives, and megapixels transformed the way the camera captures and preserves a moment in time.

On view in the exhibition will be a number of cameras manufactured in the 19th century to present day, including the simple camera obscura, a daguerreotype camera, a stereo camera, an early roll-film camera, a large portable camera, a miniature spy camera, an early colour camera, and the first digital camera marketed to the general public. The exhibition will include text that explains how photographs are created using each of these cameras and techniques. Cameras produced by well-known brands such as Kodak, Leica, Nikon, Hasselblad, and Canon will be displayed.

The gallery will also include a number of portraits, self-portraits, and images of artists at work by famed photographers such as Imogen Cunningham (American, 1883-1976), Dorothea Lange (American, 1895-1965), Lisette Model (American, born Austria, 1901-1983), Helmut Newton (German-Australian, 1920-2004), Edward Steichen (American, born Luxembourg, 1879-1973), Andy Warhol (American, 1928-1987), and Edward Weston (American, 1886-1958). These images remind the viewer of the inextricable relationship between the camera and the artist.

In Focus: The Camera is curated by Paul Martineau, associate curator of photographs for the J. Paul Getty Museum.

Text from the J. Paul Getty Museum website [Online] Cited 21/12/2019

 

Capt. Horatio Ross (British, 1801-1886) '[Self-portrait preparing a Collodion plate]' 1856-1859

 

Capt. Horatio Ross (British, 1801-1886)
[Self-portrait preparing a Collodion plate]
1856-1859
Albumen silver print
Image: 20 × 16.2 cm (7 7/8 × 6 3/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Underwood & Underwood (American, 1881-1940s) 'Photographing New York City - on a slender support 18 stories above pavement of Fifth Avenue' 1905

 

Underwood & Underwood (American, 1881-1940s)
Photographing New York City – on a slender support 18 stories above pavement of Fifth Avenue
1905
Gelatin silver print
Image (left): 8 × 7.6 cm (3 1/8 × 3 in.)
Image (right): 8 × 7.6 cm (3 1/8 × 3 in.)
Mount: 8.9 × 17.8 cm (3 1/2 × 7 in.)
The J. Paul Getty Museum, Los Angeles

 

Edward Weston (American, 1886-1958) 'Self Portrait with Camera' 1908

 

Edward Weston (American, 1886-1958)
Self Portrait with Camera
1908
Platinum print
Image: 14.6 × 8.6 cm (5 3/4 × 3 3/8 in.)
The J. Paul Getty Museum, Los Angeles
© 1981 Arizona Board of Regents, Center for Creative Photography

 

George Watson (American, 1892-1977) '[Camera on 12-foot Tripod]' 1920s

 

George Watson (American, 1892-1977)
[Camera on 12-foot Tripod]
1920s
Gelatin silver print
Image: 11.7 × 9.1 cm (4 5/8 × 3 9/16 in.)
Sheet: 12.2 × 9.8 cm (4 13/16 × 3 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© The Watson Family Photo Collection

 

Man Ray (American, 1890-1976) '[Self-Portrait with Camera]' 1932

 

Man Ray (American, 1890-1976)
[Self-Portrait with Camera]
1932
Gelatin silver print
Image: 29.2 × 22.9 cm (11 1/2 × 9 in.)
The J. Paul Getty Museum, Los Angeles
© Man Ray Trust ARS-ADAGP

 

 

Man Ray showed himself in profile in this self-portrait, intently adjusting the focal range on his view camera as if for a portrait session. He directs the camera in the photograph at the audience, while the camera taking his picture remains invisible. The touch of Man Ray’s hand on the focusing ring serves as a reminder of the human artistry required to make photographs, a departure from his more accidental approach to creating works in other media. Man Ray solarized the print, using a process indelibly associated with him. (Text from the J. Paul Getty Museum website)

 

Alma Lavenson (American, 1897-1989) '[Self-Portrait]' 1932

 

