Posts Tagged ‘videograms

31
Jul
16

Exhibition: ‘Emanations: The Art of the Cameraless Photograph’ at the Govett-Brewster Art Gallery/Len Lye Centre, New Plymouth, New Zealand Part 1

Exhibition dates: 29th April – 14 August 2016

Curator: Geoffrey Batchen

 

 

This is how best a contemporary art exhibition can show the work to advantage. Just gorgeous!

The well curated, comprehensive content is complemented by a beautifully paced hang nestled within stunning contemporary art spaces. Labels are not just plonked on the wall, but are discretely displayed on horizontal shelves next to the work – accessible but so as not to interrupt the flow of the work. Coloured walls add to the ambience of the installation and act as an adjunct to the colours of the art. Beautiful modernist contemporary display cabinets keep the spaces fresh and vibrant.

A discussion of the content of the exhibition to follow in part 2 of the posting.

Marcus

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Many thankx to the Govett-Brewster Art Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images are photographed by Bryan James.

 

 

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“Exploring the art of cameraless photography, encompassing historical, modern and contemporary works. Emanations: The Art of the Cameraless Photograph is the first comprehensive survey of cameraless photography held anywhere in the world, presenting more than 200 examples, from 1839 – when photography’s invention was announced – through to contemporary artists. We present the most complete study of cameraless photography to date, focusing on the cameraless mode from the 1830s through to today and offering a global perspective on this way of working.

The theme of the exhibition is inspired by artist Len Lye’s cameraless photographs from 1930 and 1947, and it’s the first time all 52 of Lye’s photograms have been seen together. Emanations is an opportunity to put Lye’s photographic work in a suitably global context, surrounded by his predecessors, contemporaries and successors. Emanations includes many masterpieces of photographic art and showcases the talents of some of the world’s leading contemporary photographic artists.

The exhibition has work by photographic pioneers William Henry Fox Talbot and Anna Atkins, important modernist photographers Man Ray and László Moholy-Nagy, and many of today’s most significant photographic artists including Walead Beshty, Marco Breuer, Liz Deschenes, Joan Fontcuberta, Christian Marclay, Thomas Ruff, and Hiroshi Sugimoto. Emanations also includes work by both senior and emerging Australian and New Zealand artists, from Anne Noble and Anne Ferran to Andrew Beck and Justine Varga.

The exhibition presents artwork by more than 50 artists hailing from New Zealand, Australia, Japan, Poland, Czechoslovakia, Hungary, France, Germany, Italy, England, Canada and the United States. Almost every photographic process is included in the exhibition – photogenic drawings, calotypes, daguerreotypes, and tintypes, as well as gelatin silver, chromogenic and ink-jet photographic prints, photocopies, verifax and thermal prints.

The exhibition is accompanied by a major book by the same name and on the same theme, co-published by the Govett-Brewster Art Gallery and DelMonico Books/Prestel, based in New York and Munich. The book contains 184 full-page colour plates and a 25,000 word essay by Geoffrey Batchen. The Govett-Brewster is also publishing another book reproducing all the cameraless photographs by Len Lye, along with an essay by Wystan Curnow.

Emanations is curated by Geoffrey Batchen, Professor of Art History at Victoria University of Wellington, and a world-renowned historian and curator of photography.”

Text from the Govett-Brewster Art Gallery website

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Andrew Beck ‘Double Screen’ 2016 part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Andrew Beck ‘Double Screen’ 2016 part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Andrew Beck ‘Double Screen’ 2016 part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views of
Andrew Beck (Canada/New Zealand)
Double Screen
2016
Glass, acrylic paint, gelatin silver photographs

 

In the 1930s, László Moholy-Nagy made art that combined a cameraless photograph, plexiglass and paint. New Zealand artist Andrew Beck works in a similar way to produce sculptural installations that complicate our expectations of the relationship between light and shadow, the natural and the artificial, images and objects, art and reality. He forces us to look very closely at what we are seeing, and even to critically reflect on the act of seeing itself.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Anne Ferran and at right, Joyce Campbell

 

Installation view of Joyce Campbell ‘LA Bloom’ 2002 part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of
Joyce Campbell (New Zealand/US)
LA Bloom
2002
Cibachrome photographs
Courtesy of the artist, Auckland

 

In 2002 the New Zealand photographer Joyce Campbell decided to conduct a microbial survey of Los Angeles, a city in which she lives for part of each year. She swabbed the surfaces of plants and soil from twenty-seven locations chosen out of her Thomas Guide to the city. She then transferred each sample onto a sterilized plexiglass plate of agar and allowed it to grow as a living culture. The cibachrome positive colour contact prints she subsequently made from these plates resemble abstract paintings and yet also offer a critical mapping of the relative fertility of this particular urban landscape, revealing its dependence on the politics of water distribution.

