Posts Tagged ‘Utah

04
Mar
18

Exhibition: ‘Richard Prince: Untitled (cowboy)’ at the Los Angeles County Museum of Art (LACMA)

Exhibition dates: 3rd December 2017 – 25th March 2018

 

Richard Prince. 'Untitled (cowboy)' 2015

 

Richard Prince
Untitled (cowboy)
2015
Dye coupler print
59 3/4 × 90 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

 

Appropriation as a form of self aggrandizement.

Discuss.

Marcus

.
Many thankx to the Los Angeles County Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

 

Richard Prince: Untitled (cowboy) presents two photographic series from the 2010s that are being publicly exhibited for the first time at LACMA. Continuing the artist’s career-long engagement with the motif of the cowboy, Untitled (cowboy), recently acquired by LACMA, and Untitled (original cowboy) achieve the grandeur of 19th-century history painting while also deconstructing the iconography of the American West. Once again challenging the conventional meanings and limits of the photographic medium, Prince reignites debates he sparked some 40 years ago.

In the mid-1970s, Prince was an aspiring painter working in Time Inc.’s tear sheet department, clipping texts for magazine writers. After he removed the articles, he was left with advertisements: glossy pictures of commodities, models, and other objects of desire. Between 1980 and 1992, Prince paid particular attention to the motif of the cowboy, as depicted in a series of advertisements for Marlboro cigarettes. Prince began to rephotograph the advertisements, cropping and enlarging them to make limited-edition prints as artworks of his own. Prince’s re-photography had an explosive effect on the art world, provoking lawsuits and setting auction records. With this controversial practice, he redefined what it means to “take” a photograph.

For his 2015-16 Untitled (cowboy) photographs, Prince revisited copies of TIME from the 1980s and 1990s using contemporary technology. In contrast to this studio-based manipulation, for the 2013 series Untitled (original cowboy) Prince went to Utah, seeking out quintessential viewpoints established by legions of photographers – tourists and artists alike – who preceded him. Extending his interrogation of this particular American protagonist into the era of Instagram, Prince demonstrates that the stakes around originality, appropriation, and truth in advertising are as high as ever.

Press release from LACMA

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 1/2 × 89 3/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
59 3/4 × 55 1/4 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
82 × 60 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

Richard Prince. 'Untitled (cowboy)' 2016

 

Richard Prince
Untitled (cowboy)
2016
Dye coupler print
79 1/2 × 60 in.
Los Angeles County Museum of Art, anonymous gift
© 2017 Richard Prince, photo courtesy of the artist

 

 

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
T: 323 857 6000

Opening hours:
Monday, Tuesday, Thursday: 11am – 5 pm
Friday: 11am – 8pm
Saturday, Sunday: 10am – 7pm
Closed Wednesday

LACMA website

LIKE ART BLART ON FACEBOOK

Back to top

25
Aug
12

Exhibition: ‘Timothy H. O’Sullivan: The King Survey Photographs’ at the Nelson-Atkins Museum of Art, Kansas City

Exhibition dates: 7th April – 2nd September 2012

.

“Of all the photographers who accompanied the Western surveys of this era, O’Sullivan remains the most admired, studied and debated. This is a result of the distinctly individual quality of his seeing – his particular union of fact and point of view; his understanding of what it meant to make a documentary photograph. O’Sullivan’s work remains inspiring and instructive: the clues it holds – to the nature of photography, 19th-century visual culture and the construction of photographic history – challenge and enlarge each new generation of viewers.”

.

.

About the only decent sized Timothy O’Sullivan photographs online are here on Art Blart – in this posting and one I did earlier of Framing the West: The Survey Photographs of Timothy H. O’Sullivan at the Smithsonian American Art Museum. Although some of the photographs from the earlier posting are reproduced again here there are also four new ones, and for that we should be thankful for there are so few quality images to look at on the web.

Following my last posting where I ruminated on the nature of photography, we note that O’Sullivan’s understanding of what it meant to make a documentary photograph was embodied in his distinctly individual way of seeing. As the above quotation observes, this was “his particular union of fact and point of view.” With this in mind, the photograph I would like you to focus on in this posting is the last one: a prescient abstract expressionist photograph almost eighty years before their advent. The fallen beams remind me of huge ice crystals in a rock cave and then you notice the pick axe at top left and leg and booted foot at right. Hang on a minute, there is another foot tucked underneath!

