Exhibition: ‘In Focus: Los Angeles, 1945-1980’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 20th December 2011 – 6th May 2012

Anthony Friedkin (American, b. 1949)
Clockwork Malibu
1978
Gelatin silver print
11 15/16 x 18 5/16 in
The J. Paul Getty Museum, Los Angeles
Gift of Sue and Albert Dorskind
© Anthony Friedkin

While Anthony Friedkin has documented subjects as diverse as the marginalised gay community of San Francisco, convicts at Folsom Prison, and brothels in New York, it is the Southern California coastline that has remained a recurrent theme throughout his forty-five-year career. The Los Angeles native took up photography about the same time he learned to surf. His images of waves deftly communicate the primordial power and elusive mysteries that he ascribes to the ocean. This photograph of surfer Rick Dano on an early morning drive up the coast conveys a mood of quiet, anticipatory harmony.

Text from Pacific Standard Time at the Getty

I have never particularly liked Los Angeles as a city. There seems to be something unappealing about the place, some energy lurking just beneath the surface that you can’t quite put your finger on. Maybe it is the comparison with the vivacious San Francisco just up the coast, the awful public transport or, more spookily, the lack of people on the street. People never walk anywhere in LA, it’s a car town. When I did walk on the street I felt vulnerable and surveyed with suspicion by people in cars, like a rabbit caught in the headlights.

These photographs confirm this feeling. Unlike the visual acoustics of the architectural photographs of Julius Shulman (photographs that mythologised this urban metropolis and then exported that idealised presence and Californian mid-century design to the rest of the world) these photographs have an unbelievably desolatory nature to them. They seem to be joyless and sorrowful, devoid of warmth, comfort, or hope – as though the human and the city were separated, as if we are separated from a loved one.

The row after row of tinderbox houses, the ubiquitous cars, the sense of emptiness, hopelessness and menace (see Gary Winogrand Los Angeles 1964, below – if looks could kill this would be it, the bandaged broken nose just perfect for the photograph) all paint a picture of despair. Even the supposedly quiet, anticipatory harmony of the photograph of surfer Rick Dano by Anthony Friedkin (1978, below top) is, to me, full of unresolved tension. The mist in the background hanging over the rocks, blocking out the view, the filthy hands and the bandaged little finger of the right hand, the downcast eyes, the impossibly long cigarette handing from his lips and most importantly the empty distance between the figure and the safety of the automobile. The tension in that distance and the downcast eyes says nothing to me of harmony but of isolation, sadness and regret.

Los Angeles is not my favourite city but it is a fascinating place none the less, as these photographs do attest.

Dr Marcus Bunyan

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.

Max Yavno (American, 1911-1985)
High School Beach
1945
Gelatin silver print
22.1 x 34.4cm
The J. Paul Getty Museum, Los Angeles
Gift of Marjorie and Leonard Vernon
© 1988 Centre for Creative Photography, The University of Arizona Foundation

Anthony Hernandez (American, b. 1947)
Automotive Landscapes #5: Los Angeles
1978
Gelatin silver print
11 3/4 x 17 1/8 in
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by the Photographs Council of the J. Paul Getty Museum
© Anthony Hernandez

Hernandez started photographing what he refers to as “automotive landscapes” in 1977, using a 35mm camera until he realised that a large-format camera loaded with 5 x 7-inch negative film would provide the detail he desired. Taken from a slightly elevated vantage point, Hernandez’s image of an immobilised truck and its lone mechanic in front of a repair shop presents a sobering view of Los Angeles’s car-dominant culture.

Text from Pacific Standard Time at the Getty

Gary Winogrand (American, 1928-1984)
Los Angeles
1964
Gelatin silver print
9 x 13 7/16 in
The J. Paul Getty Museum, Los Angeles
© 1984 The Estate of Gary Winogrand

This image of a couple seated in a parked convertible in front of a nightclub on Sunset Boulevard simultaneously captures the glamour and seediness associated with Hollywood. Evoking a 1940s or ’50s film noir crime drama, a seeming tough guy and femme fatale continue their heated conversation, apparently oblivious to the traffic around them – and to the photographer observing them. A native of New York City, Winogrand studied painting at Columbia University and photography at the New School for Social Research before doing freelance commercial work. He photographed incessantly, using a 35mm camera to create wide-angled or tilted shots that are densely composed and layered with meaning. More than 2,500 rolls of film remained undeveloped at the time of his death in 1984.

Text from Pacific Standard Time at the Getty

As part of the region-wide Pacific Standard Time: Art in L.A., 1945-1980 initiative, The J. Paul Getty Museum presents In Focus: Los Angeles, 1945-1980, an exhibition of photographs from the permanent collection made by artists whose time in Los Angeles inspired them to create memorable images of the city, on view at the Getty Center from December 20, 2011 – May 6, 2012.

This exhibition features both iconic and relatively unknown work by artists whose careers are defined by their association with Los Angeles, who may have lived in the city for a few influential years, or who might have visited only briefly,” said Virginia Heckert, curator, Department of Photographs, the J. Paul Getty Museum, and curator of the exhibition.

The photographs are loosely grouped around the themes of experimentation, street photography, architectural depictions, and the film and entertainment industry. Works featured in the exhibition are from artists such as Jo Ann Callis, Robert Cumming, Joe Deal, Judy Fiskin, Anthony Friedkin, Robert Heinecken, Anthony Hernandez, Man Ray, Edmund Teske, William Wegman, Garry Winogrand, and Max Yavno. Two of the works in the exhibition by Anthony Hernandez and Henry Wessel Jr. were acquired with funds from the Getty Museum Photographs Council. Drawn from the Museum’s permanent collection, including several recent acquisitions inspired by the Pacific Standard Time initiative, the exhibition offers visitors the opportunity to familiarise themselves with a broad range of approaches to the city of Los Angeles as a subject and to the photographic medium itself.

One of the most well-known works in the exhibition is Garry Winogrand’s photograph of two women walking towards the landmark theme building designed by Charles Luckman and William Pereira that has come to symbolise both Los Angeles International Airport and mid-century modern architecture in popular culture. Though a quintessential New Yorker, Winogrand made some of his most memorable photographs in Los Angeles, where he chose to settle in the final years of his life. Also included in the exhibition is Diane Arbus’ dreamily lit photograph of Sleeping Beauty Castle at Disneyland park in Anaheim. Although technically not located in either the city or the county of Los Angeles, Disneyland – and Arbus’ photograph – continues to capture the notion of entertainment and fantasy that has come to be so intrinsically associated with the city.

Other photographers in the In Focus: Los Angeles exhibition who produced the majority of their most creative work in the city include Edmund Teske, with his experimentation in the darkroom and his complex double solarisation process; Robert Heinecken, with images that are equally complex but often incorporate existing printed materials, such as negatives; Anthony Hernandez, whose portraits of Angelenos on the street emphasise the isolation of the individual in an urban environment; and Anthony Friedkin, who combines his passions for surfing and the Southland beaches in his photographs. The inclusion of three photographs from Judy Fiskin’s earliest photographic series, Stucco (1973-1976), provided the impetus for a monographic presentation of the artist’s complete photographic work by Getty Publications. Entitled Some Aesthetic Decisions: The Photographs of Judy Fiskin and featuring an introductory essay by curator Virginia Heckert, the book will be published concurrently with this exhibition.

