Posts Tagged ‘Simon Norfolk

11
Feb
15

Exhibition: ‘Conflict, Time, Photography’ at Tate Modern, London

Exhibition dates: 26th November 2014 – 15th March 2015

The Eyal Ofer Galleries

Artists: Jules Andrieu, Pierre Antony-Thouret, Nobuyoshi Araki, George Barnard, Adam Broomberg and Oliver Chanarin, Luc Delahaye, Ken Domon, Roger Fenton, Ernst Friedrich, Jim Goldberg, Toshio Fukada, Kenji Ishiguro, Kikuji Kawada, An-My Lê, Jerzy Lewczyński, Emeric Lhuisset, Agata Madejska, Diana Matar, Eiichi Matsumoto, Chloe Dewe Mathews, Don McCullin, Susan Meiselas, Kenzo Nakajima, Simon Norfolk, João Penalva, Richard Peter, Walid Raad, Jo Ratcliffe, Sophie Ristelhueber, Julian Rosefeldt, Hrair Sarkissian, Michael Schmidt, Ursula Schulz-Dornburg, Indre Šerpytyte, Stephen Shore, Harry Shunk and János Kender, Taryn Simon, Shomei Tomatsu, Hiromi Tsuchida, Marc Vaux, Paul Virilio, Nick Waplington, Jane and Louise Wilson, and Sasaki Yuichiro.

Curators: Simon Baker, Curator Photography and International Art, Shoair Mavlian, Assistant Curator, and Professor David Alan Mellor, University of Sussex

 

 

Another fascinating exhibition. The concept, that of vanishing time, a vanquishing of time – inspired by Kurt Vonnegut’s 1969 novel Slaughterhouse-Five and the Japanese photographer Kikuji Kawada’s 1965 photobook The Map – is simply inspired. Although the images are not war photography per se, they are about the lasting psychological effects of war imaged on a variable time scale.

While the images allow increasing passages of time between events and the photographs that reflect on them – “made moments after the events they depict, then those made days after, then months, years and so on” – there settles in the pit of the stomach some unremitting melancholy, some unholy dread as to the brutal facticity and inhumanness of war. The work which “pictures” the memory of the events that took place, like a visual ode of remembrance, are made all the more powerful for their transcendence –  of time, of death and the immediate detritus of war.

Marcus

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

 

 

“From the seconds after a bomb is detonated to a former scene of battle years after a war has ended, this moving exhibition focuses on the passing of time, tracing a diverse and poignant journey through over 150 years of conflict around the world, since the invention of photography.

In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect…

The exhibition is staged to coincide with the 2014 centenary and concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.”

Text from the Tate Modern website

 

“The original idea for the Tate Modern exhibition Conflict, Time, Photography came from a coincidence between two books that have captivated and inspired me for many years: Kurt Vonnegut‘s classic 1969 novel Slaughterhouse-Five and the Japanese photographer Kikuji Kawada’s 1965 photobook The Map. Both look back to hugely significant and controversial incidents from the Second World War from similar distances.

Vonnegut was a prisoner of war in Dresden when what he called ‘possibly the world’s most beautiful city’ was destroyed by incendiary bombs, and struggled to write his war book for almost 25 years. Kawada was a young photographer working in post-war Hiroshima when he began to take the strange photographs of the scarred, stained ceiling of the A-bomb Dome – the only building to survive the explosion – that he would eventually publish on August 6 1965, 20 years to the day since the atomic bomb was dropped on the city.

It may seem odd that these great works of art and literature took so long to emerge from the aftermath of the events they concern. But many of the most complex and considered accounts of conflict have taken their time. To Vonnegut’s painfully slow response to the war, for example, we might add Joseph Heller’s brilliantly satirical Catch-22, published in 1961, and, even more significantly, JG Ballard’s memorial masterpiece Empire of the Sun, which did not see the light of day until 1984.

And today, in 2014, 100 years since the start of the First World War, it seems more important than ever not only to understand the nature and long-term effects of conflict, but also the process of looking back at the past…

CONTINUE READING THIS EXCELLENT ARTICLE BY CURATOR SIMON BAKER: “War photography: what happens after the conflict?” on The Telegraph website, 7th November 2014 [Online] Cited 09/02/2015

 

 

“… taking its cue from Vonnegut, ‘Conflict, Time, Photography’ is arranged differently, following instead the increasing passages of time between events and the photographs that reflect on them. There are groups of works made moments after the events they depict, then those made days after, then months, years and so on – 10, 20, 50, right up to 100 years later.”