 

Installation view of Aldo Tambellini (Italy/US) 'Videograms' 1969

 

Installation view of
Aldo Tambellini
(Italy/US)
Videogram, 1969
Videogram, 1969
Videogram, 1969
Videogram, 1969
Gelatin silver photographs

 

Although raised in Italy, Aldo Tambellini was working in New York in 1969 when he manipulated the cathode ray tube of a TV set into the shape of a spiral (for this artist, a universal sign of energy) and exposed sheets of light-sensitive paper by laying them over its screen. The calligraphic inscriptions that resulted made his paper look as if it had been scorched from the inside out. These ‘videograms,’ as Tambellini called them, highlight the chaos and chance operations that lurk just beneath the surface of technology’s apparent rationality.

 

Installation view of Shaun Waugh (New Zealand) 'ΔE2000 1.1' 2014 part of the exhibition of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Shaun Waugh (New Zealand) 'ΔE2000 1.1' 2014 part of the exhibition of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Shaun Waugh (New Zealand) 'ΔE2000 1.1' 2014 part of the exhibition of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views of
Shaun Waugh (New Zealand)
ΔE2000 1.1
2014
24 Agfa boxes with mounted solid colour inkjet photographs

 

This work by New Zealand artist Shaun Waugh began with the purchase of empty boxes that once held Agfa photographic paper. Waugh then took readings of all four sides of the inside lip of each box lid using a spectrophotometer, employing this data and Photoshop to generate a solid orange-red inkjet print. The box lid is used to frame a two-dimensional version of itself, bringing analogue and digital printing into an uncomfortably close proximity to create a memorial to a kind of photography that is now defunct. Hung salon style, like so many small paintings, Waugh’s work manages to turn the photograph inside out, and thus into something other than itself.

 

Wall text from the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Wall text from the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery with, at left, Anne Ferran and, at right, Adam Fuss

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Anne Ferran and at right, Adam Fuss

 

Installation view of the work of Anne Ferran

 

Installation view of
Anne Ferran (Australia)
Untitled, 1998
Untitled, 1998
Untitled, 1998
Untitled (baby’s petticoat), 1998
Untitled (collar), 1998
Untitled (baby’s bonnet), 1998
Untitled (sailor suit), 1998
Untitled (shirts), 1998

Unique gelatin silver photographs

 

In 1998 Australian artist Anne Ferran was offered an artist-in-resident’s position at an historic homestead not far from Sydney that had been occupied by successive generations of the same family since 1813. Ferran spent six months systematically making contact prints using the dresses, bodices, skirts, petticoats, and collars still contained in the house. Hovering in a surrounding darkness, softly radiating an inner light, the ghostly traces of these translucent garments now act as residual filaments for a century of absorbed sunshine. Many of them have been patched over the years and their signs of wear and repair are made clear. This allows us to witness a history of the use of each piece of clothing, seeing inside them to those small and skilful acts of home economy – the labour of women – usually kept hidden from a public gaze.

 

Anne Ferran (Australia) 'Untitled (baby's bonnet)' 1998

 

Anne Ferran (Australia)
Untitled (baby’s bonnet)
1998
Unique gelatin silver photograph

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with, at left, Adam Fuss and, at right, Lisa Clunie

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Adam Fuss and at right, Lisa Clunie

 

installation view of Adam Fuss (UK/Australia/US) ‘Caduceus’ 2010 (left) and ‘Untitled’ 1991 (right)

 

Installation view of Adam Fuss (UK/Australia/US) Caduceus 2010 (left) and Untitled 1991 (right)

 

Born in England, raised in Australia, and resident in New York, Adam Fuss has produced a diverse range of large cameraless photographs since the 1980s, asking his light-sensitive paper to respond to the physical presence of such phenomena as light, water, a slithering snake, flocks of birds, and sunflowers.