Press release from the J. Paul Getty Museum website

Man Ray (Emmanuel Radnitsky)(American, 1890-1976)
Juliet with Mud Mask
1945
Gelatin silver print
35.6 x 27.1cm
The J. Paul Getty Museum, Los Angeles
© Man Ray Trust

William Garnett (American, 1916-2006)
Foundations and Slabs, Lakewood, California
1950
Gelatin silver print
18.9 x 23.8cm
The J. Paul Getty Museum, Los Angeles
© Estate of William A. Garnett

William Garnett (American, 1916-2006)
Framing, Lakewood, California
1950
Gelatin silver print
18.4 x 24.1cm
The J. Paul Getty Museum, Los Angeles
© Estate of William A. Garnett

William Garnett (American, 1916-2006)
Plaster and Roofing, Lakewood, California
1950
Gelatin silver print
18.4 x 24.1cm
The J. Paul Getty Museum, Los Angeles
© Estate of William A. Garnett

William A. Garnett (American, 1916-2006)
Finished Housing, Lakewood, California
1950
Gelatin silver print
7 3/8 x 9 7/16 in
The J. Paul Getty Museum, Los Angeles
© Estate of William A. Garnett

The reduced scale and regular spacing of shapes lend a toy-like quality to Garnett’s suite of prints depicting construction phases of tract housing in the Los Angeles County suburb of Lakewood. The deep shadows, overall patterning, and dramatic diagonals that slice through each composition introduce a sophisticated sense of design and abstraction. After studying photography at Art Center College of Design and military service during World War II, William Garnett learned to fly so that he could photograph his subjects from his Cessna 170-B airplane. Although he was hired by developers to document the construction of 17,500 affordable single-family residences in Lakewood, the majority of his aerial photographs depict the beauty of America’s landscape.

Text from Pacific Standard Time at the Getty

Diane Arbus (American, 1923-1971)
A Castle in Disneyland
Negative, 1962; print, 1973
Gelatin silver print
24 x 24cm
The J. Paul Getty Museum, Los Angeles
© Estate of Diane Arbus

Grant Mudford (Australian, b. 1944)
Los Angeles (US 257/10a)
Negative, 1976; print, 1980
Gelatin silver print
19 1/4 x 13 1/8 in
© Grant Mudford

After working for ten years as a commercial photographer, Sydney native Grant Mudford received funding from the Australia Council for the Arts, enabling him to travel throughout the United States to pursue personal work. Mudford’s love of architecture – particularly the vernacular, often anonymous structures of urban America – is evident in the photographs he produced. His head-on depictions of the façades of simple commercial buildings are enlivened by signage, the play of light and shade, the placement of doors and windows, or, as in this image, the rich variety of textures.

Text from Pacific Standard Time at the Getty

Joe Deal (American, 1947-2010)
Backyard, Diamond Bar, California
1980
Gelatin silver print
11 3/16 x 11 1/4 in
The J. Paul Getty Museum, Los Angeles
© Joe Deal

Joe Deal rose to prominence in the mid-1970s when work he made as a graduate student at the University of New Mexico was included in the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975). From 1976 to 1989, he taught photography at the University of California, Riverside, where he was instrumental in establishing a photography program and developing the university-affiliated California Museum of Photography. His photographs of Diamond Bar feature backyards of this primarily residential suburb located at the junction of the Pomona and Orange freeways in eastern Los Angeles County. Deal’s implementation of a slightly elevated perspective that eliminates the horizon line and provides a view into neighbouring yards effectively conveys the close quarters of life in a master-planned community.

Text from Pacific Standard Time at the Getty

Robert Heineken (American, 1931-2006)
Untitled (Studies #7)
1970
Gelatin silver print
9 15/16 x 7 15/16 in.
The J. Paul Getty Museum, Los Angeles
© The Estate of Robert Heineken

Garry Winogrand (American, 1928-1984)
Los Angeles International Airport
1964
Gelatin silver print
The J. Paul Getty Museum, Los Angeles
© 1984 The Estate of Garry Winogrand

“It is immediately apparent that no city has ever been produced by such an extraordinary mixture of geography, climate, economics, demography, mechanics and culture; nor is it likely that an even remotely similar mixture will ever occur again.” ~ Reyner Banham, Los Angeles: The Architecture of Four Ecologies, 1971

This exhibition features photographs – made between 1945 and 1980 – from the Museum’s collection that represent diverse responses to the city of Los Angeles as a subject and to photography as a medium for documentary and creative expression. It is loosely grouped around the themes of experimental photography, vernacular architecture, car culture, and fantasy and the film industry.

Both iconic and relatively unknown works are included. One of the best known is Garry Winogrand’s image of two women walking towards the Theme Building at L.A. International Airport (see image above). Though a quintessential New Yorker, Winogrand settled in Los Angeles near the end of his life.

Experimental Photography

With its reclining figure set against a patterned background, Robert Heineken’s image recalls the odalisques of French painter Henri Matisse (see image above). To Heineken, however, traditional subjects and techniques were of little interest. He created this camera-less photograph by using a page torn from a magazine as the negative. This allowed light to pass through and merge depictions on both sides of the page into a single image with reversed tones.

In 1963, Heineken founded the photography program at the University of California, Los Angeles. He forged new directions in photography, utilising strategies of manipulation and appropriation to address themes of consumer culture and sexual politics.

Vernacular Architecture

Judy Fiskin’s propensity to backlight her subjects makes it difficult to read the details in the modest examples of vernacular architecture found in Westside neighbourhoods of Los Angeles that she photographed for her Stucco series. Viewers may be inclined to squint against the harsh light of Southern California that Fiskin makes so palpable. Nevertheless, the small scale of her images, contained by the black edges of the negative, encourages close viewing.

After completing graduate studies in art history at UCLA, Fiskin joined the faculty of the California Institute of Arts in 1977.

Car Culture

A native of Los Angeles, following two years of study at East Los Angeles College and two years of service in the U.S. Army, Anthony Hernandez took up photography in earnest around 1970.

For this image, Hernandez preset his 35mm camera so that objects within a specific range would be in focus. Then, while walking the streets of downtown Los Angeles, he swung the camera to his eye for a fraction of a second to capture fellow pedestrians as well as the ambient mood of a city more typically experienced from the driver’s seat (see image below).

Fantasy and the Film Industry

Los Angeles native Anthony Friedkin took up photography about the same time he learned to surf, and was already an accomplished photographer by age 16. He then studied at Art Center College of Design and the University of California, Los Angeles.

Friedkin began working as a still photographer for motion pictures in 1975. His depiction of row after row of film cans might be viewed as a historical document of a medium that has been replaced by new technology (see image below).

Anonymous. “In Focus: Los Angeles, 1945-1980,” on the J. Paul Getty Museum website Nd [Online] Cited 18/10/2024

Anthony Hernandez (American, b. 1947)
Los Angeles #3
1971
Gelatin silver print
7 3/4 x 11 13/16 in
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by the Photographs Council
© Anthony Hernandez

Following two years of study at East Los Angeles College and two years of service in the U.S. Army, Anthony Hernandez took up photography in earnest around 1970. For this image, he preset his 35mm camera so that objects within a specific range would be in focus. Then, while walking the streets of downtown Los Angeles, he swung the camera to his eye for a fraction of a second to capture fellow pedestrians as well as the ambient mood of a city more typically experienced from the driver’s seat. A native of Los Angeles, Hernandez has continued to photograph the city, addressing issues of community, shelter, and survival in his work.

Text from Pacific Standard Time at the Getty

Anthony Friedkin (American, b. 1949)
Film Can Library, Universal Studios
1978
Gelatin silver print
12 x 17 11/16 in
The J. Paul Getty Museum, Los Angeles
Gift of Sue and Albert Dorskind
© Anthony Friedkin

Anthony Friedkin began taking photographs at a young age and had already published his work by the time he was 16. He nonetheless found it important to study photography seriously and did so at Art Center College of Design and the University of California, Los Angeles. Employment as a still photographer for motion pictures beginning in 1975 undoubtedly prepared him to create a portfolio of images of Universal Studios a few years later. His depiction of row after row of film cans might be viewed as a historical document of a medium that has been replaced by new technology. Friedkin’s continued commitment to shooting black-and-white film that he develops and prints in his own darkroom has become increasingly rare.

Text from Pacific Standard Time at the Getty

Darryl J. Curran (American, b. 1935)
Cocktails with Heinecken
about 1974
Gelatin silver print
9 1/4 x 14 in
The J. Paul Getty Museum, Los Angeles
Gift of Darryl J. Curran
© Darryl J. Curran

After completing his undergraduate degree in design at the University of California, Los Angeles, Darryl Curran entered the school’s newly established photography program, studying with Robert Heinecken, who is positioned toward the center of this image in a black turtleneck. The repeated printing of two frames is typical of Curran’s approach to the photographic medium and the ease with which he employs techniques and strategies derived from his background in printmaking and design. Another form of “mirroring” occurs in the placement of a Heineken beer bottle opposite Heinecken the artist. Curran founded the Department of Photography at California State University, Fullerton, where he taught from 1967 to 2001.