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Simon Baker

 

 

Roger Fenton. 'The Valley of the Shadow of Death' 1855

 

Roger Fenton
The Valley of the Shadow of Death
1855

 

Shomei Tomatsu 'Atomic Bomb Damage - Wristwatch Stopped at 11-02, August 9. 1945' (1961)

 

Shomei Tomatsu
Atomic Bomb Damage – Wristwatch Stopped at 11.02, August 9, 1945, Nagasaki, 1961
1961
Gelatin silver print on paper
253 x 251 mm
Tokyo Metropolitan Museum of Photography, Tokyo

 

Shomei Tomatsu. 'Steel Helmet with Skull Bone Fused by Atomic Bomb, Nagasaki, 1963'

 

Shomei Tomatsu
Steel Helmet with Skull Bone Fused by Atomic Bomb, Nagasaki, 1963
1963
Gelatin silver print on paper
226 x 303 mm
Tokyo Metropolitan Museum of Photography, Tokyo

 

Shomei Tomatsu. 'Melted bottle' Nagasaki, 1961

 

Shomei Tomatsu
Melted bottle
Nagasaki, 1961
from the series Nagasaki 11:02
Silver Gelatin print
20 x 21 cm
© Shomei Tomatsu

 

An-My Lê. 'Untitled, Hanoi' (1994-98)

 

An-My Lê
Untitled, Hanoi
1994-98
Gelatin silver print on paper
508 x 609 mm
Courtesy the artist and Murray Guy, New York

 

Jane Wilson (born 1967) Louise Wilson (born 1967) 'Urville' 2006

 

Jane Wilson (born 1967)
Louise Wilson (born 1967)
Urville
2006
Gelatin silver print, mounted onto aluminium
1800 x 1800 mm
Tate
Purchased 2011

 

Jane Wilson and Louise Wilson 'Azeville' 2006

 

Jane Wilson (born 1967)
Louise Wilson (born 1967)
Azeville
2006
Gelatin silver print, mounted onto aluminium
1800 x 2900 mm
Tate
Purchased 2011

 

Jo Ractliffe. 'As Terras do fim do Mundo' Nd

 

Jo Ractliffe
As Terras do fim do Mundo (The Lands of the End of the World)
2009-2010
Courtesy Mark McCain collection

 

 

“At first glance, Jo Ractliffe’s black-and-white shots of sun-baked African landscapes look random and bland: rocks, dirt, scrubby trees; some handwritten signs but no people. Only when reading the titles – “Mass Grave at Cassinga,” “Minefield Near Mupa” – do you learn where the people are, or once were, and the pictures snap into expressive focus.

Ms. Ractliffe, who lives in Johannesburg, took the photographs in 2009 and 2010 in Angola on visits to now-deserted places that were important to that country’s protracted civil war and to the intertwined struggle of neighboring Namibia to gain independence from South Africa’s apartheid rule. South Africa played an active role in both conflicts, giving military support to insurgents who resisted Angola’s leftist government, and hunting down Namibian rebels who sought safety within Angola’s borders.

It’s through this historical lens that Ms. Ractliffe views landscape: as morally neutral terrain rendered uninhabitable by terrible facts from the past – the grave of hundreds of Namibia refugees, most of them children, killed in an air raid; the unknown numbers of landmines buried in Angola’s soil. Some are now decades old but can still detonate, so the killing goes on.”

Text from The New York Times website

 

Kikuji Kawada. 'Hinomaru, Japanese National Flag' from the series 'The Map' 1965

 

Kikuji Kawada
Hinomaru, Japanese National Flag from the series The Map
1965
Gelatin silver print
279 x 355 mm
© Kikuji Kawada, courtesy the artist and Photo Gallery International, Tokyo

 

Kikuji Kawada. 'Lucky Strike' 1962

 

Kikuji Kawada
Lucky Strike
1962
From the series The Map
© Kikuji Kawada, courtesy the artist and Photo Gallery International, Tokyo

 

Kikuji Kawada. 'The A-Bomb Memorial Dome and Ohta River'

 

Kikuji Kawada
The A-Bomb Memorial Dome and Ohta River from the series The Map
Hiroshima 1960-65
Gelatin silver print
© Kikuji Kawada

 

 

Points of memory: Kikuji Kawada

My first published photo book, The Map, took me five years to complete, beginning in 1960. In late 1961 a solo show with work from the series was held at Fuji Photo Salon in Tokyo, organised in three parts.