 

Adam Fuss (UK/Australia/US) 'Untitled' 1991

 

Adam Fuss (UK/Australia/US)
Untitled
1991
Type C photograph

 

Lisa Clunie (New Zealand) ‘Fold I’ 2014

 

Lisa Clunie (New Zealand)
Fold I
2014
Silver gelatin photograph

 

The work of New Zealand artist Lisa Clunie looks back to the work of pioneer modernist László Moholy-Nagy in order to manifest the idea that our lives are shaped by a continual play of forces. Like Moholy, she wets her photographic paper and then tightly folds it, before moving the paper back and forth under her enlarger, selectively exposing these folds to the ‘force’ of light. The resulting work reminds us that a photograph has weight, surface, texture, tension and edges.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at right, the work of Robert L. Buelteman

 

Installation view of Robert L. Buelteman. ‘Cannabis sativa’ 2002 (left) and ‘Eucalyptus polyanthemos’ 2000 (right)

 

Installation view of
Robert L. Buelteman (US)
Cannabis sativa (left)
2002
Digital chromogenic development photograph

Robert L. Buelteman (US)
Eucalyptus polyanthemos (right)
2002
Digital chromogenic development photograph

 

The San-Franciscan artist Robert Buelteman takes his leaves and other botanical specimens and slices them into paper-thin sections, before charging them, in a complicated and dangerous process, with a pulse of 40,000 volts of electricity. This leaves behind a colorized trace on his photographic paper, a photogram in which these plants appear to be aflame, as if emitting an energy all their own. Hovering between life and death, this is a nature that seems to be on the cusp of its transmutation into something else entirely.

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at centre, Robert Owen and at right, Joan Fontcuberta

 

Robert Owen (Australia) ‘Endings (Rothko died today) - Kodachrome 64, No. 21, 26/02/1970’ 2009

 

Robert Owen (Australia)
Endings (Rothko died today) – Kodachrome 64, No. 21, 26/02/1970
2009
Pigment ink-jet print

 

The photographic work of Australian artist Robert Owen is part of a broader tendency on the part of contemporary artists to reflect in morbid terms on aspects of photography’s past. Owen has been collecting film stubs since 1968. Although better known as a painter and sculptor, he recently decided to print these end strips of film as a series of large colour photographs, paying homage to this residue of the Kodak era in a chronological sequence of readymade chromatic fields. This one was collected on the day that the American abstract painter Mark Rothko killed himself.

 

Adam Fuss (UK/Australia/US) 'Untitled' (from the series 'My Ghost') 2001

 

Adam Fuss (UK/Australia/US)
Untitled (from the series My Ghost)
2001
Unique gelatin silver photograph

 

In his series, titled My Ghost, Adam Fuss put together a body of contact photographs of such things as plumes of smoke, patterns of light, a butterfly, a swan and a baptism dress. As his title suggests, Fuss’s work aims to evoke rather than describe; for all their evident tactility, these photographs are meant as metaphors, as prayers, perhaps even as poems.

 

Adam Fuss both 'Untitled' 1989

 

Installation view of
Adam Fuss (UK/Australia/US)
Untitled
1989
Cibachrome photograph

Adam Fuss (UK/Australia/US)
Untitled
1989
Cibachrome photograph

 

Installation view of Joan Fontcuberta (Spain). ‘MN 62: OPHIUCUS (NGC 6266), AR 17 h. 01,2 min. / D -30º 07’’ (left) and ‘LAMBDA CORONAE AUSTRALIS (Mags 5,1/9,7 Sepn 29,2" AP 214º), AR 18 h 43,8 min. / D -38º 19’’ (right) both 1993

Installation view of Joan Fontcuberta (Spain). ‘MN 62: OPHIUCUS (NGC 6266), AR 17 h. 01,2 min. / D -30º 07’’ (left) and ‘LAMBDA CORONAE AUSTRALIS (Mags 5,1/9,7 Sepn 29,2" AP 214º), AR 18 h 43,8 min. / D -38º 19’’ (right) both 1993

 

Installation views of
Joan Fontcuberta (Spain)
MN 62: OPHIUCUS (NGC 6266), AR 17 h. 01,2 min. / D -30º 07′ (left)
LAMBDA CORONAE AUSTRALIS (Mags 5,1/9,7 Sepn 29,2″ AP 214º), AR 18 h 43,8 min. / D -38º 19′ (right)
both 1993
From the Constellations series
Cibachrome photographs

 

Photographs from the Constellations series by Spanish artist Joan Fontcuberta come filled with fields of sparkling blackness, their speckled surfaces redolent of infinite space and twinkling stars. Their titles imply we are looking upwards towards the heavens. But this artist’s prints actually record dust, crushed insects and other debris deposited on the windscreen of his car, a trace of the evidence of his own rapid passage through terrestrial space and time. The artist applied sheets of 8-by-10-inch film directly onto the glass windscreen and shone a light through, creating photograms which were then made into glossy cibachrome prints.

 

Installation view of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Detail of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Detail of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Detail of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Detail of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Detail of Paul Hartigan (New Zealand) 'Colourwords' 1980-81 as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation views and detail of
Paul Hartigan (New Zealand)
Colourwords
1980-81
Colour photocopy

 

Consistently defined by a subversive edge and a darkly witty humour, the work of New Zealand artist Paul Hartigan is often subtly permeated by astute social and political perceptions. Shortly after they were introduced into New Zealand in 1980, Hartigan explored the creative possibilities of a colour photocopying machine, making a series of images in which words and found objects ironically refer to each other in an endless loop. With the objects arranged to spell out their own colour, each picture offers an oscillation of word and meaning, flatness and dimension, art and detritus.