Text from Pacific Standard Time at the Getty

Henry Wessel Jr. (American, 1942-2018)
Los Angeles
1971
Gelatin silver on Dupont Veragam paper print
7 15/16 x 11 7/8 in
The J. Paul Getty Museum, Los Angeles
Purchased with funds provided by the Photographs Council of the J. Paul Getty Museum
© Henry Wessel

Henry Wessel began taking photographs while majoring in psychology at Pennsylvania State University in the mid-1960s. Travel throughout the United States in subsequent years led him to direct his gaze increasingly to details of human interaction with the natural and man-made environment. Wessel’s move to the West Coast in the early 1970s inspired him to incorporate light and climate into his work. His inclusion in the seminal exhibition New Topographics: Photographs of a Man-Altered Landscape, organised in 1975 by the George Eastman House in Rochester, New York, solidified his reputation as a keen observer of the American topography. In this image, electrical and telephone lines tether a row of modest residences to a single utility pole.

Text from Pacific Standard Time at the Getty

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

Opening hours:
Daily 10am – 5pm

The J. Paul Getty Museum website

LIKE ART BLART ON FACEBOOK

Back to top

Exhibition: ‘Henri Cartier-Bresson / Paul Strand, Mexico 1932-1934’ at HCB Foundation, Paris

Exhibition dates: 11th January – 22nd April 2012

Henri Cartier-Bresson (French, 1908-2004)
Mexico
1934
Gelatin silver print
© Magnum, Henri Cartier-Bresson Foundation

“The American’s immobility contrasts with [the] Frenchman’s fluidity.”

Press releases should be very careful when making such sweeping generalisations. Personally I find the photographs of Cartier-Bresson the more static (both physical and psychological) of the two photographers. The compartmentalisation of space in Bresson’s photographs – the use of diagonals and verticals – is more fixed than in the sensuous Strand, the emotions more didactic and formalised even as they seek the spontaneity of photojournalism. The placement of the two figures in Strand’s Men of Santa Ana (1933, below) is superlative, with the central dividing column and combination of tones and textures, father and son(?), stares and postures. Cartier-Bresson’s Prostitute (1934, below) is simpler in pose and purpose but we must remember this was a twenty-six year old photographer still finding his voice in the world, whereas Strand was a much older person and a more experienced photographer.

Dr Marcus Bunyan

Many thankx to the Henri Cartier-Bresson Foundation for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Henri Cartier-Bresson (French, 1908-2004)
Natcho Aguirre, Santa Clara, Mexico
1934
Gelatin silver print
© Magnum, Henri Cartier-Bresson Foundation

Henri Cartier-Bresson (French, 1908-2004)
Calle Cuauhtemoctzin (two prostitutes), Mexico City
1934
Gelatin silver print
© Magnum, Henri Cartier-Bresson Foundation

Henri Cartier-Bresson (French, 1908-2004)
The Spider of Love, Mexico City
1934
Gelatin silver print
© Magnum, Henri Cartier-Bresson Foundation

Henri Cartier-Bresson (French, 1908-2004)
Mexico
1934
Gelatin silver print
© Magnum, Henri Cartier-Bresson Foundation

Henri Cartier-Bresson (French, 1908-2004)
Juchitan
1934
Gelatin silver print
© Magnum, Henri Cartier-Bresson Foundation

Paul Strand (American, 1890-1976)
Nets, Michoacan
1933
Gelatin silver print
© Paul Strand

Paul Strand (American, 1890-1976)
Near Saltillo
1932
Gelatin silver print
© Paul Strand

Bringing together such different works by two great masters in the history of photography is not self-evident. There are many points of convergence, but their styles are profoundly different. The American’s immobility contrasts with Frenchman’s fluidity. They both travelled to Mexico during the same period and they crossed paths in New York in 1935 when they joined the political filmmakers’ group Nykino (which later became Frontier Films) in order to explore filmmaking at a critical point in their respective careers.

In autumn 1932, Paul Strand (1890-1976) set out for Mexico by car at the invitation of the Mexican Ministry of Education. He exhibited his photographs there and had the pleasure of witnessing the popular success of his images. It was in the course of working in the streets of Mexico, a practice which he had abandoned for many years, that Strand took up a different documentary style. At that point, he received a proposal to make a series of films. In 1934, he shot Redes (released in English as The Wave), a ‘docu-fiction’ about the oppression of the fishermen in the village of Alvarado. The film was screened in Mexico in 1936, and subsequently in the United States and France. In 1950, fleeing the climate of McCarthyism in the United States, he came to France and ultimately settled in the village of Orgeval, where he remained until the end of his life.

In 1934, Henri Cartier-Bresson (1908-2004), who was eighteen years younger than Strand, signed up for a French ethnographic mission which was supposed to take him to Argentina. In the end, the mission was suspended and the twenty-six-year-old photographer spent a year in Mexico, literally fascinated by the country. He worked for several newspapers there, moved in intellectual and artistic circles together with his sister and worried about his future. In March 1935, he exhibited his work at the Palacio de Bellas Artes with Mexican photographer Manuel Álvarez Bravo. The local press reacted favourably and the young Frenchman contacted New York art dealer Julien Levy – who had already exhibited him in 1933 – to suggest a show of his recent work. He left Mexico with the firm intention of becoming a filmmaker and thus headed straight for the Nykino group. Strand’s prints come from various international collections; those of Cartier-Bresson belong to the Fondation HCB archives.

Press release from the HCB Foundation website

Henri Cartier-Bresson (French, 1908-2004)
Prostitute, Calle Cuauhtemoctzin, Mexico
1934
Gelatin silver print
© Magnum, Henri Cartier-Bresson Foundation

Paul Strand (American, 1890-1976)
Men of Santa Ana, Lake Patzcuaro Michoacan
1933
Gelatin silver print
© Paul Strand

From January 11 to April 22, 2012, the HCB Foundation will pay tribute to two great masters of photography: Henri Cartier-Bresson and Paul Strand. The perspective of their work on Mexico between 1932 and 1934 will be an opportunity for the public to discover two visions of the same country and especially two approaches to photography.

In the fall of 1932, Paul Strand (1890-1976) left the United States and a personal life in crisis for Mexico. It was at the invitation of Carlos Chavez, whom he had met a little earlier and now responsible for culture at the Ministry of Education, that Strand discovered this country of which he said “I thought of Mexico as something mysterious, dark and dangerous, inhospitable.” However, Strand remained in Mexico for two years until his return to New York in December 1934.

The support of Carlos Chavez proved to be very important and enabled Strand to exhibit for the first time in Mexico at the Sala de Arte of the Ministry of Education in February 1933. After this first success, he left in the spring of 1933 to investigate Mexican arts and crafts in the state of Michoacán. Fascinated by the indigenous culture and the piety of the inhabitants, he brought back from this mission portraits of religious statues, men, women and children in the streets, landscapes and architecture.

He was then appointed director of photographic and cinematographic activities for the Ministry of Education and was entrusted with the production of a series of films on Mexico. He then worked on the script for his first feature film Redes, which is intended as a docu-fiction based on the struggle of a group of men, fishermen, against a corrupt society. The actors of the film are mainly the inhabitants of the village of Alvarado. The realisation is complex but the film is finally screened at the Juarez de Alvarado theatre on June 4, 1936. Barely a year later, it is under the title The Wave that the American public discovers this film very largely influenced by Russian cinema. Unfortunately, the new Mexican government set up in 1934 with the election of Lazaro Cardenas abandoned the film series project and Strand therefore decided to return to New York. He then abandoned photography, joined the association of filmmakers Nykino, devoted himself to political cinema and became president of Frontier Film, Nykino’s new name.

In 1940, thanks to the financial support of Virginia Stevens, his new wife, he published “Photographs of Mexico”, a portfolio, published in 250 copies, of 20 carefully assembled photogravures. A copy will be presented in the exhibition.

In 1951, when the witch hunt was launched in the United States by McCarthy, Strand decided to settle in Orgeval, France, where he would spend the end of his life.

