Posts Tagged ‘William Mortensen

10
Oct
13

Exhibition: ‘The Gender Show’ at George Eastman House, Rochester, New York

Exhibition dates: 15th June – 13th October 2013

 

Vincent Cianni (American, b. 1952) 'Anthony hitting on Giselle, Vivien waiting, Lorimer Street, Williamsburg, Brooklyn' From the series 'We Skate Hardcore' 1996

 

Vincent Cianni (American, b. 1952)
Anthony hitting on Giselle, Vivien waiting, Lorimer Street, Williamsburg, Brooklyn
1996
From the series We Skate Hardcore
Gelatin silver print
Purchased with funds from Mary Cianni
© Vincent Cianni

 

 

I am so sick of museums and art galleries not allowing me to publish photographs that I collect freely available elsewhere on the web to illustrate their exhibitions.

  1. I am promoting the exhibition free for them to over 9,000 people over 3 days
  2. The images are freely available elsewhere on the web
  3. I am promoting artists so that the work is more widely known, and that can only be a positive for the artist (and the price of their art through greater recognition)
  4. The images are 72dpi jpg – what do they think, that people are going to rip them off. They are such low quality anyway who cares!

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If artist’s are so precious about their work, even when someone is trying to promote it, then perhaps they should stop making art. Or perhaps it’s the archives and institutions, the patriarchies, that are just too protective of their precious mother-load.

Photography and photographs are ubiquitous. They are taken in the world and live in that world, not stuffed in some curators drawer or surrounded by a circle under the letter ©

 

This exhibition seems to have a finger in every gender pie without going hard core or in depth at anything. There seems to be no rhyme or reason, no catalogue to the exhibition (as far as I can ascertain), and no indication on how the exhibition is structured, even in the press release. How you would hope to cover such a broad topic in one exhibition is beyond me. That given, there are some fascinating photographs from the exhibition in this posting. My personal favourites in the posting are:

  • Donald York, Jr. standing beside his father’s wrecker, Millerton, New York by Mark Goodman (1974, below). Ah, the jouissance of youth (jouissance means enjoyment, in terms both of rights and property, and of sexual orgasm). Here “junior” is possessing the masculinity of his father’s truck while at the same time emphasising his youthful sexuality with short shorts, naked body, tilt of the hips, pose of the arm and slight cock of the head replete with hair falling over the eyes. There is a certain prepossession about this Donald York, a sexual knowing as he flirts with the camera. Beautiful image
  • Greta Garbo by Edward Steichen (1928, below). My god, how would you be as a photographer looking in the ground glass to see this visage staring back at you. Strength of character, vulnerability and eyes that seem to bore right through you. Face framed with black surmounted by pensive hands. A masterpiece
  • Ophelia Study No. 2 by Julia Margaret Cameron (1867, below). What an impression. Wistful, delicate, a ghostly slightly mad presence with hardly an existence but oh so memorable (Ophelia is a fictional character in the play Hamlet by William Shakespeare that suffers from “erotomania, a malady conceived in biological and emotional terms which is a type of delusion in which the affected person believes that another person, usually a stranger, high-status or famous person, is in love with him or her.”(Wikipedia)) Madness and sexuality. The divine Miss Julia does it again…

 

Dr Marcus Bunyan

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Please click on the photographs for a larger version of the image.

 

 

Mark Goodman (American b. 1946) 'Donald York, Jr. standing beside his father's wrecker, Millerton, New York' 1974

 

Mark Goodman (American, b. 1946)
Donald York, Jr. standing beside his father’s wrecker, Millerton, New York
1974
Gelatin silver print
Gift of Dr and Mrs Maurice Miller
© Mark Goodman

 

Elias Goldensky (American, b. Russia 1867-1943) 'Head and shoulders study' c. 1920

 

Elias Goldensky (American, b. Russia 1867-1943)
Head and shoulders study
c. 1920
Gelatin silver print
Gift of 3M Company
Ex-collection of Louis Walton Sipley

 

Lewis W. Hine (American, 1874-1940) 'Greek Wrestling Club' c. 1910

 

Lewis W. Hine (American, 1874-1940)
Greek Wrestling Club
c. 1910
From the series Hull House, Chicago
Gelatin silver print
Transfer from Photo League Lewis Hine Memorial Committee; ex-collection of Corydon Hine

 

Nickolas Muray (American, b. Hungary, 1892-1965) 'Douglas Fairbanks, Jr. & Joan Crawford' c. 1930

 

