Posts Tagged ‘William Eggleston Memphis

03
Jun
18

Review: ‘Diane Arbus: American Portraits’ at the Heide Museum of Modern Art, Melbourne

Exhibition dates: 21st March – 17th June 2018

Curator at Heide: Anne O’Hehir

 

Diane Arbus. 'Xmas tree in a living room in Levittown, L.I. 1963' 1963

 

Diane Arbus (1923-71)
Xmas tree in a living room in Levittown, L.I. 1963
1963
Silver gelatin print

 

Diane Arbus (1923-71) 'Xmas tree in a living room in Levittown, L.I. 1963' 1963

 

Diane Arbus (1923-71)
Xmas tree in a living room in Levittown, L.I. 1963 (installation view)
1963
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1981

 

 

The power of intention

If I had to nominate one photographer who is my favourite of all time, it would be Diane Arbus. There is just something about her photographs that impinge on my consciousness, my love of difference in human beings, their subversiveness and diversity. She pictures it all, some with irony, some with love, some with outright contempt, but always with interest. In photographs of dwarfs you don’t get the majesty and beauty that Susan Sontag desired, you get something else instead: the closeness of intention and effect – this is who this person was at that particular moment represented in a photograph, the essence of their being at that particular time.

Arbus was fascinated by the relationships between the psychological and the physical, probing her subjects with the camera to elicit a physical response. Her sensory, emotional, intellectual and aesthetic intelligence creates a single experience in relation to subject, stimulating her to respond to the world in her own unique way. While Arbus may well have hated aspects of American culture – “Its hypocrisy, this ‘happy happy’ story after the war, the consumerism, the racism, she feels deeply about that,” as Anne O’Hehir, curator of the National Gallery of Australia’s American Portraits observes – she photographed everything that makes us human in profound and powerful photographs. To me, her subjects were not ‘caught off guard’ nor did they unintentionally reveal aspects of themselves – they revealed themselves to Arbus just as they are, because she gained their trust, she had empathy for who they were… an empathy that probably flowed both ways, enhanced by the subjects sense of Arbus’ own personal travails.

It is unfortunate then, that this exhibition at Heide Museum of Modern Art is such a disappointment. This has nothing to do with the wonderful installation by the Heide curatorial team in the beautiful gallery spaces, but in the prints themselves and the artists that accompany Arbus’ work. Let’s look at the prints first.

According to an article by Louise Maher on the ABC News website in 2016, “The collection is one of the largest public holdings of her work outside New York and, according to NGA curator of photography Anne O’Hehir, one of the most impressive in the world. “The gallery was buying a huge amount of work in 1980 and ’81 leading up to the opening of the gallery in 1982,” Ms O’Hehir said. “We were offered in two lots these extraordinary photographs – they were the first release of prints from the Arbus estate and they were expensive at the time.”

These vintage prints are by the hand of Arbus, not later printings by other people, and as such should be as close a rendition to what Arbus intended the work to look like as can be found. The exhibition text notes that, “All the same, she was very clear about how she wanted her images to look; she worked hard to achieve a particular quality in her prints, which have a distinct feel and appearance that are quite different from other photographs of the 1960s … She reminds us consistently through a number of careful and deliberate strategies that we are looking at a photograph that has been made by a particular person.”

Through these strategies Arbus sought to differentiate her prints from the West Coast Ansel Adams Zone system of printing which was prevalent at the time. The Zone System would have been the antithesis of what Arbus wanted from her photographs. Every popular magazine at that time would have had Zone System stuff… so Arbus didn’t dare align herself with that school. But truth be told, if these prints are the best that she could do as a printer, then they are not very good. As can be seen from the installation photographs in this posting (not the media photographs), some of the prints are so dark as to be beyond comparison to the clarity of the prints that were later produced by her daughter Doon Arbus for the Arbus estate and for reproduction in books. You only have to look at the installation photograph of Xmas tree in a living room in Levittown, L.I. 1963 (above) and another reproduction of this image to see how dark the National Gallery of Australia’s prints are. If you take time to actually look at the photographs one of the prints, Identical twins, Roselle, N.J., 1966 (1966, below) was barely in focus under the enlarger when developed, and several others have not been fixed properly. They may have been first release, but how far down the release were they? We don’t know whether these were the top shelf prints, or tenth in the stack. I know from personal experience that I have a numbering system from one to ten. You sell the best print and so number two then becomes number one, and so on.

The poorness of these prints again becomes a sign of intention. The print is the final, luminous rendition of a photographers previsualisation, the ultimate expression of their creativity. This is how I want to show you the world, through this photograph. It is the end point of a long process. I believe strongly that Arbus wanted to show things as clearly as possible, as clearly as the best possible use that photography could provide. She is like a razor the way she cuts through. But in these particular final renditions, she lets herself down. And the people who bought these photographs, should have realised what poor prints they were.

Turning to the artists that accompany the work of Arbus… was it really necessary to surround such a powerful artist’s work with such noise? While it is always a delight to see the work of Mary Ellen Mark, William Eggleston, Milton Rogovin, Lee Friedlander, Garry Winogrand, Lisette Model, Walker Evans, Weegee and William Klein, to try and embed the work of Arbus within a photographic milieu, within a cacophony of imagery that stretches from the 1930s to the 1980s, simply does not work. While Arbus emerges out of the concerns of her era, she is such a powerful presence and force that simply no one compares. She is so different from the organised Evans and or the macabre Weegee, more closely aligned to Model, and certainly by no stretch of the imagination does she influence Eggleston, Friedlander, Winogrand, Mark or Rogovin in any significant way… that these artists works just become filler for this exhibition. If the intention was to situate Arbus’ work in the chronological “flow” of photography then the concept falls between intention and effect. While no artist’s work appears without regard to historical precedent, their work is simply their own and needs its own space to breathe.

What would have been more interesting would have been to position Arbus’ work within an Australian context. Now there’s an idea, since we live in Australia!

Here we go: exhibit Arbus’ prints with 15 prints by Carol Jerrems (Vale Street, Mark and Flappers), 15 prints of the early work of Polixeni Papapetrou (drag queens, Elvis fans, circus performers and wrestlers) and 15 prints of the work of Sue Ford. Four strong women who deal with issues of gender and identity in a forthright manner – not a cacophony of noise (9 artists, 6 of them men) to accompany the work of a genius. Analyse the influence of Arbus on this generation of Australian photographers. Pretty simple. Clean, concise, accessible, relevant to Australia audiences. Then intention would have possibly met effect.

There are highlights to be had within this exhibition, two in particular.

It was a pleasure to see the work of Milton Rogovin. I have always admired his work, and the small, intimate prints from his Lower West Side series (1973-2002) did not disappoint. While Arbus’ portraits are powerful visualisations, front and centre, Rogovin’s working class families are just… present. His social documentary photographs of working class families are almost reticent in their rendition. “His classical portraits, often grouped in diptychs and triptychs, expound narrative in a single image and over time. They compress time intimately… and by that I mean the viewer is engaged in a conversation with the subject, where we can imagine that we live those lives as they do (transcending time), the lives of what Rogovin called “the forgotten ones.” He makes their countenance, their physicality, the hardships they endure, and their narrative, directly and intimately compelling. We are made to feel their plight in the now and the forever. For these photographs are as relevant, if not more so, now as then.”

The other highlight is to see three Arbus photographs that I have never seen before: Old black woman with gnarled hand; Large black family in small shack; and Addie Taylor in her shack, Beaufort, South Carolina (all 1968, installation views below), all three taken with flash. These works were a revelation for their observational intimacy and evocation of a dark place in the existence of the poorest of human beings. The gnarled hand of the old woman lying in a filthy bed with cardboard walls is particularly distressing to say the least. To compare these photographs with Walker Evans’ flash photograph Hudson Street boarding house detail, New York (1931, below) and his naturally aspirated Bedroom, shrimp fisherman’s house, Biloxi, Mississippi (1945, below) in their pristine emptiness is instructive. This ideation, together with Arbus’ photographs relationship to the work of her sometime teacher Lisette Model (particularly her Lower East Side photographs (1939-42); Albert-Alberta, Hubert’s 42nd St Flea Circus, New York (c. 1945) and Woman with Veil, San Francisco (1949) all below) are the zenith of this exhibition, where the intention of embedding Arbus’ photographs in the history of the medium come best to fruition, in effect.

Finally, I must say a big thank you to Heide Museum of Modern Art for allowing me to come out to the gallery to take the installation photographs. Many thanks indeed.

Marcus

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

 

 

“People who met Arbus often said she was incredibly seductive. Immensely curious, she was softly spoken and her ability to connect with and gain the trust of people was legendary. She talked about “the gap between intention and effect”, explaining “it really is totally fantastic that we look like this and you sometimes see that very clearly in a photograph. Something is ironic in the world and it has to do with the fact that what you intend never comes out like you intend it.””

.
Kerrie O’Brien, curator of the National Gallery of Australia’s Diane Arbus: American Portraits

 

“The people in an Arbus photograph are never trivialised; they have certainly a larger-than-life intensity that few other photographers can achieve. While they seem like figures from fairy tales or myth, they are also invested with powerful agency.”

.
Gillian Wearing

 

“When you’re awake enough to question your purpose and ask how to connect to it, you’re being prodded by the power of intention. The very act of questioning why you’re here is an indication that your thoughts are nudging you to reconnect to the field of intention. What’s the source of your thoughts about your purpose? Why do you want to feel purposeful? Why is a sense of purpose considered the highest attribute of a fully functioning person? The source of thought is an infinite reservoir of energy and intelligence.

In a sense, thoughts about your purpose are really your purpose trying to reconnect to you. This infinite reservoir of loving, kind, creative, abundant energy grew out of the originating intelligence, and is stimulating you to express this universal mind in your own unique way.”

.
Dr Wayne Dyer from ‘The Power of Intention’

 

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne
Photos: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

 

Heide is delighted to host the National Gallery of Australia’s touring exhibition, Diane Arbus: American Portraits.