The first featured a ruined castle that was blown up intentionally by the Japanese army during the Second World War. The second comprised photographs taken a decade after the atomic bomb exploded in Hiroshima. They showed the stains and flaking ceilings of the Atomic Bomb Dome, the only structure left standing at the heart of the detonation zone. The third part concerned Tokyo during the period of economic recovery: images of advertising, scrap iron, the trampled national flag and emblems of the American Forces such as Lucky Strike and Coca-Cola, all twisted together, their order shuffled again and again. Some appeared as a montage to be presented as a metaphor. I dare not say the meaning of it.

These works led me to attempt to create this photographic book, using the notion of the map as a clue to the future and to question the whereabouts of my spirit. Discarded memorial photographs, a farewell note, kamikaze pilots – the illusions of various maps that emerge are to me like a discussion with the devil. The stains are situated as a key image of the series by drawing a future stratum and sealing the history, the nationality, the fear and anxiety of destruction and prosperity. It was almost a metaphor for the growth and the fall.

On the back of the black cover box are written rhyming words that are almost impossible to read. The front cover shows that the words are about to burn out. Inside, the pages are laid out as hinged double fold-out spreads. The repetition of the act of opening and closing makes the images appear and disappear. I wanted to have a book design as a new object and something that goes beyond the contents. With the rich and chaotic nature of monochrome, it might be that I tried to find my early style within the illusion of reality by abstracting the phenomenon. As an observer, I would like to keep forcing myself into the future, never losing the sense of danger which emerges in the conflicts of daily life. I wish to harmonise my old distorted maps with the heartbeat of this exhibition at Tate Modern, twisting across the bridges of the centuries through conflicting space and time.

Kikuji Kawada is a photographer based in Tokyo.

Text from the Tate Modern website

 

Richard Peter. 'Dresden After Allied Raids Germany' 1945

 

Richard Peter
Dresden After Allied Raids Germany
1945
© SLUB Dresden / Deutsche Fotothek / Richard Peter, sen.

 

Toshio Fukada. 'The Mushroom Cloud - Less than twenty minutes after the explosion (4)' 1945

 

Toshio Fukada 
The Mushroom Cloud – Less than twenty minutes after the explosion (4)
1945
Tokyo Metropolitan Museum of Photography
© The estate of Toshio Fukada, courtesy Hiroshima Peace Memorial Museum

 

Jerzy Lewczyński. 'Wolf's Lair / Adolf Hitler's War Headquarters' 1960

 

Jerzy Lewczyński
Wolf’s Lair / Adolf Hitler’s War Headquarters
1960
© Jerzy Lewczyński

 

Don McCullin. 'Shell Shocked US Marine, Vietnam, The Battle of Hue' 1968

 

Don McCullin
Shell Shocked US Marine, Vietnam, The Battle of Hue
1968, printed 2013
© Don McCullin

 

Ursula Schulz-Dornburg. 'Kurchatov - Architecture of a Nuclear Test Site Kazakhstan. Opytnoe Pole' 2012

 

Ursula Schulz-Dornburg
Kurchatov – Architecture of a Nuclear Test Site Kazakhstan. Opytnoe Pole
2012
Courtesy of the artist’s studio
© Ursula Schultz-Domburg

 

 

Conflict, Time, Photography brings together photographers who have looked back at moments of conflict, from the seconds after a bomb is detonated to 100 years after a war has ended. Staged to coincide with the centenary of the First World War, this major group exhibition offers an alternative to familiar notions of war reportage and photojournalism, instead focusing on the passing of time and the unique ways that artists have used the camera to reflect on past events.

Conflicts from around the world and across the modern era are depicted, revealing the impact of war days, weeks, months and years after the fact. The works are ordered according to how long after the event they were created: images taken weeks after the end of the American Civil War are hung alongside those taken weeks after the atomic bombs fell on Japan in 1945. Photographs from Nicaragua taken 25 years after the revolution are grouped with those taken in Vietnam 25 years after the fall of Saigon. The exhibition concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.

The broad range of work reflects the many different ways in which conflict impacts on people’s lives. The immediate trauma of war can be seen in the eyes of Don McCullin’s Shell-shocked US Marine 1968, while the destruction of buildings and landscapes is documented by Pierre Antony-Thouret’s Reims After the War (published in 1927) and Simon Norfolk’s Afghanistan: Chronotopia 2001-2002. Other photographers explore the human cost of conflict, from Stephen Shore’s account of displaced Jewish survivors of the Second World War in the Ukraine, to Taryn Simon’s meticulously researched portraits of those descended from victims of the Srebrenica massacre.

