Posts Tagged ‘The South African Cheetah

08
Oct
15

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

Exhibition dates: 26th May – 18th October 2015

 

Some of the photographs in this postings are sad, others are just gruesome.

One animal’s in/humanity to many others.

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.

 

 

Taryn Simon. 'White Tiger (Kenny)' 2007

 

Taryn Simon
White Tiger (Kenny), Selective Inbreeding Turpentine Creek Wildlife Refuge and Foundation Eureka Springs, Arkansas
2007
The J. Paul Getty Museum, Los Angeles
© Taryn Simon

 

In the United States, all living white tigers are the result of selective inbreeding to artificially create the genetic conditions that lead to white fur, ice-blue eyes and a pink nose. Kenny was born to a breeder in Bentonville, Arkansas on February 3, 1999. As a result of inbreeding, Kenny is mentally retarded and has significant physical limitations. Due to his deep-set nose, he has difficulty breathing and closing his jaw, his teeth are severely malformed and he limps from abnormal bone structure in his forearms. The three other tigers in Kenny’s litter are not considered to be quality white tigers as they are yellow-coated, crosseyed, and knock-kneed.

 

Frank Haes (British, 1832-1916) The South African Cheetah (Felis Jubata.) c. 1865

 

Frank Haes (British, 1832-1916)
The South African Cheetah (Felis Jubata.)
c. 1865
Albumen silver print
8.2 x 17.2 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Frank Haes (British, 1832-1916) The South African Cheetah (Felis Jubata.) c. 1865 (detail)

 

Frank Haes (British, 1832-1916)
The South African Cheetah (Felis Jubata.) (detail)
c. 1865
Albumen silver print
8.2 x 17.2 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Frank Haes (British, 1832-1916) 'The Zebra, Burchell's, or Dauw. (Asinus Burchellii.)' c. 1865

 

Frank Haes (British, 1832-1916)
The Zebra, Burchell’s, or Dauw. (Asinus Burchellii.)
c. 1865
Albumen silver print
8.3 x 17.2 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Frank Haes (British, 1832-1916) 'The Zebra, Burchell's, or Dauw. (Asinus Burchellii.)' c. 1865 (detail)

 

Frank Haes (British, 1832-1916)
The Zebra, Burchell’s, or Dauw. (Asinus Burchellii.) (detail)
c. 1865
Albumen silver print
8.3 x 17.2 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Frank Haes (British, 1832-1916) 'The Tiger. (Felis Tigris.)' c. 1865

 

Frank Haes (British, 1832-1916)
The Tiger. (Felis Tigris.)
c. 1865
Albumen silver print
8.2 x 17.1 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Frank Haes (British, 1832-1916) 'The Tiger. (Felis Tigris.)' c. 1865 (detail)

 

Frank Haes (British, 1832-1916)
The Tiger. (Felis Tigris.) (detail)
c. 1865
Albumen silver print
8.2 x 17.1 cm (3 1/4 x 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Daniel Naudé (South African, born 1984) 'Africanis 17. Danielskuil, Northern Cape, 25 February 2010' 2010

 

Daniel Naudé (South African, born 1984)
Africanis 17. Danielskuil, Northern Cape, 25 February 2010
2010
Chromogenic print
60 x 60 cm (23 5/8 x 23 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Daniel Naudé

 

Capt. Horatio Ross (British, 1801-1886) '[Dead stag in a sling]' c. 1850s - 1860s

 

Capt. Horatio Ross (British, 1801-1886)
[Dead stag in a sling]
c. 1850s – 1860s
Albumen silver print
27.9 x 33.2 cm (11 x 13 1/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Capt. Horatio Ross (British, 1801-1886) '[Dead stag in a sling]' (detail) c. 1850s - 1860s

 

Capt. Horatio Ross (British, 1801-1886)
[Dead stag in a sling] (detail)
c. 1850s – 1860s
Albumen silver print
27.9 x 33.2 cm (11 x 13 1/16 in.)
The J. Paul Getty Museum, Los Angeles

 

 

“Animals have never been camera shy – almost since the introduction of the medium in 1839, they have appeared in photographs. While early photographs typically depicted animals that were tame, captive, or dead, modern and contemporary artists have delved into the interdependent relationship between man and beast.

Drawn entirely from the J. Paul Getty Museum’s photographs collection, In Focus: Animalia, on view May 26-October 18, 2015 at the Getty Center, illustrates some of the complex relationships between people and animals. From an intimate studio portrait with dog and owner to the calculated cruelty of inbreeding practices, these photographs offer nuanced views of the animal kingdom.