The photographs of Diane Arbus (1923-71) are among the most widely recognised in the history of photography. Her images stand as powerful allegories of post-war America, and once seen are rarely forgotten. Works such as Identical twins, Roselle, N.J., 1967 and Child with toy hand grenade, in Central Park, New York City have been described as two of ‘the most celebrated images in the history of the medium’.

Featuring 35 of Arbus’s most iconic and confrontational images from 1961-71, this exhibition examines the last decade of Arbus’s life,the period in which her style is in full flight. Her work has polarised viewers who question whether she exploited or empowered her subjects, who were often drawn from society’s margins. ‘The National Gallery of Australia is privileged to hold such an extraordinary collection of work by a photographer of Arbus’s significance,’ said Anne O’Hehir, curator. ‘This collection covers Arbus’s best-known pictures, and also includes images which are rarely seen. This exhibition is a testament to the power of Arbus’s extraordinary vision.’

Arbus’s photographs are exhibited alongside a selection of works by other leading American photographers whose work influenced Arbus, was shown alongside hers in the ’60s, or has been influenced by her. These include famous images by Lisette Model, Walker Evans and Weegee, her contemporaries William Klein, Garry Winogrand, Lee Friedlander and Milton Rogovin as well as a slightly younger generation, work by Mary Ellen Mark and William Eggleston.

Heide Director and CEO Dr Natasha Cica said: ‘Heide is delighted to present this exhibition of the renowned photographer Diane Arbus. Her uncompromising view challenged existing photography conventions in a surprising and enchanting way.’

Press release from Heide Museum of Modern Art

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne with at left, Weegee’s No title (at a concert in Harlem) c. 1948, National Gallery of Australia, Canberra Purchased 1981 followed by William Klein’s Christmas shoppers, near Macy’s, New York 1954 and Stickball gang, New York 1955
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Weegee (Arthur Fellig) (1899-1968) 'No title (at a concert in Harlem)' c. 1948

 

Weegee (Arthur Fellig) (1899-1968)
No title (at a concert in Harlem)
c. 1948
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of William Klein’s Christmas shoppers, near Macy’s, New York 1954 and Stickball gang, New York 1955
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Installation view of William Klein (born April 19, 1928) 'Christmas shoppers, near Macy's, New York' 1954

 

Installation view of William Klein’s Christmas shoppers, near Macy’s, New York 1954 National Gallery of Australia, Canberra Purchased 1993
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

William Klein (born April 19, 1928) 'Christmas shoppers, near Macy's, New York' 1954

 

William Klein (born April 19, 1928)
Christmas shoppers, near Macy’s, New York
1954
Gelatin silver photograph

 

 

Klein sandwiched his relatively short photographic career, working as a fashion photographer for Vogue, between being a painter and a filmmaker. Self-taught, he experimented with flash, wide-angle lenses, blurring, abstraction and accidents, and produced grainy, high contrast prints. He is deliberately at the other end of the spectrum from the invisible, disinterested photographer. Klein deliberately got really close to his subjects, in their faces, and caught them reacting to being photographed on the street. ‘To be visible, intervene and show it’ was his mantra.

Text © National Gallery of Australia, Canberra

 

Installation view of William Klein's 'Stickball gang, New York' 1955

 

Installation view of William Klein’s Stickball gang, New York 1955 National Gallery of Australia, Canberra Purchased 1993
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

William Klein (born April 19, 1928) 'Stickball gang, New York' 1955

 

William Klein (born April 19, 1928)
Stickball gang, New York
1955
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne with at right, Weegee’s No title (at a concert in Harlem) c. 1948, National Gallery of Australia, Canberra Purchased 1981 and at left, his No title (listening to Frank Sinatra, Palace theatre) c. 1944, National Gallery of Australia, Canberra Purchased 1981
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne with at right, Weegee’s No title (at a concert in Harlem) c. 1948, followed by his No title (listening to Frank Sinatra, Palace theatre) c. 1944 and Emmett Kelly, Ringling Brothers and Barnum & Bailey Circus 1943
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Weegee (Arthur Fellig) (1899-1968) 'Emmett Kelly, Ringling Brothers and Barnum & Bailey Circus' 1943 (installation view)

 

Installation view of Weegee’s Emmett Kelly, Ringling Brothers and Barnum & Bailey Circus 1943, National Gallery of Australia, Canberra Purchased 1981
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Weegee (Arthur Fellig) (1899-1968) 'No title (listening to Frank Sinatra, Palace theatre)' c. 1944

 

Weegee (Arthur Fellig) (1899-1968)
No title (listening to Frank Sinatra, Palace theatre)
c. 1944
Silver gelatin print

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Walker Evans
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ Rocks on wheels, Disneyland, Cal 1962; Xmas tree in a living room in Levittown, L.I. 1963; and Lady in a rooming house parlour, Albion, N.Y. 1963, all National Gallery of Australia, Canberra Purchased 1981
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Rocks on wheels, Disneyland, Cal' 1962

 

Diane Arbus (1923-71)
Rocks on wheels, Disneyland, Cal
1962
Silver gelatin print

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing at left, Diane Arbus’ Muscle Man in his dressing room with trophy, Brooklyn, N.Y. 1962 and at right, Burlesque comedienne in her dressing room, Atlantic City, N.J. 1963, both National Gallery of Australia, Canberra Purchased 1981 and 1980
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Muscle Man in his dressing room with trophy, Brooklyn, N.Y.' 1962

 

Diane Arbus (1923-71)
Muscle Man in his dressing room with trophy, Brooklyn, N.Y.
1962
Silver gelatin print

 

Diane Arbus (1923-71) 'Two Ladies at the Automat, New York City, 1966' 1966 (installation view)

 

Diane Arbus (1923-71)
Two Ladies at the Automat, New York City, 1966 (installation view)
1966
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Transvestite with torn stocking, N.Y.C. 1966' 1966 (installation view)

 

Diane Arbus (1923-71)
Transvestite with torn stocking, N.Y.C. 1966 (installation view)
1966
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Mae West on bed' 1965

 

Diane Arbus (1923-71)
Mae West on bed
1965
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Teenage couple on Hudson Street, N.Y.C. 1963' 1963 (installation view)

 

Diane Arbus (1923-71)
Teenage couple on Hudson Street, N.Y.C. 1963 (installation view)
1963
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'Teenage couple on Hudson Street, N.Y.C. 1963' 1963 (installation view)

 

Diane Arbus (1923-71)
Teenage couple on Hudson Street, N.Y.C. 1963 (installation view)
1963
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'Teenage couple on Hudson Street, N.Y.C. 1963' 1963

 

Diane Arbus (1923-71)
Teenage couple on Hudson Street, N.Y.C. 1963
1963
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’A Jewish giant at home with his parents in the Bronx, N.Y., 1970;Untitled (1) 1970-71; and Woman with a beehive hairdo 1965; and Mexican dwarf in his hotel room N.Y.C. 1970
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'A Jewish giant at home with his parents in the Bronx, N.Y., 1970' 1970

 

Diane Arbus (1923-71)
A Jewish giant at home with his parents in the Bronx, N.Y., 1970
1970
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Untitled (1)' 1970-71

 

Diane Arbus (1923-71)
Untitled (1)
1970-71
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Mexican dwarf in his hotel room N.Y.C. 1970' 1970

 

Diane Arbus (1923-71)
Mexican dwarf in his hotel room N.Y.C. 1970
1970
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Identical twins, Roselle, N.J., 1966' 1966

 

Diane Arbus (1923-71)
Identical twins, Roselle, N.J., 1966
1966
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967; A young man in curlers at home on West 20th St., N.Y.C. 1966; and A Family on Their Lawn One Sunday in Westchester, New York 1968
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967' 1967

 

Diane Arbus (1923-71)
Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967
1967
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'A young man in curlers at home on West 20th St., N.Y.C. 1966' 1966 (installation view)

 

Diane Arbus (1923-71)
A young man in curlers at home on West 20th St., N.Y.C. 1966 (installation view)
1966
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'A young man in curlers at home on West 20th St., N.Y.C. 1966' 1966

 

Diane Arbus (1923-71)
A young man in curlers at home on West 20th St., N.Y.C. 1966 (installation view)
1966
Gelatin silver photograph

 

Diane Arbus (1923-71) 'A Family on Their Lawn One Sunday in Westchester, New York 1968' 1968

 

Diane Arbus (1923-71)
A Family on Their Lawn One Sunday in Westchester, New York 1968
1968
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ A young Negro boy, Washington Square Park, N.Y.C. 1965; Blonde girl in Washington Square Park c. 1965-68; Woman with a beehive hairdo 1965; and Girl in a watch cap, N.Y.C. 1965
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'A young Negro boy, Washington Square Park, N.Y.C. 1965' c. 1965

 

Diane Arbus (1923-71)
A young Negro boy, Washington Square Park, N.Y.C. 1965
c. 1965
Gelatin silver photograph

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Diane Arbus’ Woman with a beehive hairdo 1965 and Girl in a watch cap, N.Y.C. 1965
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Diane Arbus (1923-71) 'Woman with a beehive hairdo' 1965 (installation view)

 

Diane Arbus (1923-71)
Woman with a beehive hairdo (installation view)
1965
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Woman with a beehive hairdo' 1965

 

Diane Arbus (1923-71)
Woman with a beehive hairdo
1965
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Girl in a watch cap, N.Y.C. 1965' 1965

 

Diane Arbus (1923-71)
Girl in a watch cap, N.Y.C. 1965
1965
Gelatin silver photograph

 

Diane Arbus (1923-71) 'Child with toy hand grenade, in Central Park, New York City 1962' 1962

 

Diane Arbus (1923-71)
Child with toy hand grenade, in Central Park, New York City 1962
1962
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Diane Arbus (1923-71) 'Old black woman with gnarled hand' 1968 (installation view)

 

Diane Arbus (1923-71)
Old black woman with gnarled hand (installation view)
1968
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Large black family in small shack [Robert Evans and his family, 1968]' 1968 (installation view)

 

Diane Arbus (1923-71)
Large black family in small shack [Robert Evans and his family, 1968] (installation view)
1968
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'Addie Taylor in her shack, Beaufort, South Carolina' 1968 (installation view)

 

Diane Arbus (1923-71)
Addie Taylor in her shack, Beaufort, South Carolina (installation view)
1968
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

Diane Arbus (1923-71) 'A family of six at a nudist camp' c. 1963 (installation view)

 

Diane Arbus (1923-71)
A family of six at a nudist camp (installation view)
c. 1963
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1981

 

 

Introduction

The photographs of Diane Arbus (1923-1971) are powerful allegories of postwar America. Once seen they are rarely forgotten. Contemporary audiences found the way that Arbus approached the genre of portraiture confronting and her work continues to polarise opinion. The images raise difficult, uncomfortable questions concerning the intent of the photographer.