Different conflicts also reappear from multiple points in time throughout the exhibition, whether as rarely-seen historical images or recent photographic installations. The Second World War for example is addressed in Jerzy Lewczyński’s 1960 photographs of the Wolf’s Lair / Adolf Hitler’s War Headquarters, Shomei Tomatsu’s images of objects found in Nagasaki, Kikuji Kawada’s epic project The Map made in Hiroshima in the 1960s, Michael Schmidt’s Berlin streetscapes from 1980, and Nick Waplington’s 1993 close-ups of cell walls from a Prisoner of War camp in Wales.

As part of Conflict, Time, Photography, a special room within the exhibition has been guest-curated by the Archive of Modern Conflict. Drawing on their unique and fascinating private collection, the Archive presents a range of photographs, documents and other material to provide an alternative view of war and memory.

Conflict, Time, Photography is curated at Tate Modern by Simon Baker, Curator of Photography and International Art, with Shoair Mavlian, Assistant Curator, and Professor David Mellor, University of Sussex. It is organised by Tate Modern in association with the Museum Folkwang, Essen and the Staatliche Kunstsammlungen, Dresden, where it will tour in spring and summer 2015 respectively. The exhibition is also accompanied by a fully-illustrated catalogue from Tate Publishing and a programme of talks, events and film screenings at Tate Modern.”

Press release from the Tate Modern website

 

Simon Norfolk. 'Bullet-scarred apartment building' 2003

 

Simon Norfolk

Bullet-scarred apartment building and shops in the Karte Char district of Kabul. This area saw fighting between Hikmetyar and Rabbani and then between Rabbani and the Hazaras
2003
© Simon Norfolk

 

Susan Meiselas. 'Managua, July 2004' from the series 'Reframing History'

 

Susan Meiselas
Managua, July 2004
from the series Reframing History

 

“Cuesto del Plomo,” hillside outside Managua, a well-known site of many assasinations carried out by the National Guard. People searched here daily for missing persons. July 1978, from the series, “Reframing History,” Managua, July 2004

In July 2004, for the 25th anniversary of the overthrow of Somoza, Susan returned to Nicaragua with nineteen mural-sized images of her photographs from 1978-1979, collaborating with local communities to create sites for collective memory. The project, “Reframing History,” placed murals on public walls and in open spaces in the towns, at the sites where the photographs were originally made.

 

 

Nick Waplington. 'Untitled' from the series 'We Live as We Dream, Alone' 1993

 

Nick Waplington
Untitled from the series We Live as We Dream, Alone
1993

 

Nick Waplington. 'Untitled' from the series 'We Live as We Dream, Alone' 1993

 

Nick Waplington
Untitled from the series We Live as We Dream, Alone
1993

 

 

Nick Waplington’s deeply moving and once controversial photographs of the cells of Barry Island prison, where Nazi SS Officers were held prisoner before the Nuremburg trials, were taken in 1993, almost 50 years after the prisoners had embellished the cell walls with Germanic slogans and drawings of pin-up girls and Bavarian landscapes will be displayed. The half-century that elapsed between the photographs and the creation of their subject is grim testament to the enduring legacy of conflict…

“In 1992 I was commissioned to make work by the Neue galerie in Graz, Austria and the theme was war or “krieg” as it is in German. Graz is on the border with Yugoslavia and there was war in Yugoslavia at the time. I think they were hoping that I would make something to do with the war that was taking place between Croatia and Serbia and Bosnia. I did go to the war; you went to Zagreb and got a UN pass and went in to the warzone. It was very interesting to be taken into the warzone but ultimately I got back to England and I decided – to the annoyance of the gallery – that I was thinking about Austria instead. At the time, the president of Austria, Kurt Waldheim, had been exposed as a member of the SS and had been informing Yugoslavia during the war [World War Two] and the Austrians were very unconcerned about this. I thought I’d much prefer to make work that had the Austrians confronting their Nazi past rather than about the current conflict. I knew about the prison in Barry Island in South Wales where the SS were held before they were sent to Nuremburg for the trial and I started taking a series of photographs in the prison. It was lucky that I did because it was demolished the following year by the MOD. It’s gone now. When I got there, I saw the prisoners had been drawing on the walls. They’re mossy and crumbling but you can see Germanic lettering and Bavarian landscapes and women with 1940s haircuts. They are evocative and powerful given the emotive history. ”

Extract from Elliot Watson. “Nick Waplington: Conflict, Rim, Photography,” on the Hunger TV website, 26th November 2014 [Online] Cited 09/02/2015

 