To have the temerity to photograph this scene in this way and this point in time in the history of photography is outstanding. Imagine being O’Sullivan coming upon this vista, framing the cave-in with beams at left and right of the image plane and detritus at the bottom. He could have left it at that, but no, he hints at the presence of a man, out of frame, doing what exactly we don’t know. It is this plaisir and jouissance that give this photograph its pleasure and pain. The knowledge that we know this scene, as the subject knows himself or herself, gives the photograph its pleasure; the fact that we don’t know what is beyond the edge of the frame, who the man is and what he is doing, fractures these structures and challenges the readers position as subject. As the viewer transgresses the act of pleasurable looking, of enjoying the formal characteristics and textures of the photograph, doubt sets in – what is the man doing, why is he there? As we transgress the pleasure principle the painful principle of what Lacan calls jouissance kicks in. The viewer suffers a crisis of doubt and, conversely, the pattern of the fallen beams of wood and the axe now create a more threatening, claustrophobic atmosphere.

Dr Marcus Bunyan for the Art Blart blog

.
Many thankx to the Nelson-Atkins Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

.

.

.

Timothy O’Sullivan, American (1842-1882)
Sand Dunes, Carson Desert, Nevada
1867
Albumen print
Gift of Hallmark Cards, Inc.

.

.

Timothy O’Sullivan, American (1842-1882)
Pyramid and Domes, Pyramid Lake, Nevada
1867
Albumen print
Gift of Hallmark Cards, Inc.

.

.

Timothy O’Sullivan, American (1842-1882)
Geyser Mouth in Ruby Valley, Nevada
1868
Albumen print
Gift of Hallmark Cards, Inc..

.

.

Timothy H. O’Sullivan, American (1842-1882)
Cañon de Chelle, Walls of the Grand Canon about 1200 feet in height
1873
Albumen print
Smithsonian American Art Museum
Museum purchase, from the Charles Isaacs Collection made possible in part, by the Luisita L. and Franz H. Denghausen Endowment

.

.

“The photographs made by Timothy H. O’Sullivan as part of the United States Geological Exploration of the Fortieth Parallel, or King Survey, comprise an iconic and richly varied body of work. The first of the great post-Civil War Western expeditions, the King Survey was organized under the authority of the U.S. Army Topographical Engineers. Between 1867 and 1872, Clarence King, the geologist in charge, and his party studied a vast swath of terrain, approximately 100 by 800 miles, encompassing the path of the soon-to-be-completed transcontinental railroad, from the border of California eastward to Cheyenne, Wyoming.

The survey’s official photographer, Timothy H. O’Sullivan, was talented, resourceful and imaginative. In four seasons with King’s group – 1867, 1869 and 1872 – he created a diverse body of photographs: geological studies, landscapes, views of miners and mining operations, records of cities and settlements, studies of the survey itself and self-reflexive meditations on his own presence in the West.

Of all the photographers who accompanied the Western surveys of this era, O’Sullivan remains the most admired, studied and debated. This is a result of the distinctly individual quality of his seeing – his particular union of fact and point of view; his understanding of what it meant to make a documentary photograph. O’Sullivan’s work remains inspiring and instructive: the clues it holds – to the nature of photography, 19th-century visual culture and the construction of photographic history – challenge and enlarge each new generation of viewers.

The King Survey of the Great Basin, from 1867 to 1872, was the model for the other “great surveys” of the 19th-century American West. Rare and iconic works by Timothy H. O’Sullivan, the King Survey’s official photographer, will be featured in an exhibition at The Nelson-Atkins Museum of Art from April 7 through Sept. 2. Keith F. Davis and Jane L. Aspinwall, respectively senior and assistant curators of photography at the Nelson-Atkins, organized Timothy O’Sullivan: The King Survey Photographs.

“There is good reason that O’Sullivan remains so influential after all these years,” said Davis. “Visually speaking, he was the world’s greatest poker player. He always kept his cards close to his vest. His images are at once boldly straightforward and deeply mysterious, a perfect combination of intuition and calculation. His genius lies, in part, in making such originality appear so effortless.”

There are 60 photographs in the exhibition. Nine were borrowed from the American Geographical Society in Milwaukee, WIS; and the remainder are from the holdings of the Nelson-Atkins. Accompanying the exhibition is a major book, co-authored by Davis and Aspinwall, with contributions by three esteemed scholars: John P. Herron, Francois Brunet, and Mark Klett.

“O’Sullivan continues to influence generations of photographers because of his purely individual melding of fact and point of view,” said Aspinwall. “He was a complicated character, a hearty adventurer, a photographic explorer and innovator, with a bit of the daredevil thrown in the mix.” The book emphasizes the context of O’Sullivan’s photographs: his best known images in relation to the complete body of his survey work, the function of the photographs within the survey enterprise, and the scientific and cultural importance of the survey itself. In creating the book, Davis and Aspinwall became engaged in their own kind of “survey,” working from opposite ends of the subject back toward a common center.