Arbus had a huge curiosity about the society around her; her favourite thing was ‘to go where I’ve never been’. As she was a photographer, this manifested as an obsessive exploration into what it means to photograph and be photographed, and what can happen at that moment of exchange – something elusive and a little bit magical. Whether Arbus is an empathetic champion of the outsider, or an exploitative voyeur, is something that each viewer alone must decide.

The National Gallery of Australia’s collection of Arbus photographs is among the most impressive in the world. The NGA is extremely fortunate to have bought 36 rare, vintage prints in 1980 and 1981, from the earliest releases of prints from the Arbus Estate. These works are from the last decade of the artist’s life, the period in which her recognisable style is in full flight and she was in total control of her medium.

These rare prints are shown alongside photographs by others who also sought to redefine the tradition of portraiture, and whose vision of America is also both challenging and moving. The work of these photographers relates to Arbus in a variety of ways: they are influencers, contemporaries or heirs to aspects of her worldview. Like Arbus, they are keen, singular observers of their worlds, transforming the sometimes banal and ugly into images of unexpected beauty.

 

An uncompromising view of the world

Diane Arbus was born Diane Nemerov, the daughter of wealthy Jewish New Yorkers; her father ran Russek’s, a department store on Fifth Avenue selling furs and women’s clothing. Growing up in an apartment in a towering building on Central Park West, her world was highly protected, one in which she never felt adversity. This was something Arbus resented both at the time and later; it seemed to her to be an unreal experience of the world. At 18 she married her childhood sweetheart, Allan Arbus, and for a decade from the mid 1940s, they ran a successful photography studio doing fashion shots for leading picture magazines.

In 1956 Arbus ceased working with Allan in the studio and began instead to explore subjects of her own choice. She was, apart from the occasional class, essentially self-taught and as she struck out on her own, she undertook a detailed study of the work of other photographers. Compelled to confront that which had been off-limits in her own privileged childhood, she looked to other photographers who had confronted the world head-on, including Weegee, William Klein, Walker Evans and Lisette Model. They recorded, each in their own way, their surroundings with an at-times frightening candour. In their images, Arbus found an uncompromising view of the world, stripped of sentimentality.

Weegee

Weegee turns the banal and seedy underbelly of New York city streets after hours into moments of great psychological drama. A freelance news photographer, he supplied images to the popular press but was also well regarded in art circles. The Museum of Modern Art collected his work and exhibited it in 1943. Arbus owned a number of Weegee’s books and greatly admired his Runyonesque view of the world. She closely studied aspects of his working method as she formulated her own, especially his use of flash. His ‘wild dynamics’ made everyone else ‘look like an academician’, she wrote.

William Klein

Returning to New York in 1954 from his émigré life in Paris, Klein was at once taken aback by what he perceived to be a society pursuing purely materialistic goals, but also excited by the energy he found on the streets. Self-taught, he experimented with flash, wide-angle lenses, blurring and close-ups, abstraction and accidents, and produced grainy, high contrast prints. Klein’s 1956 book, Life is Good & Good for You in New York: Trance Witness Revels, a copy of which Arbus owned, gave impetus to the emerging genre of street photography through his harsh, uncompromising vision of the city. His work was met, particularly in the United States, with misunderstanding and hostility.

Walker Evans

The writer James Agee travelled to Alabama in America’s South in 1936 to research an article on the plight of tenant farmers for Fortune magazine. He chose photographer Walker Evans to accompany him. The article did not eventuate but a book did, Let us now praise famous men. Both men were unnerved by what they saw: Agee wrote of ‘the nakedness, disadvantage and humiliation of … an undefended and appallingly damaged group of human beings’. And yet in the face of this, Evans made images of insistent frontality and careful symmetrical framing; devoid of cliché or pretention, and suggesting an impartiality. This gave the images a great authenticity and power.

Evans’ oeuvre is essentially concerned with how photography represents the world. His significance in the development of twentieth-century photography was reappraised during the 1960s, largely through the largesse of John Szarkowski, the head of the Museum of Modern Art’s photography department at the time. Szarkowski argued that the foundations for many of the key aesthetic and formal tendencies of 1960s photography rested in Evans’ work. The catalogue that accompanied his 1938 exhibition American photographs, in particular, had a huge impact on the new generation of photographers, and on Arbus in particular. She met Evans in 1961 and visited him regularly at his New York home throughout the decade. He wrote in support of her 1963 Guggenheim Grant application.

Lisette Model

Lisette Model’s satirical portraits of the rich on the French Riviera and the photographs she made in the 1940s of the Lower East Side’s poor and marginalised bear out the fact that she took her own advice: ‘Don’t shoot ’till the subject hits you in the pit of your stomach’. By the 1950s she had largely turned to teaching and her influence on Arbus, who took a number of her classes at the New School in 1956 and again in 1957-58, was profound. Model encouraged Arbus to pursue her own distinctive voice. Model recalled, ‘One day I said to her, and I think this was very crucial, “originality means coming from the source…” And from then on, Diane was sitting there and – I’ve never in my life seen anybody – not listening to me but suddenly listening to herself through what was said.’

 

The gap between intention and effect

Prior to 1962 Arbus worked primarily with a 35mm Nikon camera. Her images at this time were often about gesture, with grainy images and subjects frequently shown in movement. In 1962 Arbus switched to a 2 ¼ inch medium-format, twin-lens Rolleiflex (later a Mamiyaflex), which she used with a flash and which when printed full-frame, gave the photographs a square format. The pictures she took with these cameras are deceptively, deliberately simple. Compositionally they are often masterful with repetitions of shapes and minutely observed, subtly presented details. Despite the confronting subject matter, her images have a classical stillness, an insistent frontality that she borrowed from classic documentary photography. To this Arbus adds a very deliberate use of the snap-shot aesthetic, with slightly tilted picture planes and people caught unawares, to signal the authenticity of her connection with the subject.

Arbus developed a working method and style that offered what amounts to a critique of the photographic portrait. There is a palpable tension in the way she presents her subjects, a complicity in the image-making process which rubs up against the fact that her subjects seem caught off-guard, unintentionally revealing aspects of themselves. Arbus identified this as ‘the gap between intention and effect’, explaining that ‘it really is totally fantastic that we look like this and you sometimes see that very clearly in a photograph. Something is ironic in the world and it has to do with the fact that what you intend never comes out like you intend it’. Arbus’s ability to connect with and gain the trust of people is legendary. Fellow photographer Joel Meyerowitz felt that she was ‘an emissary from the world of feeling. She cared about these people. They felt that and gave her their secret’.

 

The aristocrats

As a student at the alternative Fieldston Ethical Culture School in the Bronx, Arbus developed a fascination with myths, ritual and public spectacle. This preoccupation remained steadfast throughout her life. For example, in 1963 she was awarded a prestigious Guggenheim Fellowship to document ‘American rites, manners and customs’. Arbus had an almost insatiable curiosity and fascination with the world and she sought to make photographs that addressed fundamental aspects of our humanity in the broadest terms. It was the photographer Lisette Model, with whom she studied in the late 1950s, who made her realise that, in a seemingly contradictory way, the more specific a photograph of something was, the more general its message became.

To this extent, it is notable that Arbus’s photographs rarely address the issues of the day in any overt and obvious way. While there are exceptions – for example, her work for magazines from the sixties, including portraits of celebrities and documentary work examining the plight of the poor in South Carolina – for the most part Arbus used the camera as a licence to enter the specifics of other people’s lives.

She was particularly drawn to marginalised people, who for whatever reason had fallen out of a conventional place in society and were forced (those born into disability) or chose (the nudists, for example) to construct their own identity. To find them, she frequented sideshow alleys and Hubert’s Freak Museum at Broadway and 42nd Street, joined nudist camps in New Jersey and Pennsylvania, and visited seedy hotels; she also found them in public spaces, in streets and parks where social rules were often arbitrarily imposed and discarded.

Arbus’s subjects are often seen to play with society’s roles and restrictions. She classified these people as ‘aristocrats’, having achieved a certain freedom from social constraints, and they made her feel a mix of shame and awe.

 

The prints

Arbus stated that, for her, ‘the subject of the picture is more important than the picture’. There is no doubt that the emotional authenticity of what she photographed was of upmost importance. In keeping with this, she often undersold her skill as a photographer; she often complained of technical difficulties, and others frequently observed that she seemed weighed down by her equipment. In downplaying her relationship to the technical aspects of her work, Arbus sought to emphasise instead her rapport with her subjects. All the same, she was very clear about how she wanted her images to look; she worked hard to achieve a particular quality in her prints, which have a distinct feel and appearance that are quite different from other photographs of the 1960s.

From the mid 1960s, Arbus worked hard to emphasise the photographic-ness of her pictures. She modified the negative tray on her Omega ‘D’ enlarger, which produced the distinctive black border around her images; later again, she used strips of cardboard down the sides of the negatives to blur the edges of her images. Both of these techniques meant that each of her prints is slightly, wonderfully unique. And there is often, as in the cases of Woman with a beehive hairdo and Girl in a watch cap, both made in 1965, damage (tears and marks) on the negative that Arbus has made no effort to minimise or disguise. Close viewing of the collection of photographs held at the NGA reveal ghostly traces of the hand of Arbus. She reminds us consistently through a number of careful and deliberate strategies that we are looking at a photograph that has been made by a particular person.