Henri Cartier-Bresson (1908-2004) landed in Mexico City in July 1934. He was part of an ethnographic mission led by Doctor Julio Brandan and supported by the Trocadéro Museum to follow the construction of a major Pan-American road. The mission got off to a bad start because the funding promised by the Mexican government was not forthcoming. The majority of the members of the expedition then returned to France, disappointed to see the project abandoned. But HCB decides to stay because “he feels a real crush on this country”. Nicknamed “the little Frenchman with shrimp cheeks” by Lupe Cervantes, his Mexican “fiancée”, Cartier-Bresson travels the country with his Leica. He therefore manages to survive in this country, befriends poets like Langston Hugues, Tonio Salazar or Natcho Aguirre, is passionate about muralists and their revolutionary frescoes, works for the press like Todo. He exhibited at the Palacio de Bellas Artes in March 1935 with the Mexican photographer Manuel Alvarez Bravo. “When he left, he declared himself a Frenchman from Mexico.”

During his stay, Henri Cartier-Bresson maintains frequent contact with the New York gallery owner Julien Levy and invites him to exhibit his recent photographs. This project will be carried out in April 1935 under the title “Documentary and Antigraphic photographs”. On this occasion, he will find the Mexican Manuel Alvarez Bravo and meet Walker Evans whom he deeply esteems. As soon as he arrived in New York, Henri Cartier-Bresson turned to cinema, “I stopped photographing in 1935, when I was in New York. Photography has always been for me only one of the different means of visual expression. […] I therefore started, with Paul Strand and with others, to learn cinema. I changed tools. Thanks to financial help from his parents, he bought a 35mm camera and joined the Nykino group. He learned a lot from this group of committed filmmakers and on his return to France, he assisted Jean Renoir on several of his films (La vie est à nous [Life is ours], Une partie de campagne [A country party]). It was not until 1937 that he left for Spain to make documentaries on the Spanish front. (Spain Will Live, Victory of Life, and With the Abraham Lincoln Brigade in Spain)

Putting these two photographers into perspective is not easy. The convergences are numerous but the styles vary profoundly. The fluidity of the French contrasts with the immobility of the American. Both travel to Mexico at the same time, both meet in New York in 1935, when they join the group of committed filmmakers Nykino, to try a cinematic experience in a key phase of their two careers.

The exhibition presents 90 black and white prints: the works of Paul Strand come from Spanish, American and Mexican collections; those of Cartier-Bresson, some of which are unpublished, come from the collection of the HCB Foundation. The exhibition will be presented from May 13 to September 2, 2012 at the Point du Jour Center d’art in Cherbourg.

The exhibition is accompanied by a catalogue, published by Steidl, with a preface by Agnès Sire and an essay by Clément Chéroux.

Press dossier from HCB Foundation website translated from the French by Google Translate

Paul Strand (American, 1890-1976)
Woman of Alvarado, Veracruz
1933
Gelatin silver print
© Paul Strand

Paul Strand (American, 1890-1976)
Cristo with Thorns, Huexotla
1933, printed 1940
Gelatin silver print
© Paul Strand

Paul Strand (American, 1890-1976)
Boy – Hidalgo
1933
Gelatin silver print
© Paul Strand

Paul Strand (American, 1890-1976)
Man with Hoe – Los Remedios
1933
Gelatin silver print
© Paul Strand

Paul Strand (American, 1890-1976)
Man – Tenancingo
1933
Gelatin silver print
© Paul Strand

Paul Strand (American, 1890-1976)
Boy – Uruapan
1933
Gelatin silver print
© Paul Strand

Paul Strand (American, 1890-1976)
Church, Coapiaxtla
1933, printed 1940
Gelatin silver print
© Paul Strand

Henri Cartier-Bresson (French, 1908-2004)
Mexico
1934
Gelatin silver print
© Magnum, Henri Cartier-Bresson Foundation

Fondation Henri Cartier-Bresson
79 rue des Archives
75003 Paris

Opening hours:
Tuesday – Sunday 11am – 7pm
Closed Mondays

Henri Cartier-Bresson Foundation website

LIKE ART BLART ON FACEBOOK

Back to top

Exhibition: ‘The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography’ at The Queen’s Gallery, Buckingham Palace, London

Exhibition dates: 21st October 2011 – 15th April 2012

Herbert Ponting (British, 1870-1935)
Captain Lawrence Oates and Siberian ponies on board ‘Terra Nova’
1910
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Continuing my fascination with all things Antarctic, here are more photographs from the Scott and Shackleton expeditions. The photograph Captain Lawrence Oates and Siberian ponies on board ‘Terra Nova’ by Herbert Ponting (1910, above) is simply breathtaking.

Dr Marcus Bunyan

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

This exhibition of remarkable Antarctic photography by George Herbert Ponting and Frank Hurley marks the 100th anniversary of Captain Scott’s ill-fated journey to the South Pole. Ponting’s dramatic images record Scott’s Terra Nova expedition of 1910-1912, which led to the tragic death of five of the team on their return from the South Pole. Hurley’s extraordinary icescapes were taken during Ernest Shackleton’s polar expedition on Endurance in 1914-1917, which ended with the heroic sea journey from Elephant Island to South Georgia. Both collections of photographs were presented to King George V and are today part of the Royal Photograph Collection.

Union Jack taken by Scott to the South Pole
1911-1912
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

This Union Jack was given to Scott by the recently widowed Queen Alexandra on 25 June 1910 for him to plant at the South Pole. The flag was recovered with Scott’s body and returned to the queen by his wife, Kathleen, on 12 July 1913.

The photographs of Herbert Ponting and Frank Hurley may be stencilled into the collective memory after nearly a century of over-exposure. But it’s not often you get to see them away from the printed page, and they certainly bring out fresh depths and new perspectives…

It turns out to be highly instructive seeing Hurley and Ponting hung in neighbouring rooms. I’ve always taken Ponting to be somehow the lesser snapper. Hurley had the greatest photostory ever captured land in his lap when Shackleton’s ship the Endurance was trapped in ice floes and held fast for months before pressure ridges eventually crushed it like a dry autumn leaf. Like a good journalist Hurley recorded these traumas and more while also taking the chance to experiment with the strange light and baroque shapes supplied by his surroundings.

Ponting’s story was different. Four or so years earlier, and on the other side of the Antarctic land mass, he didn’t stray far from the expedition base, and indeed was left on the Terra Nova while Scott’s polar party were still out on the ice, trudging balefully towards immortality. There’s something about Ponting’s floridly unmodern moustache which sets him apart from the clean-shaven younger men in either expedition, as if he never quite left the studio behind.

But the photographs are astonishing… The story here is the unequal battle between man and ice, the castellations and ramparts of bergs dwarfing explorers with dogs and sledges placed at their foot to give a sense of scale. Ponting also has a beautiful eye for filigree detail, never more than in one picture of long spindly icicles echoing the adjacent rigging of the Terra Nova.

One of the revelations is that the originals play up the drama of Ponting’s work much more than Hurley’s, which are printed at half the size. For all the astonishing pictures – a field of ice flowers, the masts of the Endurance all but shrouded by Brobdingnagian ice clumps – the final impact of Hurley’s collection lies in the fact that they exist at all… That is partly why Ponting trumps Hurley in this show. His pictures of Scott’s men have never felt more immediate.

Rees, Jasper. Review of “The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography, Queen’s Gallery” on the Arts Desk website. Thursday, 27 October 2011 [Online] Cited 06/04/2012

Herbert Ponting (British, 1870-1935)
The Terra Nova icebound in the pack
13 Dec 1910
Carbon print
73.5 x 58.2cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Photograph of the Terra Nova in sail, passing through ice and snow. Scott’s ship is seen here held up by the ice pack, with a curiously shaped ‘ice bollard’ in the foreground. The Terra Nova was launched in 1884 as a whaling ship. She had sailed to both the Arctic and Antarctic before serving as Scott’s ship in 1910. She survived until 1943 when she was damaged by ice and sank off the coast of Greenland.

British Antarctic Expedition

Scott and his men reached Antarctica on board the Terra Nova on 31 December 1910. The expedition had several aims that were scientific in nature, but the principal goal for Scott was to lead the first team to the South Pole.