Sophie Ristelhueber. 'Fait #25' 1992

 

Sophie Ristelhueber (born 1949)
Fait #25
1992
71 photographs, gelatin silver prints mounted on aluminium
Object, each: 1000 x 1240 x 50 mm
National Gallery of Canada, Ottawa. Purchased 2013

 

Sophie Ristelhueber. 'Fait #44' 1992

 

Sophie Ristelhueber (born 1949)
Fait #44
1992
71 photographs, gelatin silver prints mounted on aluminium
Object, each: 1000 x 1240 x 50 mm
National Gallery of Canada, Ottawa. Purchased 2013

 

Sophie Ristelhueber. 'Fait #46' 1992

 

Sophie Ristelhueber (born 1949)
Fait #46
1992
71 photographs, gelatin silver prints mounted on aluminium
Object, each: 1000 x 1240 x 50 mm
National Gallery of Canada, Ottawa. Purchased 2013

 

Luc Delahaye. 'US Bombing on Taliban Positions' 2001

 

Luc Delahaye
US Bombing on Taliban Positions
2001
C-print
238.6 x 112.2 cm
Courtesy Luc Delahaye and Galerie Nathalie Obadia, Paris/Bruxelles

 

Chloe Dewe Mathews. 'Vebranden-Molen, West-Vlaanderen' 2013

 

Chloe Dewe Mathews
Vebranden-Molen, West-Vlaanderen
2013
Soldat Ahmed ben Mohammed el Yadjizy
Soldat Ali ben Ahmed ben Frej ben Khelil
Soldat Hassen ben Ali ben Guerra el Amolani
Soldat Mohammed Ould Mohammed ben Ahmed
17:00 / 15.12.1914
From the series Shot at Dawn
© Chloe Dewe Mathews

 

Chloe Dewe Mathews. 'Former Abattoir, Mazingarbe, Nord-Pas-de-Calais' 2013

 

Chloe Dewe Mathews
Former Abattoir, Mazingarbe, Nord-Pas-de-Calais
2013
Eleven British soldiers were executed here between 1915-18
From the series Shot at Dawn
© Chloe Dewe Mathews

 

 

Seeing what can’t be seen

“This is a challenge still faced by photographers today. Two years ago, the British documentary photographer Chloe Dewe Mathews set about creating a series of her own responding to the World War One. Called Shot at Dawn, it expresses her shock upon discovering that during the conflict around a thousand British, French and Belgian troops were condemned for cowardice or desertion before being executed the following morning by firing squads consisting of comrades from their own battalions. “I never knew this happened,” she tells me. “Until quite recently, no one really talked about it, because the subject was so contentious and taboo.”

Researching her series, Dewe Mathews worked closely with academics to locate the forgotten places along the western front where these unfortunate combatants had been shot. She then travelled to each spot and set up her camera there at dawn, recording whatever could be seen a century after the executions had taken place.

The results are eerie and elegiac – otherwise unremarkable, empty landscapes infused with a powerful sense of mourning, outrage and loss.”

Extract from Alastair Sooke. “Beyond boots and guns: A new look at the horrors of war,” on BBC Culture website, 11 November 2014 [Online] Cited 09/02/2015

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For more information please see the excellent article by Sean O’Hagan. “Chloe Dewe Mathews’s Shot at Dawn: a moving photographic memorial” on the Guardian website [Online] Cited 09/02/2015

 

Chloe Dewe Mathews. 'Six Farm, Loker, West-Vlaanderen' 2013

 

Chloe Dewe Mathews
Six Farm, Loker, West-Vlaanderen
2013
Private Joseph Byers
Private Andrew Evans
Time unknown / 6.2.1915
Private George E. Collins
07:30 / 15.2.1915
© Chloe Dewe Mathews

 

Stephen Shore. 'Tzylia Bederman, Bucha, Ukraine, July 18, 2012'

 

Stephen Shore
Tzylia Bederman, Bucha, Ukraine, July 18, 2012
2012
Courtesy of Stephen Shore

 

Pierre Anthony-Thouret. 'Plate I' 1927 from 'Reims after the war'

 

Pierre Anthony-Thouret
Plate I
1927
from Reims after the war. The mutilated cathedral. The devastated city.
Private collection, London

 

 

The limits of realism

“So how can photographers respond to conflict if not by employing strategies commonly found in photojournalism about war? One alternative approach is to focus less on documenting the heat of battle and more on remembrance – something that feels relevant this year, which marks the centenary of the start of the World War One.