 

To know life

Arbus was not alone in photographing the social landscape of America in the 1960s. Others, including Garry Winogrand, Lee Friedlander and Milton Rogovin, similarly took to the country’s streets. Rogovin’s life work was to photograph people from poor minority groups, much of his work being made in Buffalo, New York, where he himself lived. Like Arbus, he often knew and befriended his subjects, returning to photograph them over many years, collaborating with them to create images of great dignity and integrity.

Like Arbus, Winogrand and Friedlander were included in the landmark 1967 exhibition New documents, curated by John Szarkowski for the Museum of Modern Art, New York. This was the only major showing of Arbus’s work during her lifetime. While acknowledging that each of the artists in the exhibition had their own distinct styles, Szarkowski characterised them as part of a generation that used the documentary tradition ‘to more personal ends.’ As he wrote: ‘Their aim has been not to reform life, but to know it. Their work betrays a sympathy – almost an affection – for the imperfections and frailties of society’.

An essential aspect of their innovation was the way they positioned photography and the acts of taking and viewing a photograph as an essential aspect of the work. Their photographs were not intended simply as windows to the world. As Winogrand noted when asked how he felt about missing photographs while he reloaded his camera, ‘there are no photographs while I’m reloading’. Winogrand, Friedlander and Arbus were fascinated by how the real was translated into the language of photography, and how the experience of the photograph involves a fascinating, multilayered three-way interaction between the photographer, the subject and the viewer.

Garry Winogrand

Winogrand restlessly prowled the same streets of New York as Arbus in the 1960s, working stealthily, capturing people without their knowledge. His viewpoint, one he asks the viewer to join, is unashamedly, unapologetically voyeuristic. He used a Leica M4 with a wide-angle lens and tipped the picture plane, giving his compositions a particular feel. Traumatised by the fraught political tensions of the cold war period, anxiety found its way into the imagery – lending his work an edge that makes for a compelling reading of an alienated and fearful society in the throes of change. His city is a site of unexpected confrontations and strange, witty juxtapositions. Fellow photographer Joel Meyerowitz remarked that Winogrand ‘set a tempo on the street so strong that it was impossible not to follow it. It was like jazz. You just had to get in the same groove’.

Lee Friedlander

Friedlander’s images are invariably about looking and this includes turning the camera on himself. He often intrudes into his hastily grabbed, ironic studies of the city, through reflection or shadow or a pair of shoes. Thus, the viewer of his photographs is constantly reminded that this is an image of the world that is made by someone, in this case, the photographer Lee Friedlander. The works are laconic, witty and intensely personal: and certainly the self-portraits are rarely flattering. Coming at the end of a decade in which a particular, new brand of art photographer had begun to achieve celebrity status, through the efforts of curators like John Szarkowski at the Museum of Modern Art, Friedlander’s self-portraits can also be seen as a shrewd send-up of fame.

Milton Rogovin

Originally trained as an optometrist, Rogovin began his career as a social documentary photographer in 1958, recording gospel services held in ‘store-front’ churches in the African-American neighbourhood of Buffalo, New York. Profoundly influenced as a young man by the impact of the Great Depression, Rogovin reflected that, ‘I could no longer be indifferent to the problems of the people, especially the poor, the forgotten ones’. He worked in collaboration with his subjects, who were always allowed to determine how they should be photographed. His photographs focus on family life, the celebrations and events that bind a community together, and the particulars of an individual’s existence.

 

The Arbus legacy

Arbus occupies an important place in the development of American photography. Her work has indelibly influenced the way that the documentary tradition has continued to evolve over the last 50 years, with many of the leading contemporary photographers, such as William Eggleston and Mary Ellen Mark, continuing to rethink the tradition, looking back to Arbus just as she looked back to her predecessors. Although it has often infuriated, and continues to do so, those who take issue with the way Arbus photographed the world, her impact on audiences and photographers alike is incontestable.

William Eggleston

While Arbus used the snap-shot aesthetic in her work to increase its aura of authenticity and immediacy, when Eggleston employed the same technique in colour without the abstraction and artistic mediation of black-and-white, contemporary audiences reacted with confusion. Careful observation of the images though reveals a masterful eye, and a sophisticated understanding of the way photography transforms the world. Eggleston’s images are at once monumental and mundane, ordinary and strange, prosaic and poetic. The result is luminous, breathtaking and perfectly banal.

Mary Ellen Mark

The photojournalist Mary Ellen Mark built a career photographing those on the fringes of society, seeking out those who she felt displayed what she described as attitude and often working on projects over many years, slowly earning trust. Her commitment was to give the people she photographed a unique voice, an individuality. Commenting on a body of work, Mark spoke of her desire to let her subjects ‘make contact with the outside world by letting them reach out and present themselves. I didn’t want to use them. I wanted them to use me’.

Mark spent months photographing the New York bar scene at night. This work formed the basis of her first one person exhibition, at the Photographers’ Gallery in London. She reflected at the time, ‘I would like to have the means to travel the whole country and show what America is through its bars. Millions of people who do not want or can not stay at home. The majority of clients are loners, which is why it is extremely difficult to work in these places. I had to make myself accepted’.

Text from the National Gallery of Australia website

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing at left, Lisette Model’s Coney Island Bather, New York 1939-41 and at right, Woman with Veil, San Francisco 1949
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lisette Model (1901-1983) 'Coney Island Bather, New York' [Baigneuse, Coney Island] c. 1939-1941

 

Lisette Model (1901-1983)
Coney Island Bather, New York [Baigneuse, Coney Island]
c. 1939-1941
Silver gelatin print
National Gallery of Australia, Canberra

 

Lisette Model (1901-1983) 'Woman with Veil, San Francisco' 1949

 

Lisette Model (1901-1983)
Woman with Veil, San Francisco
1949
Silver gelatin print
National Gallery of Australia, Canberra
Purchased 1978

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing at left, Lisette Model’s Lower East Side, New York
1942 and at right,Lower East Side, New York 1939-42
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lisette Model (1901-1983) 'Lower East Side, New York' 1942

 

Lisette Model (1901-1983)
Lower East Side, New York
1942
Gelatin silver photograph
49.2 h x 39.5 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Lisette Model (1901-1983) 'Lower East Side, New York' 1939-42

 

Lisette Model (1901-1983)
Lower East Side, New York
1939-42
Gelatin silver photograph
48.9 h x 38.9 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, Lisette Model’s Fashion show, Hotel Pierre, New York City 1940-46; Cafe Metropole, New York City c. 1946; and Albert-Alberta, Hubert’s 42nd St Flea Circus, New York [Albert/Alberta] c. 1945
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lisette Model (1901-1983) 'Fashion show, Hotel Pierre, New York City' 1940-46

 

Lisette Model (1901-1983)
Fashion show, Hotel Pierre, New York City
1940-46
Gelatin silver photograph
40.0 h x 49.6 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Lisette Model (1901-1983) 'Cafe Metropole, New York City' c. 1946

 

Lisette Model (1901-1983)
Cafe Metropole, New York City
c. 1946
Gelatin silver photograph
49.5 h x 40.0 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

 

While training as a musician in Vienna, Lisette Model studied under the avant-garde composer Arnold Schoenberg, who introduced her to the Expressionist painters of the early 20th century. Influenced by European modernist philosophy and aesthetics, Model abandoned music in Paris in 1933, taking up painting and then photography. She gained initial renown for a series of photographs of men and women lounging in deck chairs along the Promenade des Anglais in the south of France. In 1938, she relocated to New York with her husband (the artist Evsa Model), where she took photographs of exuberant characters on the streets of New York – catching reflections of individuals in store windows and images of feet in motion and holidaymakers around Coney Island. Model taught at the New School where one of her most famous students was Diane Arbus, and was published by Harper’s Bazaar and other magazines.

Text from the Artsy website

 

Lisette Model (1901-1983) 'Albert-Alberta, Hubert's 42nd St Flea Circus, New York' c. 1945

 

Lisette Model (1901-1983)
Albert-Alberta, Hubert’s 42nd St Flea Circus, New York [Albert/Alberta]
c. 1945
Gelatin silver photograph
49.5 h x 39.7 w cm
National Gallery of Australia, Canberra
Purchased 1981

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing work from Mary Ellen Mark’s The bar series 1977
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Mary Ellen Mark (1940-2015) 'Untitled' from 'The bar series' 1977

 

Mary Ellen Mark (1940-2015)
Untitled from The bar series
1977
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1980

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing from left to right, William Eggleston’s Huntsville, Alabama c. 1971; Memphis c. 1969; and Greenwood, Mississippi “The Red Ceiling” 1973
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

William Eggleston (America,born July 27, 1939) 'Huntsville, Alabama' c. 1971

 

William Eggleston (American, born July 27, 1939)
Huntsville, Alabama
c. 1971
Dye transfer colour photograph
46.6 h x 32.4 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

William Eggleston (America, born July 27, 1939) 'Memphis' c. 1970 printed 1980

 

William Eggleston (American, born July 27, 1939)
Memphis
c. 1970 printed 1980
Dye transfer colour photograph
30.2 h x 44.2 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

William Eggleston (America,born July 27, 1939) 'Greenwood, Mississippi' ["The Red Ceiling"] 1973, printed 1979

 

William Eggleston (American, born July 27, 1939)
Greenwood, Mississippi [“The Red Ceiling”]
1973, printed 1979
Dye transfer colour photograph
29.5 h x 45.4 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

 

With its intense red, Eggleston’s picture of the spare room in a friend’s home is one of the most iconic of all colour photographs. Often called The red room, this photograph was intended to be shocking: Eggleston described the effect of the colour as like ‘red blood that is wet on the wall’. But the radicalness of the picture is not just in its juicy (and impossible to reproduce) redness; it is also found in the strange view it provides of a domestic interior, one that Eggleston has described as a ‘fly’s eye view’.