“It is easy to understand why artists choose animals for their subject matter – their lives are profoundly intertwined with our own, often eliciting powerful emotions,” says Timothy Potts, Director of the J. Paul Getty Museum. “Whether seen as beloved pets, kept in zoos, or threatened by human activity, animals continue to fascinate and act as catalysts for artistic creativity. This exhibition highlights the many different ways in which animals as subject matter have served as an endearing theme for photographers throughout history right up to the present day.”

Photographs of pets, working animals, taxidermied game, and exotic beasts in newly opened zoos circulated widely during the second half of the 19th century. Early daguerreotypes required a subject to remain still for several minutes to ensure that the image would not blur, so photographing moving animals posed a problem. In Study of a White Foal (about 1845) the Swiss nobleman and amateur daguerreotypist Jean-Gabriel Eynard (1775-1863), focused the lens of his camera on a foal at rest, a moment when its movements were limited, in order to make a successful picture.

By the early 1850s most major cities in Europe and America could boast studios specializing in daguerreotype photography. Customers sat for portraits in order to preserve their own images, and also commissioned photographs of their family members and loved ones, including pets. In Dog Sitting on a Table (about 1854; artist unknown) an eager dog is photographed sitting on a tasseled pedestal. The slight blurring of the head, indicating movement during exposure, betrays the barely contained energy of this otherwise well-trained animal.

The mid-19th century saw increasing demand for stereoscopic photographs – two nearly identical prints made with a double lens camera that created a three-dimensional image when viewed in a stereoscope viewer. Frank Haes (British, 1832-1916) made a reputation for himself by photographing animals at the London Zoo, much to the delight of those fascinated by hippos, lions, zebras, and other exotic beasts. Eadweard J. Muybridge’s (American, born England, 1830-1904) pioneering work in motion studies are best remembered for his depictions of animals. Devising a system for successively tripping the shutters of up to 24 cameras, Muybridge created the illusion of movement in a galloping horse.

Artists have also relied on animals to convey symbolism and to represent fantastical worlds. A photograph by Alfred Stieglitz (American, 1864-1946) of a harnessed and castrated horse serves as a critical metaphor for American identity in the early 1920s, which Stieglitz viewed as materialist and culturally bankrupt. An elaborately staged photograph by Sandy Skoglund (American, born 1946) presents a dreamlike atmosphere filled with handmade, larger-than-life sculptures of goldfish that create a scene at once playful and disturbing. Recently-acquired works by Daniel Naudé (South African, born 1984) depict portraits of wild dogs the photographer found on the arid plains of South Africa. Made from a low vantage point, individual dogs are cast against broad views of the landscape, and the photographs harken back to the equestrian portrait tradition popular during the 17th century. Taryn Simon’s photograph of a caged white tiger (American, born 1975) demonstrates the oftentimes debilitating results of the inbreeding practices utilized to obtain highly desired traits such as a white coat. This work illuminates the mistakes and failures of human intervention into a territory governed by natural selection.

In Focus: Animalia is on view May 26-October 18, 2015 at the J. Paul Getty Museum, Getty Center. The exhibition will be accompanied by the publication of Animals in Photographs (Getty Publications) by Arpad Kovacs.”

Press release from the J. Paul Getty Museum website

 

Sandy Skoglund. 'Revenge of the Goldfish' 1981

 

Sandy Skoglund
Revenge of the Goldfish
1981
Color photograph
27 1/2″ x 35″
Individually hand-made ceramic goldfish by the artist, with live models in painted set
The J. Paul Getty Museum, Los Angeles
© 1981 Sandy Skoglund

 

Like many of her other works, such as Radioactive Cats and Fox Games, the piece is a set composed of props and human models, which Skoglund poses and then photographs. In the piece, a child sits on the edge of a bed while an adult sleeps next to him. The set of the scene is a monochromatic blue, with contrasting bright orange goldfish floating through the room. The goldfish in the piece were sculpted by Skoglund out of terracotta and bring an element of fantasy to an otherwise normal scene. According to Skoglund, “If the fish are eliminated the image shows nothing unusual; just a room with two people in bed.” The piece was first on display at the Saint Louis Art Museum in 1981. Since then, the piece has been in several collections at various museums, including Smith College Museum of Art, Dallas Museum of Art, Akron Art Museum, and Amon Carter Museum of American Art. Smith College Museum of Art also owns the original installation. (Text from Wikipedia website)