 

Installation view of Gavin Hipkins (New Zealand) ‘The Coil’ 1998 (left) and Lucinda Eva-May as part of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of Gavin Hipkins (left) and Lucinda Eva-May (right) as part of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery

 

Installation view of Gavin Hipkins (New Zealand) ‘The Coil’ 1998

 

Installation view of
Gavin Hipkins (New Zealand)
The Coil
1998
Silver gelatin photographs

 

Inspired by the kinetic films of Len Lye, in the 1990s Gavin Hipkins made a series of cameraless photographs that play with sequence and implied movement. The 32 images that make up The Coil were made by resting polystyrene rings on sheets of photographic paper and then exposing them to light.

 

Installation view of Lucinda Eva-May (Australia) 'Unity in light #6' 2012 (left) 'Unity in light #9' 2012 (right)

 

Installation view of
Lucinda Eva-May (Australia)
Unity in light #6, 2012 (left)
Unity in light #9, 2012 (right)
C-type prints

 

Australian artist Lucinda Kennedy has sought to capture a phenomenological representation of the feelings and sensations of sexual intercourse through the direct imprint on sheets of photographic paper of this most primal of human interactions. Turned into a single blurred organism by the extended duration of the exposure, the artist and her partner become an abstraction, thereby aptly conjuring an experience that has always been beyond the capacity of mere description.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Thomas Ruff, and at right, Justine Varga

 

Installation view of Thomas Ruff (Germany) 'r.phg.07_II' 2013

Installation view of Thomas Ruff (Germany) 'r.phg.07_II' 2013

 

Installation views of
Thomas Ruff (Germany)
r.phg.07_II
2013
Chromogenic print

 

Thomas Ruff (Germany) 'r.phg.07_II' 2013

 

Thomas Ruff (Germany)
r.phg.07_II
2013
Chromogenic print

 

German artist Thomas Ruff uses his computers to construct virtual objects with simulated surfaces and to calculate the lights and shadows they might cast in different compositions. He then prints the results, in colour and at very large scale. Combining variations of spheres, curves, zig-zags and sharp edges, all set within richly coloured surrounds, Ruff’s images are both untethered abstractions and historical ciphers. Although referred to by the artist as photograms, the final prints are perhaps better conceived as being about the photogram, studiously replaying an analogue process in digital terms so as to make a spectacle of its logic.

 

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

Installation view of the exhibition 'Emanations: The Art of the Cameraless Photograph' at the Govett-Brewster Art Gallery

 

Installation view of the exhibition Emanations: The Art of the Cameraless Photograph at the Govett-Brewster Art Gallery with at left, Shimpei Takeda and at right, Justine Varga

 

Justine Varga (Australia/UK) 'Exit (Red State)' 2014-15

 

Justine Varga (Australia/UK)
Exit (Red State)
2014-15
Chromogenic photograph

 

Justine Varga (Australia/UK) 'Desklamp' 2011-12

 

Justine Varga (Australia/UK)
Desklamp
2011-12
Chromogenic photograph

 

Australian artist Justine Varga creates photographic works from an intimate and often prolonged exchange between a strip of film and the world that comes to be inscribed on it. Desklamp involved the year-long exposure of a large format negative placed on top of the artist’s desk lamp. Exit was derived from a similar piece of film that was scarred and weathered during a three-month exposure on her windowsill during a residency in London. Both were then turned into luscious colour photographs in the darkroom via various printing procedures.

 

 

Govett-Brewster Art Gallery/Len Lye Centre
Queen St, New Plymouth, New Zealand
Phone: +64 6 759 6060
Email: info@govettbrewster.com

Opening hours:
Wednesday, Friday – Monday
10am – 6pm
Thursday 10am – 9pm

Govett-Brewster Art Gallery/Len Lye Centre website

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02
Sep
14

Exhibition: ‘Robert Heinecken: Object Matter’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 15th March – 7th September 2014

Curators: Eva Respini, Curator, with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, The Museum of Modern Art

 

 

Robert Heinecken (American, 1931-2006) 'Figure Horizon #1' 1971

 

Robert Heinecken (American, 1931-2006)
Figure Horizon #1
1971
Ten canvas panels with photographic emulsion
Each 11 13/16 x 11 13/16″ (30 x 30cm)
The Museum of Modern Art, New York. Gift of Shirley C. Burden, by exchange

 

 

A bumper posting on probably the most important photo-media artist who has ever lived. This is how to successfully make conceptual photo-art.