Following his earlier polar experience on the Discovery expedition of 1901-1904, Scott realised the importance of good photographic images for fund-raising and publicising the achievements of the expedition. Scott employed the photographer Herbert Ponting to accompany him. This was the first time a professional photographer had been included in an Antarctic expedition.

Ponting had previously worked in the United States and Asia. He had a great deal of experience, and during his time in Antarctica, he produced around 2,000 glass plate negatives as well as making films. Ponting also taught photography to Scott and other members of the team so that they could record their assault on the Pole.

In March 1912 Ponting left the Antarctic, according to previously-laid plans. After his return to Britain, Ponting exhibited his work and lectured widely about Scott, thus ensuring that his photographs became inextricably linked with Scott and the heroic age of Antarctic exploration.

Text from the Royal Collection Trust website

Herbert Ponting (British, 1870-1935)
The Castle Berg with dog Sledge
17 Sep 1911
Carbon print
53.2 x 75.0cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

This iceberg, which resembles a medieval castle, was greatly admired by members of the expedition. Ponting returned several times during 1911 to photograph it, including once in June, the middle of the Antarctic winter, when he set up flashlights to make an image. At its highest point the berg is around 100 feet high (30.5 m).

Herbert Ponting (British, 1870-1935)
The ramparts of Mount Erebus
1911
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Mount Erebus, an active volcano on Ross Island which last erupted in 2008, was first climbed in 1908 by members of Shackleton’s Nimrod expedition. Ponting has contrasted the overwhelming size of the natural world against the tiny human figure pulling a sledge, in the lower left corner of the photograph.

It is a story of heroism and bravery, and ultimately of tragedy, that has mesmerised generations. One hundred years on from their epic voyages to the very limits of the Earth, and of man’s endurance, the legends of Scott and Shackleton live on.

To mark the centenary of Captain Robert Falcon Scott’s expedition to the South Pole, the Royal Collection brings together, for the first time, a collection of the photographs presented to King George V by the official photographers from Scott’s Terra Nova expedition of 1910-1913 and Shackleton’s expedition on Endurance in 1914-1916, and unique artefacts, such as the flag given to Scott by Queen Alexandra (widow of King Edward VII) and taken to the Pole.

The exhibition documents the dramatic landscapes and harsh conditions the men experienced, through the work of expedition photographers Herbert Ponting and Frank Hurley. These sets of photographs are among the finest examples of the artists’ work in existence – and the men who took them play a vital part in the explorers’ stories. Highlights from Scott’s voyage include Ponting’s The ramparts of Mount Erebus, which presents the vast scale of the icescape, and the ethereal The freezing of the sea. Among the most arresting images from Hurley’s work on Shackleton’s expedition are those of the ship Endurance listing in the frozen depths and then crushed between floes.

The photographs also give insights into the men themselves. For instance, at the start of the journey Scott appears confident and relaxed, with his goggles off for the camera. In contrast, a photograph taken at the Pole shows him and his team devastated and unsmiling, knowing they had been beaten. The exhibition also records the lighter moments of expedition life, essential for teams cut off from the outside world for years at a time. On Shackleton’s expedition, a derby for the dogs was organised – with bets laid in cigarettes and chocolate. A menu for Midwinter’s Day, on 22 June 1911, shown in the accompanying exhibition publication, includes roast beef and Yorkshire pudding, ‘caviare Antarctic’ and crystallised fruits.

Antarctic adventurer David Hempleman Adams has been closely involved in the exhibition and has written an introduction to the catalogue. First given the taste for adventure by The Duke of Edinburgh’s Award scheme, he was inspired, like generations of school children, by the tales of discovery. As a South Pole veteran, the first Briton to reach the Pole solo and unsupported, he is still in awe of Scott and Shackleton’s achievements – and will return with his daughter this year to mark the centenary. David Hempleman Adams said: “We have a big psychological advantage today: We know it is possible to reach the South Pole. Nowadays you can go on Google Earth and see what’s there. Back then, it was just a big white piece of paper. Scott and Shackleton had no TVs, radios or satellite phones – they were cut off from the outside world – and in terms of equipment, the tents, skis and sledges, today, we carry about one tenth of what they carried, over the same mileage. What they achieved, with what they had, is really magnificent. This is the 100th anniversary and the legend has stood the test of time. Even in this modern world, there’s still just as much interest.”

As the photographs show, animals played an important part in the expeditions. There are portraits of the ponies and of individual sledge dogs. In his diaries, Scott describes the relationship he struck up with the bad tempered husky Vida: “He became a bad wreck with his poor coat… and… I used to massage him; at first the operation was mistrusted and only continued to the accompaniment of much growling, but later he evidently grew to like the warming effect and sidled up to me whenever I came out of the hut… He is a strange beast – I imagine so unused to kindness that it took him time to appreciate it.”

Ponting also photographed wildlife, including seals, gulls and penguins. Scott writes of the moment Ponting tried to photograph killer whales and how the creatures crashed through the ice to catch him. Scott, watching but unable to help, observes, “It was possible to see their tawny head markings, their small glistening eyes, and their terrible array of teeth – by far the largest and most terrifying in the world.”

The inspirational qualities of the explorers were recognised by King George V. In his book, The Great White South, Ponting records what the Monarch said to him when he went to Buckingham Palace to show his Antarctic film: “His Majesty King George expressed to me the hope that it might be possible for every British boy to see the pictures – as the story of the Scott Expedition could not be known too widely among the youth of the nation, for it would help to promote the spirit of adventure that had made the Empire.”

Royal interest in polar exploration began with Queen Victoria and Prince Albert, who followed the fortunes of the early adventurers, such as Sir John Franklin and William Bradford, and it continues to this day. The Duke of Edinburgh, who has written a foreword to the exhibition catalogue, has been the patron of many of David Hempleman Adams’s expeditions and has himself crossed the Antarctic Circle. HRH The Princess Royal is Patron of the UK Antarctic Heritage Trust.

Press release from The Royal Collection website

Herbert Ponting (British, 1870-1935)
Grotto in an iceberg
5 January 1911
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Photograph of the Terra Nova seen from inside a grotto that was formed by an iceberg as it turned over, carrying a large floe which froze onto it. Both Ponting and Scott were struck by the colours of the ice inside this ice grotto; they were a rich mix of blues, purples and greens. Ponting thought that this photograph, framing the Terra Nova, was one of his best.

Both Captain Scott and Herbert Ponting – the photographer accompanying him on the Terra Nova expedition – wrote about the intense colours that they encountered in the landscape of Antarctica. In this series of three short talks by Royal Collection curator Sophie Gordon, we examine how Ponting attempted to capture these magical blues, greens and oranges in his photographs beginning here with the blues of this grotto within an iceberg, taken in January, 1911.

Royal Collection: ‘A Lovely Symphony of Blue and Green’ – Grotto in an Iceberg

Herbert Ponting (British, 1870-1935)
The Freezing of the Sea
1911, printed 1913-1914
Carbon print, tinted
74.6 x 58.1cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Photograph of a thin film of new ice covering the sea with ice blocks in the foreground. The Barne Glacier can be seen in the distance. This view, looking from Cape Evans towards Cape Barne on Ross Island, shows the moment when the sea began to freeze. The men would have realised that they could no longer leave Antarctica. Once winter began, no ships would be able to reach them to bring in supplies or to take anyone out.

Royal Collection: ‘A Lovely Symphony of Blue and Green’ – The Freezing of the Sea

In the second of these three short talks, Royal Collection curator Sophie Gordon, briefly considers this atmospheric photograph which captured the moment the sea began to freeze, cutting the men off in Antarctica for the winter.

Herbert Ponting (British, 1870-1935)
Cirrus clouds over the Barne Glacier
April 1911
Carbon print on dyed paper
43.4 x 58.8cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Royal Collection: ‘A Lovely Symphony of Blue and Green’ – Cirrus Clouds over the Barne Glacier

In this, the third in her series of talks, Royal Collection curator Sophie Gordon examines how Ponting captured the dramatic reds and oranges and the beauty of the natural landscape that he experienced during his time in the Antarctic.

Herbert Ponting (British, 1870-1935)
Scott writing in his area of the expedition hut, Scott’s cubicle
7 October 1911
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Captain Robert F. Scott, sitting at a table in his quarters, writing in his diary, during the British Antarctic Expedition.