Some of the most moving evocations of the Great War were captured by commercial photographers who arrived in northeast France in the wake of the conflict, when people began travelling to the region in order to see for themselves the extent of the devastation of local villages, towns, and cities. There was enormous appetite for images recording the destruction, available in the form of cheap guidebooks and postcards.

“This is one of the first episodes of mass tourism in the history of the world,” explains [curator Simon] Baker. “There were 300 million postcards sent from the western front, for instance by people visiting the places where their relatives had died. And the photographers had to make these incredible compromises: making photographs of places that weren’t there anymore.”

In the case of Craonne, which was entirely obliterated by artillery, the village had to be rebuilt on a nearby site, while the ruins of the original settlement were abandoned to nature. As a result, the only way for photographers to identify Craonne was by providing a caption.

“The idea of photographing absence became really important,” says Baker. “War is about destruction, removing things, disappearance. A really interesting photographic language about disappearance in conflict emerged and it is extremely powerful. How does one record something that is gone?””

Extract from Alastair Sooke. “Beyond boots and guns: A new look at the horrors of war,” on BBC Culture website, 11 November 2014 [Online] Cited 09/02/2015

 

Pierre Anthony-Thouret. 'Plate XXXVIII' 1927

 

Pierre Anthony-Thouret
Plate XXXVIII
1927
from Reims after the war. The mutilated cathedral. The devastated city.
Private collection, London

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

Opening hours:
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Friday – Saturday 10.00 – 22.00

Tate Modern website

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24
Jan
13

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

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

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

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

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

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

Marcus

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

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

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

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

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

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Anon. 'Under blue & gray - Gettysburg' July 1913

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

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Bertrand Carrière. 'Untitled' 2005-2009

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Bertrand Carrière
Untitled
2005-2009
from the series Lieux Mêmes [Same Places]

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

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

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

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

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Richard Avedon
Napalm Victim #1, Saigon, South Vietnam, April 29, 1971
1971
Silver gelatin print
© Richard Avedon

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

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

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

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

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

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

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

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Other photographs from the exhibition

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

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

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

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

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

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

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

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

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

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

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

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

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

Opening hours:
Tuesday, Wednesday 10.00 am – 5.00 pm
Thursday 10.00 am – 9.00 pm
Friday, Saturday 10.00 am – 7.00 pm
Sunday 12.15 pm – 7.00 pm
Closed Monday, except Monday holidays
Closed Thanksgiving Day and Christmas Day

Museum of Fine Arts, Boston website

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18
Jan
13

Exhibition: ‘WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath’ at the Museum of Fine Arts, Houston – Posting Part 3

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

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“War is, above all, grief.”

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Dmitri Baltermants

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“Violence is the last refuge of the incompetent”

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Salvor Hardin in Isaac Asimov’s ‘Foundation’ series

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

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

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

**Please be aware that there are graphic photographs in all of these postings.** Part 1Part 2Part 4

Marcus

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

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21. Civilians spans World War II through 2008. The subsection “Dead and Wounded” includes Grief, Kerch, Crimea, by Dmitri Baltermants, of civilians in 1942 searching the bodies of Russian Jewish family members who had been executed by Germans soldiers as they retreated. A 2003 photograph, taken by Ahmed Jadallah for the news agency Reuters while he lay wounded from shrapnel, shows bodies in the street in the largest refugee camp in the Gaza Strip. “Daily Life” shows a Congolese woman breastfeeding as a tank rolls by, in a 2008 image by Walter Astrada; Londoners sleeping in an underground train station in 1940, by Bill Brandt; a woman eating bread in Amsterdam during the Hongerwinter famine of 1944, by Cas Oorthuys; a 1940/41 meeting in New York of members of the Bund, an American Nazi party, by Otto Hagel; a monk burning himself in Saigon in 1963, in protest against alleged religious persecution by the South Vietnamese government, by Malcolm Browne; and a man uncovering an anti-personnel land mine in Angola in 2004, by Sean Sutton. Pictures of civilian “Grief” are common, and the images here include a woman in Tehran inspecting photographs of the missing, by Gilles Peress; a man at an airport, grieving alone and holding a folded American flag, by Harry Benson; a father digging a grave for his daughter in a soccer field in Somalia, by Howard Castleberry; and a woman mourning in Afghanistan in 1996, at the grave of her brother who was killed by a Taliban rocket, by James Nachtwey. (46 images)

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Dmitri Baltermants
Grief, Kerch, Crimea
Spring 1942
Silver gelatin print

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“War, is, above all, grief. I photographed non-stop for years and I know that in all that time I produced only five or six real photographs. War is not for photography. If, heaven forbid, I had to photograph war again, I would do it quite differently. I agonise now at the thought of all the things that I did not photograph.”