A revolutionary artist, this para-photographer’s photo puzzles are just amazing!

Dr Marcus Bunyan

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Many thank to MoMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF FEMALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

 

Robert Heinecken (American, 1931-2006) 'Le Voyeur / Robbe-Grillet #2' 1972

 

Robert Heinecken (American, 1931-2006)
Le Voyeur / Robbe-Grillet #2
1972
Three canvas panels with bleached photographic emulsion and pastel chalk
14 x 40″ (35.6 x 101.6cm)
George Eastman House, Rochester, New York. Museum Purchase with National Endowment for the Arts support

 

Robert Heinecken (American, 1931-2006) 'Child Guidance Toys' 1965

 

Robert Heinecken (American, 1931-2006)
Child Guidance Toys
1965
Black-and-white film transparency
5 x 18 1/16″ (12.7 x 45.8cm)
The Art Institute of Chicago. Gift of Boardroom, Inc.

 

Robert Heinecken (American, 1931-2006) 'Lessons in Posing Subjects / Matching Facial Expressions' 1981

 

Robert Heinecken (American, 1931-2006)
Lessons in Posing Subjects / Matching Facial Expressions
1981
Fifteen internal dye diffusion transfer prints (SX-70 Polaroid) and lithographic text on Rives BFK paper
15 x 20″ (38.1 x 50.8cm)
Collection UCLA Grunwald Center for Graphic Art, Hammer Museum, Los Angeles. Gift of Dean Valentine and Amy Adelson

 

Robert Heinecken (American, 1931-2006) 'Kodak Safety Film / Taos Church' 1972

 

Robert Heinecken (American, 1931-2006)
Kodak Safety Film / Taos Church
1972
Black-and-white film transparency
40 x 56″ (101.6 x 142.2cm)
The Museum of Modern Art, New York. Committee on Photography Fund

 

Robert Heinecken (American, 1931-2006) 'As Long As Your Up' 1965

 

Robert Heinecken (American, 1931-2006)
As Long As Your Up
1965
Black-and-white film transparency
15 1/2 x 19 5/8″ (39.4 x 49.8cm)
The Robert Heinecken Trust, Chicago. Courtesy Petzel Gallery, New York

 

Robert Heinecken (American, 1931-2006) 'Periodical #5' 1971

 

Robert Heinecken (American, 1931-2006)
Periodical #5
1971
Offset lithography on found magazine
12 1/4 x 9″ (31.1 x 22.9cm)
Collection Philip Aarons and Shelley Fox Aarons, New York

 

Robert Heinecken (American, 1931-2006) 'Six Figures/Mixed' 1968

 

Robert Heinecken (American, 1931-2006)
Six Figures/Mixed
1968
Layered Plexiglas and black-and-white film transparencies
5.75 x 9.75 x 1.5″ (14.61 x 24.77 x 3.81cm)
Collection Darryl Curran, Los Angeles

 

Robert Heinecken (American, 1931-2006) 'Figure / Foliage #2' 1969

 

Robert Heinecken (American, 1931-2006)
Figure / Foliage #2
1969
Layered Plexiglas and black-and-white film transparencies
5 x 5 x 1 1/4″ (12.7 x 12.7 x 3.2cm)
Collection Anton D. Segerstrom, Corona del Mar, California

 

Kaleidoscopic-Hexagon-#2-WEB

 

Robert Heinecken (American, 1931-2006)
Kaleidoscopic Hexagon #2
1965
Six gelatin silver prints on wood
Diameter: 14″ (35.6cm)
Black Dog Collection. Promised gift to San Francisco Museum of Modern Art

 

Robert Heinecken (American, 1931-2006) '24 Figure Blocks' 1966

 

Robert Heinecken (American, 1931-2006)
24 Figure Blocks
1966
Twelve gelatin silver prints on wood blocks, and twelve additional wood blocks
14 1/16 x 14 1/16 x 13/16″ (35.7 x 35.7 x 2.1cm)
Whitney Museum of American Art, New York. Gift of Jeanne and Richard S. Press

 

Robert Heinecken (American, 1931-2006) 'Multiple Solution Puzzle' 1965

 

Robert Heinecken (American, 1931-2006)
Multiple Solution Puzzle
1965
Sixteen gelatin silver prints on wood
11 1/4 x 11 1/4 x 1″ (28.6 x 28.6 x 2.5cm)
Collection Maja Hoffmann/LUMA Foundation

 

 