Herbert Ponting (British, 1870-1935)
Scott’s birthday dinner
June 1911
Toned silver bromide print
43.6 x 61cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Photograph of the Officer’s table for Captain Scott’s birthday dinner with a variety of food and drink laid out on the table. The men are celebrating Scott’s 43rd birthday – his last – on 6 June 1911. He sits at the head of the table, and is surrounded by the officers and senior members of the team. The only man looking at the camera is the Norwegian naval officer Tryggve Gran (1889-1980). The atmosphere is both festive and patriotic.

Herbert Ponting (British, 1870-1935)
Vida
1911
Toned silver bromide print
38.0 x 27.5cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Photograph of Vida. One of Scott’s favourite dogs, Vida suffered from a bad coat and would creep up to Scott for attention. Scott noted in his diary that initially the dog would growl at him but eventually his suspicion grew less: ‘He is a strange beast – I imagine so unused to kindness that it took him time to appreciate it’.

Herbert Ponting (British, 1870-1935)
The winter journey to Cape Crozier
June 1911
Silver bromide print
43.7 x 61cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Henry Bowers (1883-1912), Edward Wilson (1872-1912) and Apsley Cherry-Garrard (1886-1959) are shown shortly before departing for Cape Crozier in search of Emperor penguin eggs. Between 27 June and 1 August, the trio endured extreme weather conditions and winter darkness as they crossed Ross Island and then returned, having collected three eggs. Cherry-Garrard famously described it as ‘the worst journey in the world’.

Royal Collection: ‘The weirdest bird’s-nesting expedition that has ever been’ – Part Two

In the second in this series of talks, Royal Collection curator Emma Stuart takes us on a journey with three intrepid explorers as they faced the hostile conditions of the Antarctic to recover an Emperor Penguin’s egg.

Herbert Ponting (British, 1870-1935)
Captain Scott
February 1911
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

This photograph of Scott, with Mount Erebus in the background, was taken at the start of the expedition. He is wearing fur gloves with an attached cord, leather boots, gaiters and thick socks.

Herbert Ponting (British, 1870-1935)
The Shore Party
Jan 1911
Silver bromide print
43.6 x 61.9cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Photograph of the Shore party. On the back row are (from left to right): T. Griffith Taylor; Apsley Cherry-Garrard; Bernard Day; Edward Nelson; Edward Evans; Lawrence Oates; Edward Atkinson; Robert Falcon Scott; Charles Wright; Patrick Keohane; Tryggve Gran; William Lashly; Frederick Hooper; Robert Forde; Anton Omelchenko; Dimitri Gerov. On the front row are (from left to right): Henry Bowers; Cecil Meares; Frank Debenham; Edward Wilson; George Simpson; Edgar Evans and Tom Crean. This group is the Shore Party – the men who remained in Antarctica throughout the winter of 1911, preparing for Scott’s final departure for the Pole. They pose in front of the expedition hut at Cape Evans. The only people not visible are Clissold, the cook, and Ponting, the photographer. Scott is at the centre of the group and all the men look relaxed. This was taken at the very beginning of the expedition, when they would have been optimistic and excited about the future.

Henry Bowers (British, 1883-1912)
Forestalled. Amundsen’s tent at the South Pole
18 Jan 1912
Silver bromide print
27.5 x 38cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Photograph of Scott’s party at Amundsen’s tent at the South Pole. (from left to right are): Robert Falcon Scott (1868-1912); Lawrence Oates (1880-1912); Edward Wilson (1872-1912) and Edgar Evans (1876-1912). This photograph shows the dejection of the team as they explore the tent left by Roald Amundsen, who reached the South Pole on 14 December 1911, thirty-five days before Scott. There is a Norwegian flag at the top of the tent; inside, Scott found a letter recording their achievement, left by Amundsen in case he did not return safely.

Henry Bowers (British, 1883-1912)
Scott and the Polar Party at the South Pole
17 January 1912
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Imperial Transantarctic Expedition 1914-1916

Shackleton set out in October 1914 on the Endurance with the intention of making the first crossing of the Antarctic continent via the South Pole. While he and his men planned to reach Antarctica through the Weddell Sea, another party aboard the Aurora sailed to the other side of the continent to lay food depots for the expected party.

The intention was that only six men would complete the crossing; the photographer Frank Hurley was to be one of the team. Hurley had been to the Antarctic before, as part of the Australasian Expedition of 1911-1914. He was intrepid in his search for dramatic images. The role of photographer was important not just to document the achievements of the expedition, but also to create a source of income. The rights to publish the images would be sold for a great deal of money after the return to Britain.

The expedition ran into difficulties almost immediately. By mid-January 1915, Endurance became trapped in ice and had to become a floating scientific station. The men waited out the harsh Antarctic winter in the hope that their situation would improve.

Text from the Royal Collection Trust website

Frank Hurley (Australian, 1885-1962)
Entering the pack ice. Weddell Sea, lat. 57° 59′ S. long. 22° 39′ W
9 Dec 1914
Silver bromide print
15.3 x 20.5cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Photograph of six members of Shackleton’s crew standing on the deck of Endurance. This was the men’s first view of the pack ice through which they had to navigate in order to reach the coast of Antarctica. The Endurance met the ice far further north than they had hoped. The whalers on South Georgia had warned them of the poor ice conditions before they set out. This was a warning of things to come.

Frank Hurley (Australian, 1885-1962)
Under the bow of the Endurance
Self-portrait with cinematograph next to the Endurance
1915
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Hurley poses with his cinematograph, which was used to shoot moving film footage. The footage was later turned into a film released after his return under the name of In the Grip of the Polar Pack Ice.

Frank Hurley (Australian, 1885-1962)
The Endurance in the garb of winter
June 1915
Silver bromide print
20.2 x 15.2cm
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

Endurance sits benignly at rest in the midst of the ice field. A recent blizzard has coated the hummocks in a layer of snow, softening the contours. All looks peaceful, but within a few months these same hummocks will have crushed the ship.

Photograph of the bow and part of the left side of Endurance, lit by flashlight in the darkness of the night. This is probably Hurley’s best-known photograph, which he took with flashlights at -38 °F/-39 °C. It was later used on the front cover of Shackleton’s account of the expedition, South. Hurley described the scene in his autobiography: Never did the ship look quite so beautiful as when the bright moonlight etched her in inky silhouette, or transformed her into a vessel from fairy-land.

Frank Hurley (Australian, 1885-1962)
The night watchman spins a yarn
1915
Gelatin silver print
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

After Endurance became a winter station in February 1915, Shackleton abandoned the usual system of watches. The single nightwatchman had little to do, apart from tending the dogs and observing ice movements. It was private leisure time, to read, or do some washing, but often became a social occasion as shown here, as the men gather companionably round the fire.

Frank Hurley (Australian, 1885-1962)
The bi-weekly ablutions of the ‘Ritz’
The Scientists washing down the “Ritz” (living quarters in the hold)
James Wordie, Alfred Cheetham and Alexander Macklin, washing down the ‘Ritz’ living quarters in the hold of the Endurance
1915
Gelatin silver print
© 2011 Her Majesty Queen Elizabeth II

Following the onset of winter and the transformation of Endurance into a scientific station, the main cargo hold was emptied and turned into a communal living space for the men, nicknamed the ‘Ritz’. The traditional Antarctic Christmas on Midwinter’s Day (22 June) saw the ‘Ritz’ transformed for a cabaret, featuring satirical speeches, songs, poems and even a drag act. From left to right are Wordie (1889-1962), Cheetham (1867-1918) and Macklin (1889-1967).

Herbert Ponting (British, 1870-1935)
Sir Ernest Shackleton arrives at Elephant Island to take off marooned men
30 August 1916
Presented to King George V, 1914
© 2011 Her Majesty Queen Elizabeth II

This photograph was actually taken at the time of the ‘James Caird’s’ departure on 24 April. Hurley has altered it to represent the moment of rescue, with the arrival of Shackleton on the ‘Yelcho’. The actual rescue was not photographed.