Dmitri Baltermants quoted in “The Russian War, 1941-1945” (J. Cape, London, 1978)

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Walter Astrada, Argentinean (born 1974)
Congolese women fleeing to Goma
2008
from the series Violence against women in Congo, Rape as weapon of war in DRC
Chromogenic print (printed 2010)
The Museum of Fine Arts, Houston, museum purchase with funds provided by Photo Forum 2010
© Walter Astrada

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Cas Oorthuys
Portrait of starving woman in the hunger winter, Amsterdam
1944-1945
Silver gelatin print

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Otto Hagel
German-Americans at a meeting in New Jersey of the Deutsche Bund
1940/41
Silver gelatin print

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Malcolm Browne
Burning Monk – The Self-Immolation
1963

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Harry Benson
Grieving man, holding flag
1971

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22. Children have been consistently photographed during wartime as both victims and soldiers. Images in this section include Sir Cecil Beaton’s Three-year-old Eileen Dunne in Hospital for Sick Children, England (1940); children viewing the bodies of other children who were hanged as collaborators in Russia in the 1940s, by Mark Redkin; Philip Jones Griffiths’ image of a young boy, Called “Little Tiger” for killing two “Vietcong women cadre” – his mother and teacher, it was rumored (1968); children playing “execution” in Italy, by Enzo Sellerio; two orphaned boys smoking cigarettes in post-World War II Japan, by Hayashi Tadahiko; a father home on leave reading the newspaper with his son, who wears his dad’s helmet, by Andrea Bruce; and the 2005 photograph, by Chris Hondros, of a blood-splattered Iraqi girl whose family was mistakenly ambushed by U.S. troops. (13 images) 

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Andrea Bruce. 'Untitled [A father home on leave reading the newspaper with his son, who wears his dad’s helmet]' 2006

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Andrea Bruce
Untitled [A father home on leave reading the newspaper with his son, who wears his dad’s helmet]
2006
from the series When the War Comes Home

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Cecil Beaton. 'Eileen Dunne, aged three, sits in bed with her doll at Great Ormond Street Hospital for Sick Children, after being injured during an air raid on London in September 1940' 1940

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Cecil Beaton
Eileen Dunne, aged three, sits in bed with her doll at Great Ormond Street Hospital for Sick Children, after being injured during an air raid on London in September 1940
1940
Gelatin silver print
© IWM (MH 26395)

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Philip Jones Griffiths Welsh (1936-2008) 'Called "Little Tiger” for killing two "Vietcong women cadre” - his mother and teacher, it was rumored, Vietnam' 1968

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Philip Jones Griffiths Welsh (1936-2008)
Called “Little Tiger” for killing two “Vietcong women cadre” – his mother and teacher, it was rumored, Vietnam
1968
Gelatin silver print
The Philip Jones Griffiths Foundation, courtesy of Howard Greenberg Gallery
© Philip Jones Griffiths / Magnum Photos

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23. Portraits are the most common type of photograph made during conflicts. Dispersed throughout the exhibition, lining the main walkway through the galleries, are the faces of leaders, the enlisted, heroes and war criminals, as well as group portraits. One of the earliest prints in the exhibition is a daguerreotype from the Mexican-American War of a high-ranking officer. Matthew Brady, one of the most famous photographers of the 19th century, was renowned for coverage of the Civil War; his MajorGeneral Joseph Hooker, c. 1863, is on view. Among the most recent is a self-portrait by American Cpl. Reynaldo Leal USMC. Leal – who was born and grew up in Edinburg, Texas, and now lives in El Paso – served in Iraq conducting combat patrols through the villages along the Euphrates. (40 images)

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Reynaldo Leal. 'Self portrait after a patrol' 2004-06

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Corporal Reynaldo Leal USMC American, born 1983
Self‑portrait after a Patrol
c. 2004-06
Inkjet print
The Museum of Fine Arts, Houston, museum purchase with funds provided by Will Michels and Clinton T. Willour
© Reynaldo Leal

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Mathew B. Brady American (1823-1896) 'Major-General Joseph Hooker' c. 1863

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Mathew B. Brady American (1823-1896)
Major-General Joseph Hooker
c. 1863
Salted paper print, hand colored
The Museum of Fine Arts, Houston, museum purchase with funds provided by the S. I. Morris Photography Endowment