The Museum of Modern Art presents Robert Heinecken: Object Matter, the first retrospective of the work of Robert Heinecken since his death in 2006 and the first exhibition on the East Coast to cover four decades of the artist’s unique practice, from the early 1960s through the late 1990s, on view from March 15 to September 7, 2014. Describing himself as a “para-photographer,” because his work stood “beside” or “beyond” traditional ideas associated with photography, Heinecken worked across multiple mediums, including photography, sculpture, printmaking, and collage. Culling images from newspapers, magazines, pornography, and television, he recontextualized them through collage and assemblage, photograms, darkroom experimentation, and rephotography. His works explore themes of commercialism, Americana, kitsch, sex, the body, and gender. In doing so, the works in this exhibition expose his obsession with popular culture and its effects on society, and with the relationship between the original and the copy. Robert Heinecken: Object Matter is organised by Eva Respini, Curator, with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, The Museum of Modern Art. The exhibition will travel to the Hammer Museum, and will be on view there from October 5, 2014 through January 17, 2015.

Heinecken dedicated his life to making art and teaching, establishing the photography program at UCLA in 1964, where he taught until 1991. He began making photographs in the early 1960s. The antithesis of the fine-print tradition exemplified by West Coast photographers Ansel Adams and Edward Weston, who photographed landscapes and objects in sharp focus and with objective clarity, Heinecken’s early work is marked by high contrast, blur, and under- or overexposure, as seen in Shadow Figure (1962) and Strip of Light (1964). In the mid-1960s he began combining and sequencing disparate pictures, as in Visual Poem/About the Sexual Education of a Young Girl (1965), which comprises seven black-and-white photographs of dolls with a portrait of his then-five-year-old daughter Karol at the centre.

The female nude is a recurring motif, featured in Refractive Hexagon (1965), one of several “photopuzzles” composed of photographs of female body parts mounted onto 24 individual “puzzle” pieces. Other three-dimensional sculptures – geometric volumes ranging in height from five to 22 inches – consist of photographs mounted onto individual blocks, which rotate independently around a central axis. In Fractured Figure Sections (1967), as in Refractive Hexagon, the female figure is never resolved as a single image – the body is always truncated, never contiguous. In contrast, a complete female figure can be reconstituted in his largest photo-object, Transitional Figure Sculpture (1965), a towering 26-layer octagon composed from photographs of a nude that have been altered using various printing techniques. At the time, viewer engagement was key to creating random configurations and relationships in the work; any number of possibilities may exist, only to be altered with the next manipulation. Today, due to the fragility of the works, these objects are displayed in Plexiglas-covered vitrines. However, the number of sculptures and puzzles gathered here offer the viewer a sense of this diversity.

Heinecken’s groundbreaking suite Are You Rea (1964-68) is a series of 25 photograms made directly from magazine pages. Representative of a culture that was increasingly commercialised, technologically mediated, and suspicious of established truths, Are You Rea cemented Heinecken’s interest in the multiplicity of meanings inherent in existing images and situations. Culled from more than 2000 magazine pages, the work includes pictures from publications such as Life, Time, and Woman’s Day, contact-printed so that both sides are superimposed in a single image. Heinecken’s choice of pages and imagery are calculated to reveal specific relationships and meanings – ads for Coppertone juxtaposed with ads for spaghetti dinners and an article about John F. Kennedy superimposed on an ad for Wessex carpets – the portfolio’s narrative moves from relatively commonplace and alluring images of women to representations of violence and the male body.

Heinecken began altering magazines in 1969 with a series of 120 periodicals titled MANSMAG: Homage to Werkman and Cavalcade. He used the erotic men’s magazine Cavalcade as source material, making plates of every page, and randomly printing them on pages that were then reassembled into a magazine, now scrambled. In the same year, he disassembled numerous Time magazines, imprinting pornographic images taken from Cavalcade on every page, and reassembled them with the original Time covers. He circulated these reconstituted magazines by leaving them in waiting rooms or slipping them onto newsstands, allowing the work to come full circle – the source material returning to its point of origin after modification. He reprised this technique in 1989 with an altered issue of Time titled 150 Years of Photojournalism, a greatest hits of historical events seen through the lens of photography.

 

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

Installation views of 'Robert Heinecken: Object Matter' at The Museum of Modern Art (MoMA)

 

Installation views of Robert Heinecken: Object Matter at The Museum of Modern Art (MoMA)
Photos by Jonathan Muzikar
© The Museum of Modern Art

 

Robert Heinecken (American, 1931-2006) 'Breast / Bomb #5' 1967

 

Robert Heinecken (American, 1931-2006)
Breast / Bomb #5
1967
Gelatin silver prints, cut and reassembled
38 1/2 x 38 1/4″ (97.8 x 97.2cm)
Denver Art Museum. Funds From 1992 Alliance For Contemporary Art Auction

 

Robert Heinecken (American, 1931-2006) 'Then People Forget You' 1965

 

Robert Heinecken (American, 1931-2006)
Then People Forget You
1965
Gelatin silver print
10 3/8 x 12 15/16″ (26.3 x 32.8cm)
The Art Institute of Chicago. Gift of Boardroom, Inc.