Alma Lavenson (American, 1897-1989)
[Self-Portrait]
1932
Gelatin silver print
20.3 × 25.2 cm (8 × 9 15/16 in.)
The J. Paul Getty Museum, Los Angeles
© Alma Lavenson Associates

 

 

Employing the sharp focus and close vantage point that were the hallmarks of Group f/64, with which she was associated, Alma R. Lavenson presented her camera as a vital extension of herself as a photographic artist. Her hands delicately and reverently frame the lens, positioning it as her center and source of inspiration. (Text from the J. Paul Getty Museum website)

 

Unknown photographer (American) '[Portrait of Dorothea Lange]' 1937

 

Unknown photographer (American)
[Portrait of Dorothea Lange]
1937
Gelatin silver print
13.7 × 16.7 cm (5 3/8 × 6 9/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the Dixon Family

 

Walker Evans (1903-1975) 'Resort Photographer at Work' 1941

 

Walker Evans (1903-1975)
Resort Photographer at Work
Negative 1941; print later
Gelatin silver print
15.9 × 22.4 cm (6 1/4 × 8 13/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968) 'Photographer at a Fire' 1940-1945

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968)
Photographer at a Fire
1940-1945
Gelatin silver print
Image: 34.1 × 27.1 cm (13 7/16 × 10 11/16 in.)
The J. Paul Getty Museum, Los Angeles
© International Center of Photography

 

Andreas Feininger (American, born France, 1906 - 1999) 'The Photojournalist' Negative 1951; print later

 

Andreas Feininger (American, born France, 1906-1999)
The Photojournalist
Negative 1951; print later
Gelatin silver print
Image: 32.3 × 26.3 cm (12 11/16 × 10 3/8 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Daniel Greenberg and Susan Steinhauser
© Estate of Gertrud E. Feininger

 

Imogen Cunningham (American, 1883-1976) 'Self-Portrait with Grandchildren in a Funhouse' 1955

 

Imogen Cunningham (American, 1883-1976)
Self-Portrait with Grandchildren in a Funhouse
1955
Gelatin silver print
The J. Paul Getty Museum. © Imogen Cunningham Trust

 

Anthony Friedkin (American, born 1949) 'Extras with Film Cameras' 1996

 

Anthony Friedkin (American, born 1949)
Extras with Film Cameras
1996
Gelatin silver print
Image: 16.3 × 24.3 cm (6 7/16 × 9 9/16 in.)
Sheet: 20.1 × 25.2 cm (7 15/16 × 9 15/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Sue and Albert Dorskind
© Anthony Friedkin

 

 

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 – 5.30 pm
Monday closed

The J. Paul Getty Museum website

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21
Dec
11

melbourne’s magnificent nine 2011

December 2011

 

Here’s my pick of the nine best exhibitions in Melbourne (with excursions to Bendigo and Hobart thrown in) that appeared on the Art Blart art and cultural archive in 2011. Enjoy!

Dr Marcus Bunyan

 

 

1/ Sidney Nolan: Drought Photographs at Australian Galleries, Melbourne, March 2011

 

Sidney Nolan. 'Untitled (calf carcass in tree)' 1952

 

Sidney Nolan (Australian, 1917-1992)
Untitled (calf carcass in tree)
1952
archival inkjet print
23.0 cm x 23.0 cm

 

 

This was a superb exhibition of 61 black and white photographs by Sidney Nolan. The photographs were shot using a medium format camera and are printed in square format from the original 1952 negatives.

The work itself was a joy to behold. The photographs hung together like a symphony, rising and falling, with shape emphasising aspects of form. The images flowed from one to another. The formal composition of the mummified carcasses was exemplary, the resurrected animals (a horse, for example, propped up on a fifth leg) and emaciated corpses like contemporary sculpture. The handling of the tenuous aspects of human existence in this uniquely Australian landscape was also a joy to behold. Through an intimate understanding of how to tension the space between objects within the frame Nolan’s seemingly simple but complex photographs of the landscape are previsualised by the artist in the mind’s eye before he even puts the camera to his face.