Nickolas Muray (American, b. Hungary 1892-1965)
Douglas Fairbanks, Jr. & Joan Crawford
c. 1930
Gelatin silver print
Gift of Mrs. Nickolas Muray
© Nickolas Muray Archives

 

Victor Keppler (American, 1904-1987) 'First Hair Cut' 1943

 

Victor Keppler (American, 1904-1987)
First Hair Cut
1943
Gelatin silver print
Gift of the photographer

 

Unidentified Photographer. 'Two women fencing' June 16, 1891

 

Unidentified Photographer
Two women fencing
June 16, 1891
Tintype
Museum Collection

 

Lewis W. Hine (American, 1874-1940) 'The boys learn to cook' c. 1935

 

Lewis W. Hine (American, 1874-1940)
The boys learn to cook
c. 1935
From the series The Ethical Culture Schools NYC
Gelatin silver print
Transfer from Photo League Lewis Hine Memorial Committee
Ex-collection of Corydon Hine

 

Mary Ellen Mark (American, 1940-2015) 'Hispanic Girl with Her Brother, Dallas, Texas' 1987

 

Mary Ellen Mark (American, 1940-2015)
Hispanic Girl with Her Brother, Dallas, Texas
1987, print c. 1991 by Sarah Jenkins
From the series Urban Poverty
Gelatin silver print
Gift of the photographer
© Mary Ellen Mark

 

 

In common use, the word gender may refer to biological sex, self-identity, perceived identity, or imposed identity. Gender can be both fluid and ambiguous. Many of the ways we express and identify gender are based on visual clues. George Eastman House is proud to present The Gender Show, an exhibition that explores ways gender has been presented in photographs, ranging from archetypal to non-traditional to subversive representations, with a special emphasis on the performances that photography can encourage or capture.

With a collection that spans over 170 years of photography, Eastman House is uniquely able to thoughtfully examine our changing cultural and social landscape, in which evolving ideas of gender are framed as photographic images. The Gender Show offers the opportunity to see important photographs from our collection in a new context. The Gender Show sets the stage for a lively discussion of both photographic and cultural conventions and can be enjoyed by a variety of audiences for both its subject matter and content. Those interested in material, visual, and popular culture; gender, identity, and equality; and photographic history will find this exhibition captivating.

George Eastman House’s exhibition The Gender Show will explore how photographs, from the mid-19th century to today, have portrayed gender – from archetypal to non-traditional to subversive representations – with a special emphasis on the performances that the act of photographing or being photographed can encourage or capture. The Gender Show, presenting over 200 works, draws primarily from the Eastman House collection, which spans more than 170 years, and also features contemporary art photographs and videos on loan from artists and private collectors. The exhibition will be on view from June 15 through October 13, 2013.

The Gender Show is the first major Eastman House exhibition organised under the direction of Dr. Bruce Barnes, who assumed the role of Ron and Donna Fielding Director last October. “This exhibition is an extraordinary survey of how photographers and their subjects have presented gender over the course of more than 150 years,” said Barnes. “George Eastman House is uniquely able to review the ever-changing cultural and social landscape through depictions of gender ranging from innocent assertion to elaborate masquerade.”

From the Eastman House collection are photographs by many of the biggest names in the history of the medium – including Julia Margaret Cameron, August Sander, Edward Steichen, Nickolas Muray, Brassaï, Robert Frank, Andy Warhol, Barbara Norfleet, Mary Ellen Mark, Cindy Sherman, and Chuck Samuels – as well as rarely seen vernacular photographs, in the form of cabinet cards depicting early vaudeville and music-hall stars. The exhibition will also present works by contemporary artists, including photographs by Janine Antoni, Rineke Dijkstra, Debbie Grossman, Catherine Opie, and Gillian Wearing, and videos by artists Jen DeNike, Kalup Linzy, and Martha Rosler.

“Since before Duchamp photographed Rrose Sélavy, his female alter-ego, artists have used photography to explore issues of identity, sex and gender,” said Barnes. “In recent decades, the artist’s identity and gender have been an increasingly prominent theme within photography. This exhibition offers a unique opportunity to see works by leading contemporary artists in the context of photographs from our world-class collection.”

Included in The Gender Show are tintypes and daguerreotypes by unknown artists; advertising images; self-portraits by artists, sometimes in disguise; and portraits of celebrities who in their time were a paragon of their own gender or of androgyny. Subjects include Sarah Bernhardt, Joan Crawford and Douglas Fairbanks Jr., Marlene Dietrich, Greta Garbo, Marilyn Monroe, Paul Newman, and Arnold Schwarzenegger. Additional famous subjects presented in the show include Frida Kahlo, Auguste Rodin, Franklin Roosevelt with Winston Churchill and Joseph Stalin, and Andy Warhol.