Text © National Gallery of Australia, Canberra

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation views of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Garry Winogrand
Photos: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Garry Winogrand (1928-1984) 'No title [Centennial Ball, Metropolitan Museum, New York]' 1969

 

Garry Winogrand (1928-1984)
No title [Centennial Ball, Metropolitan Museum, New York]
1969
Gelatin silver photograph
27.2 h x 42.0 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

Garry Winogrand (1928-1984) 'New York City, New York'. From "Garry Winogrand" 1970

 

Garry Winogrand (1928-1984)
New York City, New York. From “Garry Winogrand”
1970
Gelatin silver photograph
21.6 h x 32.6 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

 

Winogrand was asked how he felt about missing photographs while he reloaded his camera. He replied ‘There are no photographs while I’m reloading’: There is no possibility in the Winograndian world view of regarding the camera as a window onto the world; it becomes a mirror reflecting back the photographer’s concerns. Winogrand was fascinated by how the real was translated into the photographic. In the end this fascination became an obsession from which he could not escape or find solace – or meaning. At the time of his death there were a third of a million exposures that he had never looked at including 2,500 undeveloped rolls of film.

Text © National Gallery of Australia, Canberra

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Lee Friedlander
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Lee Friedlander (born July 14, 1934) 'Rt. 9w, N.Y.' 1969

 

Lee Friedlander (American, born July 14, 1934)
Rt. 9w, N.Y.
1969
Gelatin silver photograph
18.8 h x 28.2 w cm
National Gallery of Australia, Canberra
Purchased 1981

 

Lee Friedlander (born United States 1934) 'Mount Rushmore' 1969

 

Lee Friedlander (American, born July 14, 1934)
Mount Rushmore
1969
Gelatin silver photograph
18.8 h x 28.0 w cm
National Gallery of Australia, Canberra
Purchased 1981

 

 

“I always wanted to be a photographer. I was fascinated with the materials. But I never dreamed I would be having this much fun. I imagined something much less elusive, much more mundane.” ~ Lee Friedlander

Friedlander is known for his complex, layered images, exploring the way that the urban landscape fragments our vision. Throughout his career he has found endless fascination in photographing reflections in windows – merging what lies behind the glass with what is reflected in it – out of which he has created juxtapositions which are witty and insightful. He often inserts himself into the image, either overtly or more frequently as a shadow or partially concealed form – part of his face, for instance, hidden behind the camera.

In the 1960s he moved away from a recognisably documentary style toward one in which the subject is more elusive, reflecting a society which had itself become more fragmented and complex. By cropping and cutting up city and natural landscapes he changes our perception of them. In creating compositions that are dynamic, unexpected and often confusing, Friedlander asks us to look freshly at our everyday environments.

Text © National Gallery of Australia, Canberra

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Walker Evans
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

Walker Evans (1903-1975) 'Hudson Street boarding house detail, New York' 1931

 

Walker Evans (1903-1975)
Hudson Street boarding house detail, New York
1931
Gelatin silver photograph
15.7 h x 20.6 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

Walker Evans (1903-1975) 'Bedroom, shrimp fisherman's house, Biloxi, Mississippi' 1945

 

Walker Evans (1903-1975)
Bedroom, shrimp fisherman’s house, Biloxi, Mississippi
1945
Gelatin silver photograph
23.4 h x 18.3 w cm
National Gallery of Australia, Canberra
Purchased 1980

 

Walker Evans (1903-1975) 'Tenant Farmer's Wife, Alabama' 1936

 

Walker Evans (1903-1975)
Tenant Farmer’s Wife, Alabama
[Allie Mae Burroughs, wife of a cotton sharecropper, Hale County, Alabama]

1936
Gelatin silver photograph
23.6 h x 18.0 w cm
National Gallery of Australia, Canberra
Purchased 1978

 

Installation view of the exhibition 'Diane Arbus: American Portraits' at the Heide Museum of Modern Art, Melbourne

 

Installation view of the exhibition Diane Arbus: American Portraits at the Heide Museum of Modern Art, Melbourne showing the work of Milton Rogovin with from left to right, Not titled (Family in front of house) – 241-2 1973 and Not titled (Family in front of house) – 142-11 1985, both from the Lower West Side series (1973-2002)
Photo: © Dr Marcus Bunyan and Heide Museum of Modern Art

 

 

“Written with her trademark flair and force, Sontag’s book [On Photography] inaugurated a wave of criticism, much of it influenced by Foucaultian theory, that underscored the instrumentality and implicit violence of photography, its ability to police and regulate it subjects, especially those lacking social and political power: the poor, presumed “deviants” or “criminals,” and workers. As Sontag herself acknowledged, however, photography is not only a predatory means of taking possession, but also a mode of conferring value; it can potentially be put to counter-hegemonic uses, used to see and frame in ways that affirm and legitimate, rather than strictly contain and control, the presence of culturally disenfranchised persons.”

“The power of his art stems from the particular manner in which Rogovin transforms traditional portrait photography and documentary practice, opening up potentially instrumentalist, one-sided visual forms to dynamics of reciprocity and mutuality…”

“Rogovin’s photography thus balances the documentary desire to grasp and present, to “capture” an image of the”Other,” with a commitment to holding back in order to allow his subjects space to shape the photographic process. His practice is a form of”approach,” to borrow a term from Carol Shloss, that resists even as it engages. We might call this an aesthetic of “making space”: a photographic method that creates room for subjects to actively participate in the production of their own images rather than stand as passive objects before a colonizing gaze.”

“The fact that Rogovin’s work at once invokes and questions the camera’s capacity to classify – to embed individuals in a larger archive – echoes his challenge to documentary business as usual. Certainly, Rogovin’s images of working people perform a classic documentary task: to lend public visibility to those who have been overlooked and exploited, to give aggrieved people the social recognition they are otherwise denied in our society. However, his images do not enforce the power and prerogatives of middle-class reformers or governmental institutions, as did so much early twentieth-century documentary photography, which, as Maren Stange has argued, tended to reassure “a 11 liberal middle-class that social oversight was both its duty and its right.” By refusing to provide pity-inducing images of working people that present them as weak and vulnerable, Rogovin’s photographs undercut the sense of privilege viewers often feel when looking at pictures of what Jacob Riis called “the other half.””

Joseph Entin. “Milton Rogovin’s Approach: Photography, Class, and the Aesthetics of Making Space (2008),” on the ASX website July 12, 2010 [Online] Cited 12/05/2018

 

 

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12
Feb
17

Exhibitions: ‘The Rebellious Image: Kreuzberg’s “Werkstatt für Photographie” and the Young Folkwang Scene in the 1980s’ at Museum Folkwang Essen / ‘Kreuzberg – Amerika: Die Berliner Werkstatt für Photographie 1976-86’ at C/O Berlin, Germany

Museum Folkwang Essen exhibition dates: 9th December 2016 – 19th February 2017
C/O Berlin exhibition dates: 10th December 2016 – 12th February 2017

 

It’s so good to see these essential, vital, rebellious images from Germany as a counterpoint and “additional chapter to the history of West German photography of the time beyond that of the Düsseldorf School,” ie. the New Objectivity of Bernd and Hilla Becher with their austere “images of the water towers, oil refineries and silos of the fast-disappearing industrial landscape of the Ruhr valley.”

“A special artistic approach emerged from a dialog between renowned photographers and amateurs, between conceptual approaches and documentary narrations, between technical mediation and substantive critique and altered the styles of many photographers over time thanks to its direct access to their reality.”

I love the rawness and directness of these images. They speak to me through their colour, high contrast, frontality and narrative. A conversation in art and life from people around the world.

Marcus

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Many thankx to Museum Folkwang Essen and C/O Berlin for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All photographs from The Rebellious Image exhibition unless it states differently underneath the photograph.

 

 

Uschi Blume. From the series 'Worauf wartest Du?' (What are you waiting for?) 1980

 

Uschi Blume
From the series Worauf wartest Du? (What are you waiting for?)
1980
Silver gelatine print
27.3 x 40.3 cm
Museum Folkwang, Essen
© Uschi Blume

 

Michael Schmidt. 'Untitled', from 'Portrait' 1983

 

Michael Schmidt
Untitled, from the series Portrait
1983
© Stiftung für Fotografie und Medienkunst, Archiv Michael Schmidt

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

C/O Berlin Kreuzberg America

 

Michael Schmidt. 'Menschenbilder Ausschnite' 1983/97

 

Michael Schmidt
Menschenbilder Ausschnite
1983/97
© Stiftung für Fotografie und Medienkunst, Archiv Michael Schmidt

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Larry Fink. 'Peter Beard and friends' 1976

 

Larry Fink
Peter Beard and friends
1976
From the series Black Tie
Gelatin silver print
35.8 x 36.4 cm
© Larry Fink

 

Ursula Kelm. 'Self portrait 4' 1983

 

Ursula Kelm
Self portrait 4
1983
© Ursula Kelm

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Wolfgang Eilmes. From the series 'Kreuzberg' 1979

 

Wolfgang Eilmes
From the series Kreuzberg
1979
© Wolfgang Eilmes

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Wilmar Koenig. 'Untitled', from the series 'Portraits', 1981-1983

 

Wilmar Koenig
Untitled, from the series Portraits, 1981-1983
© Wilmar Koenig

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Michael Schmidt. 'Müller-/Ecke Seestraße' 1976-1978

 

Michael Schmidt
Müller-/Ecke Seestraße
1976-1978
from the series Berlin-Wedding
1979
© Foundation for Photography and Media Art with Archive Michael Schmidt

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Petra Wittmar From the series 'Medebach' 1979-83

 

Petra Wittmar
From the series Medebach
1979-83
Gelatin silver print
Courtesy of the artist
© Petra Wittmar

 

Wendelin Bottländer. 'Untitled' 1980

 

Wendelin Bottländer
Untitled
1980
From the series Stadtlandschaften (City landscapes)
C-Print
24 x 30.2 cm
Courtesy of the artist
© Wendelin Bottländer

 

Andreas Horlitz. 'Essen Frühling' (Essen Spring) 1981

 

Andreas Horlitz
Essen Frühling (Essen Spring)
1981
© Andreas Horlitz

 

 

The exhibition The Rebellious Image (December 9, 2016 – February 19, 2017) – part of the three-part collaborative project Werkstatt für Photographie 1976-1986 , held in association with C/O Berlin and Sprengel Museum Hannover – sheds light on this period of upheaval and generational change within German photography, focusing on the photography scene in Essen.