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Matthew Brady. 'Colonel William Gates, believed to have been taken upon his return from the Mexican War' ca. 1848

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Matthew B. Brady American (1823-1896)
Colonel William Gates, believed to have been taken upon his return from the Mexican War
c. 1848
Half plate daguerreotype, gold toned
Library of Congress

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24. War’s End is identifiable at the moment a photograph is taken. The subsection “Victory/Defeat” is the visual manifest of the outcome of war, from the Japanese signing peace documents on board the USS Missouri, by Carl Mydans; to German generals discussing terms of surrender in the woods just four days after Adolf Hitler committed suicide in 1945, by E. G. Malindine; and the raising of the Hammer and Sickle over the Reichstag in Berlin in 1945, by Evgeny Khaldey. Also included is Simon Norfolk’s Victory arch built by the Northern Alliance at the entrance to a local commander’s headquarters in Bamiyan. The empty niche housed the smaller of the two Buddhas, destroyed by the Taliban in 2001, from the series Afghanistan: Chronotopia. “Retribution” contains a 1945 image, by Lee Miller, of a concentration-camp guard who was beaten by prisoners after their liberation; and a photograph by Robert Capa of a Frenchwoman who had been impregnated by a German soldier, as she walks through a jeering crowd with her head shaved in punishment and carrying her baby. The photographs in “Homecoming” establish an emotive connection: a family reunion on the tarmac at an Air Force base in California in 1973, by Sal Veder; a mother and son embracing at the Ben-Gurion Airport in Israel in 1976, by Micha Bar-Am; and a man who has returned from duty in Bosnia in 1995 to discover that his home and everyone in it is gone, by Ron Haviv. (23 images) 

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Carl Mydans. 'Japanese signing peace documents on board the USS Missouri' 1945

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Carl Mydans
Japanese signing peace documents on board the ‘USS Missouri’
1945

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Simon Norfolk. 'Victory arch built by the Northern Alliance at the entrance to a local commander’s headquarters in Bamiyan. The empty niche housed the smaller of the two Buddhas, destroyed by the Taliban in 2001' 2001

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Simon Norfolk
Victory arch built by the Northern Alliance at the entrance to a local commander’s headquarters in Bamiyan. The empty niche housed the smaller of the two Buddhas, destroyed by the Taliban in 2001
2001
from the series Afghanistan: Chronotopia

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Robert Capa. 'Collaborator woman who had a German soldier's child, Chartres, 18 August 1944' 1944

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Robert Capa
Collaborator woman who had a German soldier’s child, Chartres, 18 August 1944
1944
Gelatin silver print
33 x 49 cm

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Sal Velder. 'Released prisoner of war Lt. Col. Robert L. Stirm is greeted by his family at Travis Air Force Base in Fairfield, California on March 17, 1973, as he returns home from the Vietnam War' 1973

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Sal Velder
Released prisoner of war Lt. Col. Robert L. Stirm is greeted by his family at Travis Air Force Base in Fairfield, California on March 17, 1973, as he returns home from the Vietnam War
1973
Silver gelatin print
© Sal Velder

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Ron Haviv, American, b.1965 'A Bosnian soldier stands on what is believed to be a mass grave outside his destroyed home. He was the sole survivor of 69 people' 1995

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Ron Haviv American, b.1965
A Bosnian soldier stands on what is believed to be a mass grave outside his destroyed home. He was the sole survivor of 69 people
1995
Inkjet print
Courtesy of Ron Haviv/VII
© Ron Haviv

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Micha Bar-Am Israeli (born Germany, 1930) 'The return from Entebbe, Ben-Gurion Airport, Israel' 1976

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Micha Bar-Am Israeli (born Germany, 1930)
The return from Entebbe, Ben-Gurion Airport, Israel
1976
from the series Promised Land
Inkjet print
Courtesy of the artist and Andrea Meislin Gallery, New York
© Micha Bar-Am / Magnum Photos

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

Opening hours:
Tuesday, Wednesday 10.00 am – 5.00 pm
Thursday 10.00 am – 9.00 pm
Friday, Saturday 10.00 am – 7.00 pm
Sunday 12.15 pm – 7.00 pm
Closed Monday, except Monday holidays
Closed Thanksgiving Day and Christmas Day

Museum of Fine Arts, Boston website

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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.

Marcus Bunyan black and white archive: ‘Sleep/Wound’ 1995-96


Marcus Bunyan black and white archive: 'Sleep/Wound' 1995-96 *PLEASE NOTE THIS POSTING CONTAINS PHOTOGRAPHS OF MALE NUDITY - IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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