 

2/ Bill Henson at Tolarno Galleries, Melbourne, March – April 2011

This was an exquisite exhibition by one of Australia’s preeminent artists. Like Glenn Gould playing a Bach fugue, Bill Henson is grand master in the performance of narrative, structure, composition, light and atmosphere. The exhibition featured thirteen large colour photographs printed on lustre paper (twelve horizontal and one vertical) – nine figurative of adolescent females, two of crowd scenes in front of Rembrandt paintings in The Hermitage, St. Petersburg (including the stunning photograph that features The return of the prodigal son c. 1662 in the background, see below) and two landscapes taken off the coast of Italy. What a journey this exhibition took you on!

Henson’s photographs have been said by many to be haunting but his images are more haunted than haunting. There is an indescribable element to them (be it the pain of personal suffering, the longing for release, the yearning for lost youth or an understanding of the deprecations of age), a mesmeric quality that is not easily forgotten. The photographs form a kind of afterimage that burns into your consciousness long after the exposure to the original image has ceased. Haunted or haunting they are unforgettable.

 

Bill Henson. 'Untitled' 2009/10

 

Bill Henson (Australian, b. 1955)
Untitled
2009/10
CL SH767 N17B
Archival inkjet pigment print
127 x 180 cm
Edition of 5

 

3/ Networks (cells & silos) at Monash University Museum of Art (MUMA), Caulfield, February – April 2011

This was a vibrant and eclectic exhibition at MUMA, one of the best this year in Melbourne. The curator Geraldine Barlow gathered together some impressive, engaging works that were set off to good effect in the new gallery spaces. I spent a long and happy time wandering around the exhibition and came away visually satiated and intellectually stimulated. The exhibition explored “the connections between artistic representation of networks; patterns and structures found in nature; and the rapidly evolving field of network science, communications and human relations.”

 

Installation photograph of one of the galleries in the exhibition 'NETWORKS (cells & silos)' at the newly opened Monash University Museum of Art (MUMA)

 

Installation photograph of one of the galleries in the exhibition NETWORKS (cells & silos) at the newly opened Monash University Museum of Art (MUMA) with Nick Mangan’s Colony (2005) in the foreground

 

4/ Monika Tichacek, To all my relations at Karen Woodbury Gallery, Richmond, May 2011

This was a stupendous exhibition by Monika Tichacek, at Karen Woodbury Gallery. One of the highlights of the year, this was a definite must see!

The work was glorious in it’s detail, a sensual and visual delight (make sure you click on the photographs to see the close up of the work!). The riotous, bacchanalian density of the work was balanced by a lyrical intimacy, the work exploring the life cycle and our relationship to the world in gouache, pencil & watercolour. Tichacek’s vibrant pink birds, small bugs, flowers and leaves have absolutely delicious colours. The layered and overlaid compositions show complete control by the artist: mottled, blotted, bark-like wings of butterflies meld into trees in a delicate metamorphosis; insects are blurred becoming one with the structure of flowers in a controlled effusion of life.

 

Monika Tichacek. 'To all my relations' 2011 (detail)

 

Monika Tichacek (Australian, born Switzerland 1975)
To all my relations (detail)
2011

 

5/ American Dreams: 20th century photography from George Eastman House at Bendigo Art Gallery, Victoria, April – July 2011

 

Diane Arbus. 'Untitled (6)' 1971

 

Diane Arbus (American, 1923-1971)
Untitled (6)
1971
Gelatin silver print

 

 

This was a fabulous survey exhibition of the great artists of 20th century American photography, a rare chance in Australia to see such a large selection of vintage prints from some of the masters of photography. If you had a real interest in the history of photography then you hopefully saw this exhibition, showing as it is just a short hour and a half drive (or train ride) from Melbourne at Bendigo Art Gallery.