 

Robert Heinecken (American, 1931-2006) 'Cliche Vary / Autoeroticism' 1974

 

Robert Heinecken (American, 1931-2006)
Cliche Vary / Autoeroticism
1974
Eleven canvas panels with photographic emulsion and pastel chalk
39 1/2 x 39 1/2 in. (100.3 x 100.3cm)
Collection Susan and Peter MacGill, New York

 

Robert Heinecken. 'Surrealism on TV' 1986

 

Robert Heinecken (American, 1931-2006)
Surrealism on TV
1986
216 35 mm colour slides, slide-show time variable
The Robert Heinecken Trust, Chicago; courtesy Cherry and Martin Gallery, Los Angeles
© 2013 The Robert Heinecken Trust.

 

Robert Heinecken (American, 1931-2006) 'Shiva Manifesting as a Single Mother' 1989

 

Robert Heinecken (American, 1931-2006)
Shiva Manifesting as a Single Mother
1989
Magazine paper, paint and varnish
Collection Philip F. Denny, Chicago
© 2014 The Robert Heinecken Trust

 

 

Transparent film is also used in many of Heinecken’s works to explore different kinds of juxtapositions. In Kodak Safety Film / Christmas Mistake (1971), pornographic images are superimposed on a Christmas snapshot of Heinecken’s children with the suggestion in the title that somehow two rolls of film were mixed up at the photo lab. Kodak Safety Film / Taos Church (1972) takes photography itself as a subject, picturing an adobe church in New Mexico that was famously photographed by Ansel Adams and Paul Strand, and painted by Georgia O’Keeffe and John Marin. Presented as a negative, Heinecken’s version transforms an icon of modernism into a murky structure flanked by a pickup truck, telephone wires, and other modern-day debris.

Heinecken’s hybrid photographic paintings, created by applying photographic emulsion on canvas, are well represented in the exhibition. In Figure Horizon #1(1971), Heinecken reprised the cut-and-reassemble techniques from his puzzles and photo-sculptures, sequencing images of sections of the nude female body, to create impossible undulating landscapes. Cliché Vary, a pun on the 19th-century cliché verre process, is comprised of three large-scale modular works, all from 1974: Autoeroticism, Fetishism, and Lesbianism. The works are comprised of separately stretched canvas panels with considerable hand-applied colour on the photographic image, invoking clichés associated with autoeroticism, fetishism, and lesbianism. Reminiscent of his cut-and-reassembled pieces, each panel features disjointed views of bodies and fetish objects that never make a whole, and increase in complexity, culminating with Lesbianism, which is made with seven or eight different negatives.

In the mid-1970s, Heinecken experimented with new materials introduced by Polaroid – specifically the SX-70 camera (which required no darkroom or technical know-how) – to produce the series He/She (1975-1980) and, later, Lessons in Posing Subjects (1981-82). Heinecken experimented with different types of instant prints, including the impressive two-panel S.S. Copyright Project: “On Photography” (1978), made the year after the publication of Susan Sontag’s collection of essays On Photography (1977). The S.S. Copyright Project consists of a magnified and doubled picture of Sontag, derived from the book’s dustcover portrait (taken by Jill Krementz). The work equates legibility with physical proximity – from afar, the portraits appear to be grainy enlargements from a negative (or, to contemporary eyes, pixilated low-resolution images), but at close range, it is apparent that the panels are composed of hundreds of small photographic scraps stapled together. The portrait on the left is composed of photographs of Sontag’’ text; the right features random images taken around Heinecken’s studio by his assistant.

Heinecken’s first large-scale sculptural installation, TV/Time Environment (1970), is the earliest in a series of works that address the increasingly dominant presence of television in American culture. In the installation, a positive film transparency of a female nude is placed in front of a functioning television set in an environment that evokes a living room, complete with recliner chair, plastic plant, and rug. Continuing his work with television, Heinecken created videograms – direct captures from the television that were produced by pressing Cibachrome paper onto the screen to expose the sensitized paper. Inaugural Excerpt Videograms (1981) features a composite from the live television broadcast of Ronald Reagan’s inauguration speech and the surrounding celebrations. The work, originally in 27 parts, now in 24, includes randomly chosen excerpts of the oration and news reports of it. Surrealism on TV (1986) explores the idea of transparency and layering using found media images to produce new readings. It features a slide show comprised of more than 200 images loaded into three slide projectors and projected in random order. The images generally fit into broad categories, which include newscasters, animals, TV evangelists, aerobics, and explosions.