“Jane focused on the evidence of the photographs themselves, tracking down every view and putting them into chronological order,” said Davis. “I began with an overview of the history of western exploration and then attempted to describe the King Survey and O’Sullivan’s career in detail. The meeting point, the crux of the whole project, was O’Sullivan’s remarkable photographs.” Davis became fascinated with O’Sullivan’s work 40 years ago, and his respect for the richness and longevity of his work has increased over the years. “Someone once said that writing a biography usually entails a process of ‘falling out of love’ with one’s subject,” said Davis. “That’s absolutely not true in this case. This exhibition and book have resulted in a newer and deeper admiration for a truly one-of-a-kind photographic achievement. That’s O’Sullivan’s gift to us – and we want to share it. Timothy H. O’Sullivan: The King Survey Photographs gives visitors a new appreciation of the visual history of the 19th-century American West, while presenting some of the museum’s rarest treasures for public view.”

Press release and text from the Nelson-Atkins website

.

.

Timothy O’Sullivan, American (1842-1882)
Lake in Conejos Cañon, Colorado
1874
Albumen print
Library of Congress, Prints and Photographs Division

.

.

Timothy O’Sullivan, American (1842-1882)
Cottonwood Lake, Wasatch Mountains, Utah
1869
Albumen print
Gift of Hallmark Cards, Inc.

.

.

Timothy O’Sullivan, American (1842-1882)
Shaft of Savage Mine, Virginia City, Nevada
1868
Albumen print
Gift of Hallmark Cards, Inc.

.

.

Timothy O’Sullivan, American (1842-1882)
Cave-in, Gould & Curry Mine, Virginia City, Nevada
1868
Albumen print
Gift of Hallmark Cards, Inc.

.

.

The Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, MO 64111

Opening hours:
Wednesday 10 am – 5 pm
Thursday-Friday 10 am – 9 pm
Saturday 10 am – 5 pm
Sunday 10 am – 5 pm

The Nelson-Atkins Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

25
Apr
11

Exhibition: ‘Dorothea Lange’s Three Mormon Towns’ at Brigham Young University Museum of Art, Provo, Utah

Exhibition dates: 20th January – 30th April 2011

.

“The camera is an instrument that teaches people how to see without a camera.”

Dorothea Lange

.

For a glimmer of understanding into the mind of a master artist go the ‘Exploring Three Mormon Towns’ web page and click on the ‘Original Layout for Three Mormon Towns‘ link at right hand side. View Lange’s conceptual layout for her September 6th, 1954 LIFE magazine photo essay at full screen size. Note the size and placement of the photographs and text especially the use of negative space (as on page 4). Also note the size of the cloud photograph at left on page 5 when compared to the church steeple next to it and the size of that steeple in comparison to the rest of the images. Observe the ascending progression of page 6 with the complex but sympathetic narrative that it tells; the use of gridded photographs on page 7; the bookended lives and church attendance on page 8.

Lange observes the minutiae, the precise details that go to make up the lives of these three towns and puts them together in a wonderful symphony of beautifully calculated, seemingly happenstance associations. Masterful!

.

Many thankx to the Brigham Young University Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All photographs by Dorothea Lange © Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor.

.

Toquerville, Utah

.

.

Dorothea Lange
‘Doorway, Toquerville, Utah’
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

.

.

Dorothea Lange
‘Mulberry Tree, Neagle Home, Toquerville, Utah’
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

.

.

Dorothea Lange
‘Riley Savage, Toquerville, Utah’
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

.

.

Dorothea Lange
‘Hands, Toquerville, Utah’
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

.

.

Dorothea Lange
‘Eggs, Toquerville, Utah’
1953
Silver gelatin photograph
Collection of John and Lolita Dixon

.

.

“In August 1953, renowned American photographer Dorothea Lange travelled to southern Utah where she met up with her long-time friend Ansel Adams. The two photographers spent three weeks photographing the landscape and people of Toquerville, Gunlock and St. George with the intention of publishing the work in LIFE magazine.

Lange’s enthusiasm for her subject yielded hundreds of photographs from which she composed an extended essay of 135 photographs, including images by Ansel Adams. Thirty-five of those photographs with text by Daniel Dixon appeared under the title “Three Mormon Towns” in the September 6, 1954 issue of LIFE.

“Dorothea Lange’s Three Mormon Towns,” a new exhibition at the Brigham Young University Museum of Art, features 21 of Lange’s photographs from this series acquired by the museum. The exhibition also draws from the collections of the J. Paul Getty Museum of Art, the Museum of Contemporary Photography, Columbia College Chicago, and the collection of John and Lolita Dixon.