The Royal Collection
The Queen’s Gallery, Buckingham Palace
London SW1A 1AA

Opening hours:
Thursday – Monday 10.00 – 17.30

The Queen’s Gallery website

LIKE ART BLART ON FACEBOOK

Back to top

Review: ‘Martin Parr: In Focus’ at Niagara Galleries, Richmond, Melbourne

Exhibition dates: 6th March – 31st March, 2012

Martin Parr (British, 1952-2025) 'New Brighton, England' from the series 'The Last Resort' 1983-1985

Martin Parr (British, 1952-2025)
New Brighton, England
From the series Last Resort
1983-1985
Pigment print
Edition of 5
102 x 127cm
Image courtesy of the artist and Niagara Galleries, Melbourne

This is a fine exhibition of the work of celebrated English photographer Martin Parr at Niagara Galleries, Richmond, albeit with one proviso. The mainly large colour prints are handsomely displayed in plain white frames within the gallery space and are taken from his well known series: Last Resort, Luxury, New British and British Food. Parr’s work is at its best when he concentrates on the volume of space within the image plane and the details that emerge from such a concentrated visualisation – whether it be the tension points within the image, assemblage of colour, incongruity of dress, messiness of childhood or philistine nature of luxury.

The best photographs have a wonderful frisson about them, a genuine love of and resonance with the things he is imaging. This frisson can be seen in all of the photographs in this posting but most notably in :

~ The incursion of the surreal red colour to left in England. New Brighton (above) and Parr’s masterful use of vertical and horizontal lines within the image. Note the verticality: of the child’s toy, the two children themselves, the pillars of the pavilion and the lighthouse holding the whole image together at right. If this lighthouse were not there the eye would fall out of the image. As it is it is contained, forcing the viewer to look closely at the absurdity of the melting ice cream and the splashes that have fallen on the ground.

~ The complexity of the photograph England. New Brighton (below) where the eye does not know what to rest upon, constantly jumping from object to object. Do you look at the women on the ground, the shoes to right, the piece of fabric to left, the screaming baby, the sunlit pink umbrella, the women in blue bikini up the ramp, the long elongated shadowed wall with peek-a-boo heads leading to the outlined figures at the vanishing point of image – the top of the ramp. The understanding of light (with the use of flash) and the construction of the image is superlative. Wow!

~ The incongruity evidenced in the photograph England, Ascot. 2003: the over tight pink sateen dress with unfortunate stain (which the eye is irrevocably drawn to), applique bow linked through to hideous flower embossed handbag which then contrasts with the seated women behind in hat and purple floral dress. In the large print in the gallery the background is more out of focus than in the small reproduction here, allowing the viewer’s eye an avenue of escape via the grass and deck chair beyond.

~ The delicious, choreographed mise-en-scène of Australia, The Melbourne Cup. 2008 – the suits, ties and glasses, the teezed hair, the alcohol – where none of the participants is looking at the camera, where only the ladies hand clutches at the back of the man’s shoulder. They look down, they look left, they look right, they look away, they never engage with each other or the viewer. The critical space in this assemblage is the distance between the man and the woman’s noses, that vitally small space of separation that is a synonym for the interactions occurring in the rest of the image. The blindness of Lux’ry, its crassness, its stain.

And so it goes. The dirt under the fingernails of the child eating a doughnut, the lurid colours of the popsicle and jacket of the kid with dribble on his face, all fantastic. There are moments of stasis, for example in the contemplative photograph Australia. South Hedland. Blackrock Tourist Park. 2011 (below) taken from Parr’s new series Australia, where Parr has photographed Australian life in three Western Australian port cities, Fremantle, Broome and Port Hedland. See the video at the bottom of the posting and listen to Parr talk about his work.

This is all fine and dandy, dressed up in polka dots and a lurid bow tie, but when the photographs become too reductive, as in the large photograph in the exhibition England. Dorset. West Bay. 1997 (see first column, fourth down) there is really not enough to hang your hat on. This feeling of over simplification, as though the photographer has said to himself “here’s something I have seen that you haven’t recognised, and I think it is important for you to recognise it” – the perceived essentialness of the object – can become a bit strained. I know that these type of images are part of the series about British or Scottish food or about objects from a specific place but do they really have this grand an importance in the scheme of things? This feeling is reinforced in the exhibition, and this is my proviso to show, when the images such as Scotland. Glasgow. Fairy cakes. 1999, England. Blackpool. 1995 (bread and butter on a plate on red check cloth) are presented at A4 size surrounded by heavy white frames. These photographs have to be large to have any chance of working at all and at the small size they fall flat.

The size of a photograph raises interesting questions about the display of contemporary photography. The giant light boxes of Jeff Wall, the huge group portraits of Thomas Struth, the huge portraits of Thomas Ruff, the huge environments of Candida Hofer and the huge panoramas of Andreas Gursky (to name but a few) are all points in case. Would they work at a smaller size? No. They rely on scale and detail, visual impact for their effect: the same with Martin Parr. What is really ‘In Focus’ is the visualisation of the artist, his ability to envisage the final print at this large size. The A4 prints in this exhibition simply do not work at that size, for these photographs.

Think of Ansel Adams’ famous Monolith, The Face of Half Dome, Yosemite National Park, Calif., (circa 1926). Originally printed as a contact 8″ x 10″ from the negative, Adams gradually increased the size of this image till it became a huge print as tall as a man in his later life. The image works at multiple sizes, it spoke to him (and the viewer) at all these sizes: the small contact is intense and gem-like, the larger imitating the monolithic structure of the Face itself. I feel that some large contemporary photographs are quite vacuous at this large size, that there is no reason for them to be at this size. In other words it is not appropriate for the image. Conversely it would seem that artists previsualise for this size in the end print, which is fine, but that the print cannot exist, cannot breathe in the world at a smaller size. Is this a problem? Does this matter? I believe it does, especially when a photograph is displayed at a size that simply doesn’t work. I was always taught to print a photograph at an appropriate size for the image, whatever size(s) that may be (and there can be multiples), as long as it has resonance for that particular image.

As evidenced in this exhibition, if the photograph cannot “work” at the size that it is to be exhibited then it should not be displayed at all – it is a diminution not just of the artists vision but of the resonance of the photograph, in this case going from large to small. In an upcoming posting about the retrospective of the work of American photographer Fransceca Woodman, there is an installation photograph of the exhibition at The Guggenheim, New York (see above). Her vintage prints (seen in the background) – small, intense visions – have been printed at a huge scale (with her permission) and they simply do not work at this floor to ceiling height. They have lost all of their intimacy, which is one of the strengths of her photography. Again, I believe it is a diminution of the artists vision and the integrity of the photograph, this time from small to large. Artists are not always right. The same can be said of the retrospective of Cartier-Bresson that I saw at the National Galleries of Scotland in Edinburgh in 2005. One room out of four had very small, intense vintage prints in brown hues and the other three galleries had large 20″ x 24″ grainy prints with strong contrast that really ruined any response I had to the work as evidenced by the vintage prints. They were almost reproductions, a simulacra of the real thing. I had a feeling that they weren’t even by the artist himself. The same could be said here.

To conclude I would say this is a fine exhibition of large photographs by Martin Parr that would have been even more focused without the small A4 prints. They are joyous paeans to the quirky, incongruous worlds in which we live and circulate. They evidence life itself in all its orthogonal absurdity. I love ’em!

Dr Marcus Bunyan

Many thankx to the artist and Niagara Galleries for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Francesca Woodman installation photograph at The Guggenheim Museum, New York. Note the small, vintage prints on the far wall.