Text from the MoMA press release

 

Robert Heinecken (American, 1931-2006) 'Figure Cube' 1965

 

Robert Heinecken (American, 1931-2006)
Figure Cube
1965
Gelatin silver prints on Masonite
5 7/8 x 5 7/8″ (15 x 15cm)
The Robert Heinecken Trust. Courtesy Center for Creative Photography, University of Arizona, Tucson

 

Robert Heinecken (American, 1931-2006) 'Figure in Six Sections' 1965

 

Robert Heinecken (American, 1931-2006)
Figure in Six Sections
1965
Gelatin silver prints on wood blocks
8 1/2 x 3 x 3″ (21.6 x 7.6 x 7.6cm)
Collection Kathe Heinecken. Courtesy The Robert Heinecken Trust, Chicago

 

Robert Heinecken (American, 1931-2006) 'Fractured Figure Sections' 1967

 

Robert Heinecken (American, 1931-2006)
Fractured Figure Sections
1967
Gelatin silver prints on wood blocks
8 1/4 x 3 x 3″ (21 x 7.6 x 7.6cm)
The Museum of Modern Art, New York. The Photography Council Fund and Committee on Photography Fund

 

Robert Heinecken (American, 1931-2006) 'The S.S. Copyright Project: "On Photography"' (Part 1 of 2) 1978

 

Robert Heinecken (American, 1931-2006)
The S.S. Copyright Project: “On Photography” (Part 1 of 2)
1978
Collage of black and white instant prints attached to composite board with staples
b 47 13/16 x 47 13/16″ (121.5 x 121.5cm)
The Museum of Modern Art, New York. Purchased as the partial gift of Celeste Bartos

 

Robert Heinecken (American, 1931-2006) 'Recto/Verso #2' 1988

 

Robert Heinecken (American, 1931-2006)
Recto/Verso #2
1988
Silver dye bleach print
8 5/8 x 7 7/8″ (21.9 x 20cm)
The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund

 

Robert Heinecken (American, 1931-2006) 'Figure Parts / Hair' 1967

 

Robert Heinecken (American, 1931-2006)
Figure Parts / Hair
1967
Black-and-whtie film transparencies over magazine-page collage
16 x 12″ (40.6 x 30.5cm)
Collection Karol Heinecken Mora, Los Angeles

 

Robert Heinecken (American, 1931-2006) 'V.N. Pin Up' 1968

 

Robert Heinecken (American, 1931-2006)
V.N. Pin Up
1968
Black-and-white film transparency over magazine-page collage
12 1/2 x 10″ (31.8 x 25.4cm)
Museum of Contemporary Art, Chicago. Gift of Daryl Gerber Stokols

 

Robert Heinecken (American, 1931-2006) 'Typographic Nude' 1965

 

Robert Heinecken (American, 1931-2006)
Typographic Nude
1965
Gelatin silver print
14 1/2 x 7″ (36.8 x 17.8cm)
Collection Geofrey and and Laura Wyatt, Santa Barbara, California

 

Robert Heinecken (American, 1931-2006) 'Are You Rea #1' 1968

 

Robert Heinecken (American, 1931-2006)
Are You Rea #1
1968
Twenty-five gelatin silver prints
Various dimensions
Collection Jeffrey Leifer, San Francisco

 

Robert Heinecken (American, 1931-2006) 'Are You Rea #25' 1968

 

Robert Heinecken (American, 1931-2006)
Are You Rea #25
1968
Twenty-five gelatin silver prints
Various dimensions
Collection Jeffrey Leifer, San Francisco

 

Robert Heinecken (American, 1931–2006) 'Cybill Shepherd / Phone Sex' 1992

 

Robert Heinecken (American, 1931–2006)
Cybill Shepherd / Phone Sex
1992
Silver dye bleach print on foamcore
63 x 17″ (160 x 43.2cm)
The Robert Heinecken Trust, Courtesy of Petzel Gallery, New York

 

Robert Heinecken (American, 1931-2006) 'MANSMAG: Homage to Werkman and Cavalcade' 1969

 

Robert Heinecken (American, 1931-2006)
MANSMAG: Homage to Werkman and Cavalcade
1969
Offset lithography on bound paper
8 3/4 x 6 5/8″ (22.2 x 16.8cm)
The Robert Heinecken Trust, Chicago

 

 

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Dr Marcus Bunyan

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

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

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