 

6/ Time Machine: Sue Ford at Monash Gallery of Art, Wheelers Hill, Victoria, April – June 2011

 

Sue Ford. 'Self-portrait' 1976

 

Sue Ford (Australian, 1943-2009)
Self-portrait 1976
1976
From the series Self-portrait with camera (1960-2006)
Selenium toned gelatin silver print, printed 2011
24 x 18 cm
courtesy Sue Ford Archive

 

 

This beautifully hung exhibition flowed like music, interweaving up and down, the photographs framed in thin, black wood frames. It featured examples of Ford’s black and white fashion and street photography; a selection of work from the famous black and white Time series (being bought for their collection by the Art Gallery of New South Wales); a selection of Photographs of Women – modern prints from the Sue Ford archive that are wonderfully composed photographs with deep blacks that portray strong, independent, vulnerable, joyous women (see last four photographs below); and the most interesting work in the exhibition, the posthumous new series Self-portrait with camera (1960-2006) that evidence, through a 47 part investigation using colour prints from Polaroids, silver gelatin prints printed by the artist, prints made from original negatives and prints from scanned images where there was no negative available, a self-portrait of the artist in the process of ageing.

Whether looking down, looking toward or looking inward these fantastic photographs show a strong, independent women with a vital mind, an élan vital, a critical self-organisation and an understanding of the morphogenesis of things that will engage us for years to come. Essential looking.

 

7/ The Museum of Old and New Art (MONA), Hobart, August 2011

My analogy: you are standing in the half-dark, your chest open, squeezing the beating heart with blood coursing between your fingers while the other hand is up your backside playing with your prostrate gland. I think ringmeister David Walsh would approve. My best friends analogy: a cross between a car park, night club, sex sauna and art gallery.

Weeks later I am still thinking about the wonderful immersive, sensory experience that is MONA. Peter Timms in an insightful article in Meanjin calls it a post-Google Wunderkammer, or wonder chest. It can be seen as a mirabilia – a non-historic installation designed primarily to delight, surprise and in this case shock. The body, sex, death and mortality are hot topics in the cultural arena and Walsh’s collection covers all bases. The collection and its display are variously hedonistic, voyeuristic, narcissistic, fetishistic pieces of theatre subsumed within the body of the spectacular museum architecture …

Spectatorship and their attendant erotics has MONA as a form of fetishistic cinema. It is as if what Barthes calls “the eroticism of place” were a modern equivalent of the eighteenth century genius loci, the “genius of the place.” The place is spectacular, the private collection writ large as public institution, the symbolic power of the institution masked through its edifice. The art become autonomous, cut free from its cultural associations, transnational, globalised, experienced through kinaesthetic means; the viewer meandering through the galleries, the anti-museum, as an international flaneur. Go. Experience!

 

Corten Stairwell & Surrounding Artworks February 2011 Museum of Old and New Art – interior

 

Corten Stairwell & Surrounding Artworks
February 2011
Museum of Old and New Art – interior
Photo credit: MONA/Leigh Carmichael
Image Courtesy of MONA Museum of Old and New Art

 

8/ John Bodin: Rite of Passage at Anita Traverso Gallery, Richmond, August – September 2011

 

John Bodin. 'I Was Far Away From Home' 2009

 

John Bodin (Australian)
I Was Far Away From Home
2009
Type C print on metallic paper
80 x 110cm

 

 

The photographs become the surface of the body, stitched together with lines, markers pointing the way – they are encounters with the things that we see before us but also the things that we carry inside of us. It is the interchange between these two things, how one modulates and informs the other. It is this engagement that holds our attention: the dappled light, ambiguity, unevenness, the winding path that floats and bobs before our eyes looking back at us, as we observe and are observed by the body of these landscapes.