Martin Parr (British, 1952-2025)
New Brighton, England
From the series The Last Resort
1983-1985
Pigment print
Edition of 5
102 x 127cm
Image courtesy of the artist and Niagara Galleries, Melbourne

Martin Parr (British, 1952-2025)
Blackrock Tourist Park, South Hedland, Australia, 2011
From the series Australia
2011
Pigment print
Edition of 5
101.6 x 152.4cm
Image courtesy of the artist and Niagara Galleries, Melbourne

Martin Parr (British, 1952-2025)
Ascot, England, 2003
From the series Luxury
1995-2009
Traditional C-type print
Edition of 5
101.6 x 152.4cm
Image courtesy of the artist and Niagara Galleries, Melbourne

Martin Parr (British, 1952-2025)
The Melbourne Cup, Australia, 2008
From the series Luxury
1995-2009
Pigment print
Edition of 5
101.6 x 152.4cm
Image courtesy of the artist and Niagara Galleries, Melbourne

Martin Parr (British, 1952-2025)
Ramsgate, England, 1996
From the series New British
1994-1996
Traditional C-type print
Edition of 5
105.5 x 157.5cm
Image courtesy of the artist and Niagara Galleries, Melbourne

Martin Parr (British, 1952-2025)
Car boot sale, Bristol, England, 1995
From the series British Food
1994-1995
Traditional C-type print
Edition of 33
18 x 25.5cm
Image courtesy of the artist and Niagara Galleries, Melbourne

No Worries: Martin Parr – FotoFreo 2012

Magnum photographer Martin Parr was asked by FotoFreo Festival Director Bob Hewitt to photograph three Western Australian port cities, Fremantle, Broome and Port Hedland. Photographer David Dare Parker was assigned to document the project, the work titled No Worries.

Niagara Galleries
245 Punt Road
Richmond, Melbourne
Victoria, 3121
Australia
Phone: +61 3 9429 3666

Opening hours:
Wednesday – Saturday 12pm – 5pm

Niagara Galleries website

LIKE ART BLART ON FACEBOOK

Back to top

Opening: ‘Traverse’ by Kim Percy at Stockroom, Kyneton

Exhibition dates: 10th March – 8th April 2012

Installation of Traverse by Kim Percy at Stockroom, Kyneton
Installation photograph by Marcus Bunyan
© Kim Percy and Marcus Bunyan

Many thanx to Jason, Magali and Kent for inviting me to the gallery, and Kim for asking me to open the exhibition – it was fun!

I have known Kim since the early 1990s when we both did our Bachelor of Arts in photography at RMIT University so it was wonderful to have opened her show yesterday. Reprinted below is the speech I gave at the opening with its musings on the (in)visibility of asylum seekers arriving by boat in Australia. I hope you enjoy reading the text. Marcus.

Opening speech by Dr Marcus Bunyan, 10th March 2012

Out of Sight, Out of Mind __________________

“What I am about to say, my musings if you like, are inspired by Kim’s wonderful installation. The work before you is the basis of my inquiry. The issues involved are difficult and not to be dealt with lightly but I hope you will follow my drift, my traverse if you like.

I would like to take you on a journey – physical, metaphorical and maybe even philosophical. I want to ask questions of the world, questions about the journey we all take as human beings. These questions are prompted by my personal response to two elements of Kim’s work – water and the journey, specifically the image of asylum seekers arriving here in Australia. Imagine being an asylum seeker making that journey.

Imagine living in an (in)between space, living in a refugee camp over there. Marc Augé coined the phrase “non-place” to refer to places of transience that do not hold enough significance to be regarded as “places.”1 These camps are such places. Put yourself in that predicament, seeking a better life, seeking to escape persecution, war (of which we as a nation are often part), prejudice and death, deliberately placing yourself and your family in a fragile boat, like a seed pod floating upon the waters, taking the dangerous journey to reach Australia. Imagine the emotional and intellectual turmoil that must surround such a decision, the decision to place your life in the hands of the ocean. Important decisions affecting the entire course of one’s life are rarely made without some form of mental distress.

Nurtured in water, some baptised in it, water is the life-blood of the world and the asylum seeker must trust to its benevolence. Marc Augé “argues that we are in transit through non-place for more and more of our time, as if between immense parentheses.”2 This is the journey that the asylum seeker takes over water, a journey through an interstitial space that has no beginning and no end caught between a set of parentheses [insert life here / or not].

Now let us move our line of sight. What about a visual parentheses?

Asylum seekers are almost invisible from Australia living over there. They are over the horizon, out of sight and out of mind. When they journey across the sea – an open ended journey passing through a liminal space, a forgotten space – they suddenly appear as if by magic washed up on the shore, unseen despite surveillance planes, ships and other forms of tracking and reconnaissance. Think, for example, of the sudden and surprising arrival of the boat SIEV-221 when it was washed onto the rocks of Christmas Island in December 2010. The invisible made visible caught in a non-place.

This (in)visibility can be evidenced in other ways. The specks of humanity waving from the deck of the Tampa, the asylum seekers being escorted from arriving boats, seen for a few brief seconds on the evening news and then disappearing from view, almost like being sucked into the depths of the sea. Here and not here; here and there. Halfway between nothingness and being: they walk between one state and another, forward and backward, backward and forward.

Displacement
Diaspora
Disruption

The spectacle of the asylum seekers is despectacularised by and for the viewer. We remove ourselves from the emotion of these people, the presence of these images. They become ordinary as if seen from far away – glimpsed every so often as though viewing the world of another. They become Other.

The movement of the ship, the movement of the sky, the movement of vision is a constant decentering through a push / pull with something else – some other order of the world. Their journey into the unknown is a journey to submit to the ordering of another: the socially constructed system of classification: “refugee,” “asylum seeker.” The axis of visibility3 that operates in relation to subject, object, and space is not interrogated as to the representations that are constructed. This is what I am interested in here. These vital, alive human beings come from one taxonomic system (of ordered death, persecution, injustice), become visible from a brief instance, and are then fed into another taxonomic system of order – that of the detention centre.

Taking the metaphor of the horizon line further, I would argue that detention centres are like an inverted Panopticon. The Panopticon “is a type of institutional building, a prison, designed by English philosopher and social theorist Jeremy Bentham in the late eighteenth century. The concept of the design is to allow an observer to observe all inmates of an institution without them being able to tell whether or not they are being watched.”4 The guard sits in a central tower and can observe and inspect all prisoners on the outer 360 degree circle, while the prisoners cannot see the guard and can only presume he is there (an omnipresent God) and hence they behave.

Let us invert this concept.

Now the asylum seekers sit in the tower looking outwards, seeing the promised land but unable to touch it and the guards (prison officers, government, the Australian people) are all around but most are blind. They look inwards but cannot see / they look outwards and most go about their daily business. The perimeter fence of the detention centre becomes the horizon line of the sea. As in Kim’s red lined horizons, over the horizon is out of sight, out of mind _________________

What Kim’s eloquent, minimal, brooding installation does is hold our attention and ask certain questions of us as human beings. If photography is a mode of visually addressing a certain order in the world – be it horror, war, peace, human tragedy, public, private – and then destabilising it, then Kim destabilises the binary sea / sky through fragmentation and isolation. She redlines our experience and asks us to inhabit the non-space, the non-place of the gallery, allowing us to hover between boat and image, between sea and sky, between seeing and feeling. Through her work she asks us to become more aware. She asks us to see things more clearly. Above all she asks us to have faith in the compassion of human beings.

The asylum seekers have faith: faith to get into a fragile boat to venture upon the sea in search of a better life. If we had more faith in ourselves then we would have less need to rely on the images of the past, a white colonial past.

I will finish with a quote from Jeff Brown.

“Sometimes we have to surrender to the not knowing. At other times, it is helpful to adventure outward and explore new possibilities. Like swashbucklers of the spirit, we bravely seek out any experience that might inform our path. When we are afraid of something, we live it fully and see what floats to the surface in the doing. We participate in our own revealing. We have faith in the shaping of what we cannot see.”5

The seekers surrender to the not knowing and have faith in the shaping of what they cannot see. These risk takers are the strong ones that are going to make a difference in a new society by the very fact of their strength and determination to survive and live in a free society, for the very fact of the risks undertaken. This exhibition informs their path as it informs our path. Be aware of the doing, be bold and forthright in the being. Enjoy.

Thank you

Dr Marcus Bunyan

Footnotes

1/ Augé, Marc (trans. John Howe). Non-Places: Introduction to an Anthropology of Supermodernity. London: Verso, 1995

2/ Ibid.,

3/ Hooper-Grenhill, Eilean. Museums and the Shaping of Knowledge. London: Routledge, 2000, p. 7

4/ Anon. “Panopticon,” on Wikipedia [Online] Cited 09/03/2012

5/ Brown, Jeff. Soulshaping. Berkeley, CA: North Atlantic Books, 2009, np quoted on Stroud, Jeff. The reluctant blogger website. [Online] Cited 09/03/2012