Towards the end of the 1970s, two developments took place in Essen: the first was a revolt, a search for a new path, for a ‘free’ form of artistic photography beyond the confines of photojournalism and commercial photography; the second was the institutionalisation of photography which occurred with the foundation of the Museum Folkwang’s Photographic Collection. Some 300 photographs and a range of filmic statements and documentary material help to bring this era of change and flux in the medium of photography back to life: showing the evolution of new visual languages which – in contrast to the Düsseldorf School’s aesthetics of distance ‘ placed an emphasis on colour, soft-focus blurring and fragmentation.

The show sets out from the climate of uncertainty that developed in the wake of the death of Otto Steinert in 1978, who, as a photographer, teacher and curator, had been particularly influential in Essen in the field of photojournalism. In the area of teaching, photographic design began to come to the fore, while with the founding of the Photographic Collection at Museum Folkwang under Ute Eskildsen, the institutionalisation of artistic photography began. Young students – among them, Gosbert Adler, Joachim Brohm, Uschi Blume, Andreas Horlitz and Petra Wittmar – developed a form of photography that was divorced from typical clichés and commercial utility. The impulse behind this development was provided by the Berlin-based photographer Michael Schmidt. In 1979 and 1980, he taught in Essen and fostered a close dialogue with the Berlin and American scenes.

Over seven chapters, The Rebellious Image traces the development of photography in the 1980s in Germany: the show presents the early alternative exhibitions of these young photographers and provides an insight into the formative projects of the first recipients of the Stipendium Für Zeitgenössische Deutsche Fotografie (German Contemporary Photography Award) awarded by the Alfried Krupp von Bohlen und Halbach-Stiftung. It shows how these young photographic artists refined topographic and documentary photography through their work with colour and their deliberate adoption of the anti-aesthetics of amateur photography. The Rebellious Image reflects on the debates and themes of the exhibition Reste Des Authentischen: Deutsche Fotobilder der 80er Jahre (The Remains of Authenticity: German Photography in the 80s). The largest and most ambitious photographic exhibition of this era, it took place in 1986 at the Museum Folkwang. This exhibition brought together representatives of the Berlin Werkstatt für Photographie, graduates of the Essen School and artists from the Rhineland who were united by their postmodern conception of reality. As such, The Rebellious Image presents a different, subjective perspective, which developed parallel to the objectivising style of the Düsseldorf School and their aesthetic of the large-format images.

The exhibition brings together important and rarely exhibited groups of works by former students in Essen such as Gosbert Adler, Volker Heinze, Joachim Brohm, Uschi Blume, Andreas Horlitz and Petra Wittmar. References to the American photography of the time – such as Stephen Shore, Larry Fink, Diane Arbus, Larry Clark or William Eggleston – make the preoccupations of this young scene apparent. In addition, with works by Michael Schmidt, Christa Mayer and Wilmar Koenig, members of the Berlin Werkstatt für Photographie are also represented.”

Press release from Museum Folkwang Essen

 

C/O Berlin is presenting the exhibition Kreuzberg – Amerika from December 10th, 2016 to February 12th, 2017.  The exhibition is part of the project about the Werkstatt für Photographie 1976-1986, in which C/O Berlin, the Museum Folkwang Essen and the Sprengel Museum Hannover are presenting the history, influences and effects of the legendary Berlin-based photographic institute and its key players in an intercity cooperation.

“We try to help students to recognise or even find their personality, where photography becomes irrelevant with regard to its commercial applicability.” – Michael Schmidt, 1979

Starting in the 1970s, a unique departure in photography took place in Germany. A younger generation in various initiatives quickly established a new infrastructure for a different perspective on photography and consciously defined the medium as an independent art form – to this very day. The Werkstatt für Photographie (Workshop for Photography), founded in Berlin by Michael Schmidt in 1976, is one of these innovative models and as an institution was completely unique. That’s because it offered an openly accessible cultural production and intensified adult education beyond academic hurdles and without access limitations. A special artistic approach emerged from the unconventional dialog between renowned photographers and amateurs, between technical mediation and substantive critique as well as on the basis of documentary approaches. Its special access to reality defined styles for a long time. The Werkstatt für Photographie reached the international level through exhibitions, workshops and courses and established itself as an important location for the transatlantic photographic dialog between Kreuzberg, Germany and America. A unique and pioneering achievement!

In the beginning of the Werkstatt für Photographie, a strict documentary perspective prevailed that was based on the neutral aesthetic of the work of Michael Schmidt and concentrated on the blunt representation of everyday life and reality in a radical denial of common photographic norms. He and the young photographer scene later experimented with new forms of documentary that emphasised the subjective view of the author. They discovered colour as an artistic form of expression and developed an independent, artistic authorship with largely unconventional perspectives.

The Werkstatt für Photographie offered anyone who was interested a free space to develop their artistic talents. In addition to its open, international and communicative character, it was also a successful model for self-empowerment that at the same time was characterised by paradoxes. That‘s because the vocational school set in the local community developed into a lively international network of contemporary photographers. The students were not trained photographers but rather self-taught artists and as such had a freer understanding of the medium than their professional counterparts. Moreover, the majority of teachers had no educational training but were all active in the context of adult education. At that time, there were also no curators for photography in Germany but the Werkstatt für Photographie were already independently hosting exhibitions alternating between unknown and renowned photographers…

On the occasion of the 40th anniversary of the Werkstatt für Photographie, C/O Berlin, the Museum Folkwang Essen and the Sprengel Museum Hannover are presenting a joint exhibition project, which for the first time portrays the history, influences and effects of this institution and its key players divided between three stages. Furthermore, the three stages outline the situation of a changing medium, which focuses on independent, artistic authorship encouraged by consciousness of American photography. As such, they’re designing a lively and multi-perspective presentation of photography in the 1970s and 1980s that adds an additional chapter to the history of West German photography of the time beyond that of the Düsseldorf School.

Text from the C/O Berlin website

 

 

 

 

 

 

Andreas Gursky. 'Düsseldorf, Terrace' 1980

 

Andreas Gursky
Düsseldorf, Terrace
1980
C-Print
43.2 x 49.4 cm
© Andreas Gursky, VG Bild-Kunst, Bonn 2017
Courtesy of the artist + Sprüth Magers

 

Joachim Brohm. 'Revierpark Nienhausen, Gelsenkirchen' (Parking area Nienhausen, Gelsenkirchen) 1982

 

Joachim Brohm
Revierpark Nienhausen, Gelsenkirchen
Parking area Nienhausen, Gelsenkirchen
1982
From the series Ruhr, 1980-83
C-Print
22.2 x 27.2 cm
© Joachim Brohm
© VG Bild-Kunst, Bonn 2017

 

 

Reining in the picture
Joachim Brohm

Born in Dülken, Brohm studied at the Gesamthochschule, Essen and was one of the few photographers who used colour photography in the late 1970s. In his series Ruhr he tries to create a new view of the Ruhr area through the occasional recording of urban space. Brohm’s approach coincides with the claim of the then current “New Topographics” to capture the social reality in the direct environment in a documentary style. In the German-speaking photo landscape here he took a leading role.

 

Larry Fink New. 'York Magazine Party, New York City, October 1977'

 

Larry Fink
New York Magazine Party, New York City, October 1977
1977
From the series Social Graces
1984 © Larry Fink

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

William Eggleston. 'Whitehaven, Mississippi' 1972

 

William Eggleston
Whitehaven, Mississippi
1972
© William Eggleston, Courtesy Laurence Miller Gallery, New York

From the exhibition at C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th December 2016 – 12th February 2017

 

Gosbert Adler from the series 'Ohne Titel' 1982-83

 

Gosbert Adler
from the series Ohne Titel
1982-83
© VG Bild-Kunst, Bonn 2016

 

William Eggleston. 'Memphis' 1970

 

William Eggleston
Memphis
1970
Dye-Transfer
33.5 x 51.5 cm
© Eggleston Artistic Trust, Memphis

 

Wilmar Koenig. 'Floating Chair' 1984

 

Wilmar Koenig
Floating Chair
1984
From the series Die Wege (The Ways)
C-Print
162 x 126.8 cm
Courtesy Berlinische Galerie, Berlin
© Wilmar Koenig

 

 

“The working-class district of Kreuzberg at the end of the 1970s on the outer edge of West Berlin – and yet the lively center of a unique transatlantic cultural exchange. In the midst of the Cold War, the newly founded Werkstatt für Photographie (Workshop for Photography) located near Checkpoint Charlie started an artistic “air lift” in the direction of the USA, a democratic field of experimentation beyond traditional education and political and institutional standards. A special artistic approach emerged from a dialog between renowned photographers and amateurs, between conceptual approaches and documentary narrations, between technical mediation and substantive critique and altered the styles of many photographers over time thanks to its direct access to their reality. The Werkstatt für Photographie reached the highest international standing with its intensive mediation work through exhibitions, workshops, lectures, image reviews, discussions and specialized courses.

In 1976, the Berlin-based photographer Michael Schmidt founded the Werkstatt für Photographie at the adult education center in Kreuzberg. Its course orientation with a focus on a substantive examination of contemporary photography was unique and quickly lead to a profound understanding of the medium as an independent art form. When the institution was closed in 1986, it fell into obscurity.

On the occasion of the 40th anniversary of the Werkstatt für Photographie, C/O Berlin, the Museum Folkwang Essen and the Sprengel Museum Hannover are presenting a joint exhibition project, which for the first time portrays the history, influences and effects of this institution and its key players divided between three stages. Furthermore, the three stages outline the situation of a changing medium, which focuses on independent, artistic authorship encouraged by consciousness of American photography. As such, they’re designing a lively and multi-perspective presentation of photography in the 1970s and 1980s that adds an additional chapter to the history of West German photography of the time beyond that of the Düsseldorf School.