The 62 vintage prints in the exhibition, accompanied by excerpts from Dixon’s original text, examine Lange’s lasting interest in the people of southern Utah and their relationship with the land, their heritage and the transformation of the West in post-war America.

“Subtle and poetic, the series of photographs that has come to be known as ‘Three Mormon Towns’ is a bridge between Lange’s famous Depression Era photographs and her detailed photo essays of the 1950s,” Diana Turnbow, Curator of Photography at Brigham Young University Museum of Art, said.

Utah attracted Lange’s interest when she and her first husband, Maynard Dixon, spent the summer of 1933 camping and working in Zion National Park. She originally intended to photograph southern Utah with the support of a Guggenheim Foundation fellowship in 1941; however, a family crisis, followed by the onset of World War II prevented Lange from traveling to Utah. Yet, the desire to photograph the Mormon towns of southern Utah never faded. In 1953, Lange returned to the place that had captured her attention decades earlier.

“While Lange’s photographs depict communities bound together by hard work and religion in the formidable landscape of the Colorado Plateau, they also explore the changes that were beginning to affect not only Utah, but rural communities throughout the United States,” Turnbow said. “‘Three Mormon Towns’ was a study of contrasts – of old and new, of quiet villages and a growing city, of deep roots and transient highways. In this series, Lange memorialized the dignity and simplicity of agrarian life in light of post-war urbanization.”

Published in the September 6, 1954 issue of LIFE magazine, the series of photographs that has come to be known as “Three Mormon Towns” bridges Dorothea Lange’s famous Depression era photographs with her detailed photo essays of the 1950s. Featuring sixty-two vintage photographs from the series, this exhibition considers Dorothea Lange’s lasting interest in the people of southern Utah and their relationship with the land, their heritage, and the transformation of the West in post-war America.

Known for her candid and sympathetic depiction of people, Dorothea Lange (1895-1965) is one of the most revered photographers of the twentieth century. For over four decades she explored the human psyche through portraiture and documentary photography. The probing portraits of her early career prepared Lange to photograph the people involved in the tumultuous events of the San Francisco labor strikes of 1934, the Great Depression, and the Japanese internment during World War II. Her 1935 photograph, The Migrant Mother, is one of the great icons of the American century.

In the 1950s, Lange began to create photographic essays for the popular picture and news magazine LIFE. She eventually completed five major essays for publication, with two of the essays, including “Three Mormon Towns,” printed in LIFE. In addition, Lange was a founding member of Aperture magazine and played a role in organizing the influential “Family of Man” exhibition that premiered in New York in 1955.

In the later part of her life, Lange photographed and traveled extensively with her husband, Paul Taylor, in conjunction with his work in international development. Her photographs of South America, Africa, and Asia were deft and subtle, exploring a rich visual landscape populated with diverse objects and people.

In 1964, Lange was diagnosed with terminal cancer. Sustained by determination, she worked steadily to complete a number of projects including a retrospective exhibition of her work at the Museum of Modern Art in New York City. She passed away on October 11, 1965, content with the life that she had been able to live.”

Text from the Brigham Young University Museum of Art website

.

Gunlock, Utah

.

.

Dorothea Lange
‘Sky and Clouds, Gunlock, Utah’
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

.

.

Dorothea Lange
‘Jake Jones’ Hands, Gunlock, Utah’
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

.

.

Dorothea Lange
‘Horseplay, Gunlock, Utah’
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

.

.

Dorothea Lange
‘Four Young Riders in Summer’
1953
Silver gelatin photograph
Museum of Contemporary Photography, Columbia College Chicago

.

.

Dorothea Lange
‘Couple Seated on Porch, Gunlock, Utah’
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

.

St. George, Utah

.

.

Dorothea Lange
‘Anne Carter Johnson, St. George, Utah’
1953
Silver gelatin photograph
Brigham Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

.

.

Dorothea Lange
‘Young Woman, St. George, Utah’
1953
Silver gelatin photograph
righam Young University Museum of Art, purchased with funds provided by Jack and Mary Lois Wheatley

.

.

Brigham Young University Museum of Art
North Campus Drive, Provo, UT 84602-1400

Opening hours:
Monday – Saturday from 10 a.m. to 9 p.m

Brigham Young University Museum of Art website

Dorothea Lange’s Three Morman Towns website

Original Layout of Three Mormon Towns in LIFE Magazine

Bookmark and Share



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: ‘Mask’ 1994

Join 2,522 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

July 2019
M T W T F S S
« Jun    
1234567
891011121314
15161718192021
22232425262728
293031  

Archives

Categories