Press release from the George Eastman House website

 

B. J. Falk (American, 1853-1925) 'Verona Jarbeau' c. 1885

 

B. J. Falk (American, 1853-1925)
Verona Jarbeau
c. 1885
Albumen print
Museum Collection

 

 

Cabinet card of 19th century burlesque artist Verona Jarbeau. Comedienne Verona Jarbeau dressed in masculine costume, and carrying a big stick.

 

Nickolas Muray (American, b. Hungary, 1892-1965) 'Gloria De Haven' 1947

 

Nickolas Muray (American, b. Hungary, 1892-1965)
Gloria De Haven
1947
Carbro print
Gift of Mrs. Nickolas Muray
© Nickolas Muray Archives

 

Nickolas Muray (American, b. Hungary, 1892-1965) 'Torso' c. 1927

 

Nickolas Muray (American, b. Hungary, 1892-1965)
Torso
c. 1927
Descriptive Title: Torso, Hubert Julian Stowitts
Gelatin silver print
Gift of Mrs. Nickolas Muray
© Nickolas Muray Archives

 

Lewis W. Hine (American, 1874-1940) 'Guiding a beam' From the series 'Empire State building' c. 1931

 

Lewis W. Hine (American, 1874-1940)
Guiding a beam
From the series Empire State building
c. 1931
Gelatin silver print
Transfer from Photo League Lewis Hine Memorial Committee
Ex-collection of Corydon Hine

 

Debbie Grossman. 'Jessie Evans-Whinery, homesteader, with her wife Edith Evans-Whinery and their baby' From the series 'My Pie Town'

 

Debbie Grossman
Jessie Evans-Whinery, homesteader, with her wife Edith Evans-Whinery and their baby
Nd
From the series My Pie Town
Collection of the Artist, courtesy of Julie Saul Gallery
© Debbie Grossman

 

 

Debbie Grossman’s series My Pie Town reworks and re-imagines a body of images of Pie Town, New Mexico, originally photographed by Russell Lee for the United States Farm Security Administration in 1940. Using Photoshop to modify Lee’s pictures, Debbie Grossman has created an imaginary, parallel world – a Pie Town populated exclusively by women.

 

Jessica Todd Harper (American, b. 1976) 'Self-Portrait With Christopher and My Future In-Laws' 2001, print 2013

 

Jessica Todd Harper (American, b. 1976)
Self-Portrait With Christopher and My Future In-Laws
2001, print 2013
Inkjet print
Gift of the photographer
© Jessica Todd Harper

 

Lejaren à Hiller (American, 1880-1969) 'Men posed in front of backdrop with ship' c. 1950

 

Lejaren à Hiller (American, 1880-1969)
Men posed in front of backdrop with ship
c. 1950
Carbro print
Gift of 3M Company, ex-collection Louis Walton Sipley
© Visual Studies Workshop

 

Melissa Ann Pinney (American, b. 1953) 'Bat Mitzvah Dance, Knickerbocker Hotel, Chicago' 1991, print 2003

 

Melissa Ann Pinney (American, b. 1953)
Bat Mitzvah Dance, Knickerbocker Hotel, Chicago
1991, print 2003
Chromogenic print
Gift of Richard S. Press
© Melissa Ann Pinney

 

Cig Harvey (British, b. 1973) 'Gingham Dress with Apple' c. 2003

 

Cig Harvey (British, b. 1973)
Gingham Dress with Apple
c. 2003
Chromogenic print
Gift of the photographer
© Cig Harvey

 

Victor Keppler (American, 1904-1987) 'Housewife in Kitchen' 1939

 

Victor Keppler (American, 1904-1987)
Housewife in Kitchen
1939
Digital Inkjet reproduction, 2012

 

Julia Margaret Cameron (British, 1815-1879) 'Ophelia Study No. 2' 1867

 

Julia Margaret Cameron (British, 1815-1879)
Ophelia Study No. 2
1867
Albumen print
Gift of Eastman Kodak Company
Ex-collection Gabriel Cromer

 

James Jowers (American, 1938-2009) 'New Orleans' 1970

 

James Jowers (American, 1938-2009)
New Orleans
1970
Gelatin silver print
Gift of the photographer
© George Eastman House

 

William Mortensen (American, 1897-1965) 'Preparing for the Sabbot' c. 1926

 