One of the fundamental qualities of the photographs is that they escape our attempts to rationalise them and make them part of our understanding of the world, to quantify our existence in terms of materiality. I have an intimate feeling with regard to these sites of engagement. They are both once familiar and unfamiliar to us; they possess a sense of nowhereness. A sense of groundlessness and groundedness. A collapsing of near and far, looking down, looking along, a collapsing of the constructed world.

Like the road in these photographs there is no self just an infinite time that has no beginning and no end. The time before my birth, the time after my death. We are just in the world, just being somewhere. Life is just a temporary structure on the road from order to disorder. “The road is life,” writes Jack Kerouac in On the Road.

 

9/ Juan Davila: The Moral Meaning of Wilderness at the Monash University Museum of Art (MUMA), Caulfield, August – October 2011

Simply put, this was one of the best exhibitions I saw in Melbourne this year.

I had a spiritual experience with this work for the paintings promote in the human a state of grace. The non-material, the unconceptualisable, things which are outside all possibility of time and space are made visible. This happens very rarely but when it does you remember, eternally, the time and space of occurrence. I hope you had the same experience.

 

Juan Davila. 'Wilderness' 2010

 

Juan Davila (Chilean b. 1946, emigrated Australia 1974)
Wilderness
2010
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

 

10/ In camera and in public at the Centre for Contemporary Photography, Melbourne, September – October 2011

 

Kohei Yoshiyuki. 'Untitled' 1971

 

Kohei Yoshiyuki (Japanese, b. 1946)
Untitled
1971
From the series The Park
Gelatin Silver Print
© Kohei Yoshiyuki, Courtesy Yossi Milo Gallery, New York

 

Curated by Naomi Cass as part of the Melbourne Festival, this was a brilliant exhibition at the Centre for Contemporary Photography, Melbourne. The exhibition explored, “the fraught relationship between the camera and the subject: where the image is stolen, candid or where the unspoken contract between photographer and subject is broken in some way – sometimes to make art, sometimes to do something malevolent.” It examined the promiscuity of gazes in public / private space specifically looking at surveillance, voyeurism, desire, scopophilia, secret photography and self-reflexivity. It investigated the camera and its moral and physical relationship to the unsuspecting subject.

 

11/ The Mad Square: Modernity in German Art 1910 – 37 at The National Gallery of Victoria, Melbourne, November 2011 – March 2012

This is one of the best exhibitions this year in Melbourne bar none. Edgy and eclectic the work resonates with the viewer in these days of uncertainty: THIS should have been the Winter Masterpieces exhibition!

The title of the exhibition, The mad square (Der tolle Platz) is taken from Felix Nussbaum’s 1931 painting of the same name where “the ‘mad square’ is both a physical place – the city, represented in so many works in the exhibition, and a reference to the state of turbulence and tension that characterises the period.”The exhibition showcases how artists responded to modern life in Germany in the interwar years, years that were full of murder and mayhem, putsch, revolution, rampant inflation, starvation, the Great Depression and the rise of National Socialism. Portrayed is the dystopian, dark side of modernity (where people are the victims of a morally bankrupt society) as opposed to the utopian avant-garde (the prosperous, the wealthy), where new alliances emerge between art and politics, technology and the mass media. Featuring furniture, decorative arts, painting, sculpture, collage and photography in the sections World War 1 and the Revolution, Dada, Bauhaus, Constructivism and the Machine Aesthetic, Metropolis, New Objectivity and Power and Degenerate Art, it is the collages and photographs that are the strongest elements of the exhibition, particularly the photographs. What a joy they are to see.

 

Albert Renger-Patzsch (American, born Hungary, 1895-1946) 'Harbour with crane' c. 1927

 

Albert Renger-Patzsch (American, born Hungary, 1895-1946)
Harbour with crane
c. 1927
Gelatin silver photograph
Printed image 22.7 h x 16.8 w cm
Purchased 1983
National Gallery of Australia, Canberra

 

 

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Dr Marcus Bunyan

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

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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