C/O Berlin is addressing the history of the Werkstatt für Photographie in its contribution entitled Kreuzberg – Amerika (December 10, 2016 – February 12, 2017). Within the context of adult education, a unique forum for contemporary photography emerged. A special focus is placed on the exhibitions of the American photographers that were often presented in the workshop for the first time and had an enormous effect on the development of artistic photography in Germany. The exhibition combines the works of faculty, students and guests into a transatlantic dialogue.

The Museum Folkwang in Essen is exploring the reflection of the general change of those years in its own Folkwang history with its work entitled The Rebellious Image (December 9, 2016 – February 19, 2017). After the death of the influential photography teacher Otto Steinerts in 1978, a completely open and productive situation of uncertainty reigned. Essen became more and more of a bridgehead for the exchange with Berlin and a point of crystallization for early contemporary photography in the Federal Republic. Along with Michael Schmidt, who made provocative points during his time as a lecturer at the GHS Essen, Ute Eskildsen counted among the key players at Museum Folkwang as a curator. Early photography based in Essen addressed urbanity and youth culture, discovered color as a mode of artistic expression, asked questions following new documentarian approaches, authentic images and attitudes and contrasted the objective distance of the Düsseldorf School with a research-based and subjective view.

The Sprengel Museum Hannover complements both exhibitions with a perspective in which the focus rests on publications, institutions and exhibitions that encouraged the transatlantic exchange starting in the mid 1960s. Using outstanding examples And Suddenly this Expanse (December 11, 2016 – March 19, 2017) tells of the development of the infrastructure that laid the foundation for and accompanied the context of the documentarian approach. The photo magazine Camera also takes on an equally central role as the founding of the first German photo galleries such as Galerie Wilde in Cologne, Lichttropfen in Aachen, Galerie Nagel in Berlin and the Spectrum Photogalerie initiative in Hanover. The documenta 6 from 1977 and the photo magazines that emerged in the 1970s, particularly Camera Austria, have separate chapters devoted to them.

Werkstatt für Photographie 1976 – 1986
A cooperation between C/O Berlin, Museum Folkwang, Essen, and Sprengel Museum Hannover

Sprengel Museum Hannover
And Suddenly this Expanse
December 11, 2016 – March 19, 2017
www.sprengel-museum.de

C/O Berlin
Kreuzberg – Amerika
Werkstatt für Photographie 1976-86
December 10, 2016 – February 12, 2017
www.co-berlin.org

Text from the Museum Folkwang Essen website

 

Larry Clark. 'Untitled' 1971

 

Larry Clark
Untitled
1971
From the series Tulsa
Silver gelatin print
© Larry Clark, Courtesy of the artist and Luhring Augustine, New York

From the exhibition at  C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th Dezember 2016 – 12th February 2017

 

'Camera Nr. 8, August 1970' 1970

 

Camera Nr. 8, August 1970
1970
C. J. Bucher Verlag Luzern, Schweiz,
Title: John Gossage, Kodak TRI-X
Sprengel Museum Hannover

From the exhibition at Sprengel Museum Hannover And Suddenly this Expanse
December 11, 2016 – March 19, 2017

 

Gosbert Adler. 'Untitled' 1982

 

Gosbert Adler
Untitled
1982
C-Print
38.4 x 29 cm
© Gosbert Adler
© VG-Bild-Kunst, Bonn 2017

 

Volker Heinze. 'Bill Eggleston' 1985

 

Volker Heinze
Bill Eggleston
1985
C-Print
85 x 62 cm
© Volker Heinze

 

Christa Mayer. 'Untitled' 1983

 

Christa Mayer
Untitled
1983
From the series Porträts aus einer psychatrischen Langzeitstation/Porträts auf einer Station für psychisch Kranke (Portraits from a long term psychiatric facility)
Gelatin silver print
28.3 x 28.1 cm
© Christa Mayer, VG Bild-Kunst, Bonn 2017

From the exhibition at  C/O Berlin Kreuzberg – Amerika
Die Berliner Werkstatt für Photographie 1976-86
10th Dezember 2016 – 12th February 2017

 

 

Museum Folkwang
Museumsplatz 1, 45128 Essen

Opening hours:
Tue, Wed 10am – 6pm
Thur, Fri 10am – 8pm
Sat, Sun 10am – 6pm
Mon closed

Museum Folkwang website

C/O Berlin
Hardenbergstraße 22-24, 10623 Berlin

Opening hours:
Daily 11 am – 8 pm

C/O Berlin website

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07
Oct
16

Exhibition: ‘William Eggleston Portraits’ at the National Portrait Gallery, London

Exhibition dates: 21st July to 23rd October 2016

Curator: Phillip Prodger, Head of Photographs at the National Portrait Gallery

 

 

Just look. Really look. And then think about that looking.

Minute, democratic observations produce images which nestle, and take hold, and grow in the imagination.

No words are necessary. This is a looking that comes from the soul.

“A lot of these pictures I take are of very ordinary, unremarkable things. Can one learn to see? I don’t know. I think probably one is born with the ability to compose an image, in the way one is born with the ability to compose music. It is vastly more important to think about the looking, though, rather than to try to talk about a picture and what it means. The graphic image and words, well, they are two very different animals.” ~ William Eggleston

Marcus

.
Many thankx to the National Portrait Gallery, London for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

William Eggleston is a pioneering American photographer renowned for his vivid, poetic and mysterious images. This exhibition of 100 works surveys Eggleston’s full career from the 1960s to the present day and is the most comprehensive display of his portrait photography ever. Eggleston is celebrated for his experimental use of colour and his solo show at the Museum of Modern Art, New York, in 1976 is considered a pivotal moment in the recognition of colour photography as a contemporary art form. Highlights of the exhibition will include monumental prints of two legendary photographs first seen forty years ago: the artist’s uncle Adyn Schuyler Senior with his assistant Jasper Staples in Cassidy Bayou, Mississippi, and Devoe Money in Jackson, Mississippi.

Also on display will be a selection of never-before seen vintage black and white prints from the 1960s. Featuring people in diners, petrol stations and markets in and around the artist’s home in Memphis, Tennessee, they help illustrate Eggleston’s unique view of the world. (Text from the NPG website)

 

 

“Eggleston is someone who has always tried to maintain emotional detachment in his work, photographing landscapes and inanimate objects with the same attention he would apply to people. He does not believe a photograph is a ‘window on the soul’ as we so often have it, nor does he think a viewer can ever truly understand a photographer’s thoughts and feelings from the pictures they make. Instead, he photographs ‘democratically’, which is to say, he gives even the smallest observations equal weight. His usual method is to capture people going about their business unawares, often performing ordinary tasks like eating in a restaurant or pumping petrol at a filling station. He photographs everyone the same, whether they are a celebrity, a member of his family, or a stranger.”

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Curator Phillip Prodger

 

 

William Eggleston. 'Untitled' (the artist's uncle, Adyn Schuyler Senior, with assistant Jasper Staples, in Cassidy Bayou, Sumner, Mississippi) 1969-70

 

William Eggleston
Untitled, 1969-70 (the artist’s uncle, Adyn Schuyler Senior, with assistant Jasper Staples, in Cassidy Bayou, Sumner, Mississippi)
1969-70
Dye transfer print
© Eggleston Artistic Trust

 

 

For Eggleston this photo is highly personal. Jasper Staples, the figure on the right, had been around him for his whole life as his family’s “house man”. Here he is next to his employer, Eggleston’s uncle, at a funeral. His exact mimicking of his boss’s posture and their shared focus on an event happening off-camera gives them a moment of unity. Yet the composition of the shot, with their balance and the open car door suggesting some ongoing action, is highly theatrical and might even put us in mind of a TV detective show. (Text by Fred Maynard)

 

William Eggleston. 'Untitled, 1974' (Karen Chatham, left, with the artist's cousin Lesa Aldridge, in Memphis, Tennessee)

 

William Eggleston
Untitled, 1974 (Karen Chatham, left, with the artist’s cousin Lesa Aldridge, in Memphis, Tennessee)
1974
Dye transfer print
Wilson Centre for Photography
© Eggleston Artistic Trust;

 

William Eggleston. 'Untitled, 1974' (Biloxi, Mississippi)

 

William Eggleston
Untitled, 1974 (Biloxi, Mississippi)
1974
Dye transfer print
Wilson Centre for Photography
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled, 1970-74' (Dennis Hopper)

 

William Eggleston
Untitled, 1970-74 (Dennis Hopper)
1970-74
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' 1970-1973

 

William Eggleston
Untitled
1970-1973
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled, c. 1975' (Marcia Hare in Memphis Tennessee) c. 1975

 

William Eggleston
Untitled, c. 1975 (Marcia Hare in Memphis Tennessee)
c. 1975
Dye transfer print
© Eggleston Artistic Trust

 

 

One of Eggleston’s most famous images, this pictures shows why he is known as the man who brought colour photography into the artistic mainstream. The subject, Marcia Hare, floats on a cloud-like bed of soft-focus grass, the red buttons on her dress popping out like confectionary on a cake. The dye-transfer technique which Eggleston borrowed from commercial advertising and turned into his trademark gives such richness to the colour that we are brought out of the Seventies and into the realm of Pre-Raphaelite painting. The ghost of Millais’s “Ophelia” sits just out of reach, a connection which the inscrutable artist is happy, as ever, to neither confirm nor deny. (Text by Fred Maynard)

 

William Eggleston. 'Untitled, c. 1970' (Devoe Money in Jackson, Mississippi)

 

William Eggleston
Untitled, c. 1970 (Devoe Money in Jackson, Mississippi)
c. 1970
Dye transfer print
© Eggleston Artistic Trust

 

 

“This is Devoe, a distant relative of mine (although I can’t remember exactly how), but also a friend. She is dead now, but we were very close. She was a very sweet and charming lady. I took this picture in the yard at the side of her house. I would often visit her there in Jackson. I remember I found the colour of her dress and the chair very exciting, and everything worked out instantly. I think this is the only picture I ever took of her, but I would say it sums her up. I didn’t pose her at all – I never do, usually because it all happens so quickly, but I don’t think I would have moved her in any way. I’m still very pleased with the photograph.” ~ William Eggleston

 

William Eggleston. 'Untitled, c. 1965-9'

 

William Eggleston
Untitled, c. 1965-9
Dye transfer print
© Eggleston Artistic Trust

 

 

“These two are strangers. I happened to be walking past and there it was, the picture. As usual I took it very rapidly and we didn’t speak. I think I was fortunate to catch that expression on the woman’s face. A lot of these pictures I take are of very ordinary, unremarkable things. Can one learn to see? I don’t know. I think probably one is born with the ability to compose an image, in the way one is born with the ability to compose music. It is vastly more important to think about the looking, though, rather than to try to talk about a picture and what it means. The graphic image and words, well, they are two very different animals.” ~ William Eggleston

 

William Eggleston. 'Untitled, 1970' (Self-portrait)

 

William Eggleston
Untitled, 1970 (Self-portrait)
Dye transfer print
© Eggleston Artistic Trust

 

 

William Eggleston
Stranded in Canton
Video

In 1973, photographer William Eggleston picked up a Sony PortaPak and took to documenting the soul of Memphis and New Orleans.