 

Eadweard J. Muybridge (American, born England, 1830-1904) 'Running (Galloping)' 1878 - 1881

 

Eadweard J. Muybridge (American, born England, 1830-1904)
Running (Galloping)
1878 – 1881
Iron salt process
18.9 x 22.6 cm (7 7/16 x 8 7/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Unknown maker, American. 'Portrait of a Girl with her Deer' c. 1854

 

Unknown maker, American
Portrait of a Girl with her Deer
c. 1854
Daguerreotype 1/4 plate
Image: 6.9 x 9 cm (2 11/16 x 3 9/16 in.)
Plate: 8.1 x 10.7 cm (3 3/16 x 4 3/16 in.)
Mat: 8.2 x 10.6 cm (3 3/16 x 4 3/16 in.)
The J. Paul Getty Museum, Los Angeles

 

Unknown maker, American. 'Portrait of a Girl with her Deer' c. 1854 (detail)

 

Unknown maker, American
Portrait of a Girl with her Deer (detail)
c. 1854
Daguerreotype 1/4 plate
Image: 6.9 x 9 cm (2 11/16 x 3 9/16 in.)
Plate: 8.1 x 10.7 cm (3 3/16 x 4 3/16 in.)
Mat: 8.2 x 10.6 cm (3 3/16 x 4 3/16 in.)
The J. Paul Getty Museum, Los Angeles

 

William Eggleston (American, born 1939) 'Memphis' Negative 1971; print 1974

 

William Eggleston (American, born 1939)
Memphis
Negative 1971; print 1974
Dye imbibition print
32.9 x 47.9 cm (12 15/16 x 18 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Eggleston Artistic Trust

 

Keith Carter (American, born 1948) 'Goodbye to a Horse' 1993

 

Keith Carter (American, born 1948)
Goodbye to a Horse
1993
Gelatin silver print
39 x 39.2 cm (15 3/8 x 15 7/16 in.)
The J. Paul Getty Museum, Los Angeles, Gift of Daniel Greenberg and Susan Steinhauser
© Keith Carter

 

André Kertész (American, born Hungary, 1894-1985) '[Wooden Mouse and Duck]' 1929

 

André Kertész (American, born Hungary, 1894-1985)
[Wooden Mouse and Duck]
1929
Gelatin silver print
20.9 x 16.7 cm (8 1/4 x 6 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of André Kertész

 

Alfred Stieglitz (American, 1864-1946) 'Spiritual America'
 1923

 

Alfred Stieglitz (American, 1864-1946)
Spiritual America

1923
Gelatin silver print
The J. Paul Getty Museum, Los Angeles

 

Unknown maker, American. '[Dog sitting on a table]' c. 1854

 

Unknown maker, American
[Dog sitting on a table]
c. 1854
Hand-colored daguerreotype 1/6 plate
Image: 6.8 x 5.7 cm (2 11/16 x 2 1/4 in.)
Mat: 8.3 x 7 cm (3 1/4 x 2 3/4 in.)
The J. Paul Getty Museum, Los Angeles

 

Hiro (American, born China, born 1930) 'David Webb, Jeweled Toad, New York, 1963' 1963

 

Hiro (American, born China, born 1930)
David Webb, Jeweled Toad, New York, 1963
1963
Dye imbibition print
50.2 x 39.1 cm (19 3/4 x 15 3/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Hiro

 

Soon Tae (Tai) Hong (South Korean, born 1934) 'Chong Ju' 1970

 

 

Soon Tae (Tai) Hong (South Korean, born 1934)
Chong Ju
1970
Gelatin silver print
24.8 x 20 cm (9 3/4 x 7 7/8 in.)
Object Credit: The J. Paul Getty Museum, Los Angeles
© Hong Soon Tae (Tai)

 

William Wegman (American, born 1943) 'In the Box/Out of the Box [right]' 1971

 

William Wegman (American, born 1943)
In the Box/Out of the Box [right]
1971
Gelatin silver print
35.4 x 27.7 cm (13 15/16 x 10 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© William Wegman

 

William Wegman (American, born 1943) 'In the Box/Out of the Box [left]' 1971

 

William Wegman (American, born 1943)
In the Box/Out of the Box [left]
1971
Gelatin silver print
35.5 x 27.7 cm (14 x 10 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© William Wegman

 

 

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

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

The J. Paul Getty Museum website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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