 

 

“A previously unseen image of The Clash frontman Joe Strummer and a never-before exhibited portrait of the actor and photographer Dennis Hopper will be displayed for the first time in the National Portrait Gallery this summer.  They will be included in the first museum exhibition devoted to the portraits of pioneering American photographer, William Eggleston it was announced today, Thursday 10 March 2016.

William Eggleston Portraits (21 July to 23 October) will bring together over 100 works by the American photographer, renowned for his vivid, poetic and mysterious images of people in diners, petrol stations, phone booths and supermarkets. Widely credited with increasing recognition for colour photography, following his own experimental use of dye-transfer technique, Eggleston will be celebrated by a retrospective of his full career, including a selection of never-before seen vintage black and white photographs from the 1960s taken in and around the artist’s home in Memphis, Tennessee.

The first major exhibition of Eggleston’s photographs in London since 2002 and the most comprehensive of his portraits, William Eggleston Portraits will feature family, friends, musicians and actors including rarely seen images of Eggleston’s own close relations. It will provide a unique window on the artist’s home life, allowing visitors to see how public and private portraiture came together in Eggleston’s work. It will also reveal, for the first time, the identities of many sitters who have until now remained anonymous. Other highlights include monumental, five foot wide prints of the legendary photographs of the artist’s uncle, Adyn Schuyler Senior, with his assistant Jasper Staples in Cassidy Bayou, Mississippi and Devoe Money in Jackson, Mississippi from the landmark book Eggleston’s Guide (1976).

Since first picking up a camera in 1957, Eggleston’s images have captured the ordinary world around him and his work is said to find ‘beauty in the everyday’. His portrayal of the people he encountered in towns across the American South, and in Memphis in particular, is shown in the context of semi-public spaces. Between 1960 and 1965, Eggleston worked exclusively in black and white and people were Eggleston’s primary subject, caught unawares while going about ordinary tasks. In the 1970s, Eggleston increasingly frequented the Memphis night club scene, developing friendships and getting to know musicians and artists. His fascination with club culture resulted in the experimental video ‘Stranded in Canton’, a selection of which will also be on view at the exhibition. ‘Stranded in Canton’ chronicles visits to bars in Memphis, Mississippi and New Orleans.

Eggleston’s 1976 show at the Museum of Modern Art, New York, is considered a pivotal moment in the recognition of colour photography as a contemporary art form. His work has inspired many present day photographers, artists and filmmakers, including Martin Parr, Sofia Coppola, David Lynch and Juergen Teller.

Dr Nicholas Cullinan, Director of the National Portrait Gallery, London, says: William Eggleston makes memorable photographic portraits of individuals – including friends and family, musicians and artists – that are utterly unique and highly influential. More than this, Eggleston has an uncanny ability to find something extraordinary in the seemingly everyday. Combining well-known works with others previously unseen, this exhibition looks at one of photography’s most compelling practitioners from a new perspective.”

Curator Phillip Prodger, Head of Photographs at the National Portrait Gallery says, “Few photographers alive today have had such a profound influence on the way photographs are made and seen as William Eggleston. His pictures are as fresh and exciting as they were when they first grabbed the public’s attention in the 1970s. There is nothing quite like the colour in an Eggleston photograph – radiant in their beauty, that get deep under the skin and linger in the imagination.”

Press release from the National Portrait Gallery, London

 

William Eggleston. 'Untitled, 1965' (Memphis Tennessee)

 

William Eggleston
Untitled, 1965 (Memphis Tennessee)
Nd
Dye transfer print
Wilson Centre for Photography
© Eggleston Artistic Trust

 

 

According to Eggleston talking on this video, this was his first successful colour negative.

The photo that made Eggleston’s name, this image of a grocery-store boy lining up shopping carts is a prime example of his ability to capture the humdrum reality of life in mid-century America. Yet it is also something more: the delicacy of his motion, the tension in his posture, the concentration on his brow evoke a master craftsman at work. Despite Eggleston’s presence, he seems entirely unselfconscious: caught in perfect profile and sun-dappled like a prime specimen of American youth. Eggleston, hovering between documentarian and sentimentalist, creates a semi-ironic paean to America. (Text by Fred Maynard)

 

William Eggleston. 'Untitled' (Memphis) c. 1969-71

 

William Eggleston
Untitled (Memphis)
c. 1969-71
Dye transfer print
© Eggleston Artistic Trust

 

 

“I took this picture in front of the music school of the university in Memphis. She was waiting on an automobile to come pick her up. I remember she was studying the sheaves of music on her lap. Not one word was exchanged – I was gone before she had the chance to say anything to me and it happened so fast that she wasn’t even sure I had taken a picture. I didn’t make a point of carrying a camera, but I usually had one with me.” ~ William Eggleston

 

William Eggleston. 'Untitled, c. 1980' (Joe Strummer)

 

William Eggleston
Untitled, c. 1980 (Joe Strummer)
c. 1980
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' 1973-4

 

William Eggleston
Untitled, 1973-74
1973-4
Dye transfer print
© Eggleston Artistic Trust

 

 

The closest Eggleston came to taking traditional portraits was in a series he shot in bars in his native Memphis and the Mississippi Delta in 1973-4. The sitters in his Nightclub Portraits – anonymous figures plucked, slightly flushed, from their nights out – are not posing but instead are photographed mid-conversation, Eggleston capturing them at their most unguarded. What is remarkable about this example is the strange composure of the subject, the slightly ethereal sheen as the flash from the camera is reflected by her make-up. Eggleston’s precise focus picks out the individual threads of her cardigan. Something hyper-real and statuesque emerges from an ordinary night out. (Text by Fred Maynard)

 

William Eggleston. 'Untitled, 1973-74'

 

William Eggleston
Untitled, 1973-74
1973-74
Dye transfer print
© Eggleston Artistic Trust

 

Another one of the sitters in his Nightclub Portraits

 

William Eggleston. 'Untitled, 1973-74' (Dane Layton)

 

William Eggleston
Untitled, 1973-74 (Dane Layton)
1973
Dye transfer print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled' 1970-1973

 

William Eggleston
Untitled
1970-1973
Dye transfer print
© Eggleston Artistic Trust

 

 

“I don’t know who this woman is, I simply saw her on the street. I never know what I am looking for until I see it. The images just seem to happen, wherever I happen to be. Was I attracted by the movement? I think I was attracted to the bright orange of her dress. She wasn’t raising her hand as a result of anything I did, but I think I must have been aware of the repeat made by her shadow in the frame – subconsciously at least – it needed to be in the picture.” ~ William Eggleston

 

William Eggleston. 'Untitled' 1971-1974

 

William Eggleston
Untitled
1971-1974
Dye transfer print
© Eggleston Artistic Trust

 

 

“Refusing to be pinned down to any viewpoint or agenda, Eggleston’s greatest strength is his almost enraging ambiguity. He is neither a sentimentalist nor a documentarian, neither subjective nor objective: he somehow captures that ephemeral moment we experience when we’re not quite sure why a memory sticks with us, why an otherwise mundane glance from a stranger seems to take on a greater significance.

His refusal to think of himself as a portraitist is what gives this exhibition such wry power. Here is a photographer who makes no distinctions, viewing every subject from cousins to coke cans with the same inscrutable gaze. When approached about the idea of a portrait show, the NPG’s Philip Prodger recalls, Eggleston expressed surprise because he didn’t “do” portraits. Prodger reframed the exhibition as a series of photos that just happened to have people in them. “That makes sense”, Eggleston deadpanned.

The unvarnished Americana for which he is so famous – brash logos and a hint of rust – can contain something uneasy, even threatening, precisely because Eggleston maintains a blithe poker-face about his feelings on his subjects. Walking through this exhibition is to meet more placards marked “Untitled” than you can handle. The names of previously anonymous sitters, revealed specially for this exhibition, are hardly likely to make things much more concrete for the viewer. Rather we are let in on an extraordinary experience, moving between the mysterious faces of a transitional moment in American history, not quite sure whether some greater revelation is bubbling under the surface.”

Extract from Fred Maynard. “William Eggleston, the reluctant portraitist,” on the 1843 website July 26, 2016 [Online] Cited 30/09/2016

 

William Eggleston. 'Untitled, 1960s'

 

William Eggleston
Untitled, 1960s
1960s
Silver gelatin print
© Eggleston Artistic Trust

 

William Eggleston. 'Untitled, 1960s'

 

William Eggleston
Untitled, 1960s
1960s
Silver gelatin print
© Eggleston Artistic Trust

 

 

National Portrait Gallery
St Martin’s Place
London, WC2H 0HE

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

National Portrait Gallery website

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08
Oct
15

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

Exhibition dates: 26th May – 18th October 2015

 

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

One animal’s in/humanity to many others.

Marcus

.
Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Taryn Simon. 'White Tiger (Kenny)' 2007

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

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

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

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

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

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

Press release from the J. Paul Getty Museum website

 

Sandy Skoglund. 'Revenge of the Goldfish' 1981

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Alfred Stieglitz (American, 1864-1946)
Spiritual America

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

 

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

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

The J. Paul Getty Museum website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His 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

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