William Mortensen (American, 1897-1965)
Preparing for the Sabbot
c. 1926
Gelatin silver print
Gift of Dr. C.E.K. Mees

 

B. J. Falk (American, 1853-1925) 'Sandow' c. 1895

 

B. J. Falk (American, 1853-1925)
Sandow
c. 1895
Albumen print
Gift of Charles Carruth

 

Baron Wilhelm von Gloeden (German, 1856-1931) 'Youth with wreath on head' c. 1900

 

Baron Wilhelm von Gloeden (German, 1856-1931)
Youth with wreath on head
c. 1900
Albumen print
Anonymous gift

 

William Mortensen (American, 1897-1965) 'The Kiss' From the portfolio 'Pictorial Photography' c. 1930

 

William Mortensen (American, 1897-1965)
The Kiss
c. 1930
From the portfolio Pictorial Photography
Gelatin silver print
Gift of Dr. C.E.K. Mees

 

Anne Noggle (American, 1922-2005) 'Lois Hollingsworth Zilner, Woman Air force Service Pilot, WWII' 1984, print 1986

 

Anne Noggle (American, 1922-2005)
Lois Hollingsworth Zilner, Woman Air force Service Pilot, WWII
1984, print 1986
Gelatin silver print
Purchased with funds from Charina Foundation
© Anne Noggle

 

Edward Steichen (American, b. Luxembourg 1879-1973) 'Marlene Dietrich, The Teuton Siren' 1931

 

Edward Steichen (American, b. Luxembourg 1879-1973)
Marlene Dietrich, The Teuton Siren
1931
Gelatin silver contact print
Bequest of Edward Steichen by direction of Joanna T. Steichen
© Estate of Edward Steichen

 

Nickolas Muray (American, b. Hungary, 1892-1965) 'Marilyn Monroe .... Actress' 1952

 

Nickolas Muray (American, b. Hungary, 1892-1965)
Marilyn Monroe … Actress
1952
Carbro print
Gift of Michael Brooke Muray, Nickolas Christopher Muray, and Gustav Schwab
© Nickolas Muray Archives

 

 

George Eastman House
900 East Avenue
Rochester, NY 14607

Opening hours:
Tues – Sat 10am – 5pm
Sunday 11am – 5pm

George Eastman House website

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21
Jan
13

Exhibition: ‘Faking It: Manipulated Photography Before Photoshop’ at The Metropolitan Museum of Art, New York

Exhibition dates at the Metropolitan Museum of Art: 11th October 2012 – 27th January 2013

 

Unidentified American artist. 'Two-Headed Man' c. 1855

 

Unidentified American artist
Two-Headed Man
c. 1855
Daguerreotype
The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Hallmark Cards, Inc.

 

 

What a fascinating subject. Having completed multiple exposure work under the black and white enlarger I can attest to how difficult it was to get a print correctly exposed. I was using multiple negatives, moving the piece of photographic paper and printing in grids. Trying to get the alignment right was quite a task but the outcomes were very satisfying. Of course today these skills have mainly been lost to be replaced by other technological skills within the blancmange that is Photoshop. Somehow it’s not the same. My admiration for an artist like Jerry Uelsmann will always remain undimmed for the undiluted joy, beauty and skill of their analogue imagery.

I will post different photographs in this exhibition from the National Gallery of Art hang when I receive them!

Marcus

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Many thankx to the The Metropolitan Museum of Art, New York for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

George Washington Wilson. 'Aberdeen Portraits No. 1' 1857

 

George Washington Wilson (Scottish, 1823-1893)
Aberdeen Portraits No. 1
1857
Albumen silver print from glass negative
The Metropolitan Museum of Art, The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2011

 

Henry Peach Robinson. 'Fading Away' 1858

 

Henry Peach Robinson (English, 1830-1901)
Fading Away
1858
Albumen silver print from glass negatives
The Royal Photographic Society Collection at the National Media Museum, Bradford, United Kingdom

 

Unidentified artist. 'Man Juggling His Own Head' c. 1880

 

Unidentified artist
Man Juggling His Own Head
c. 1880
Albumen silver print from glass negative
Collection of Christophe Goeury

 

Maurice Guibert. 'Henri de Toulouse-Lautrec as Artist and Model' c. 1900

 

Maurice Guibert (French, 1856-1913)
Henri de Toulouse-Lautrec as Artist and Model
c. 1900
Gelatin silver print
Philadelphia Museum of Art

 

F. Holland Day. 'The Vision (Orpheus Scene)' 1907

 

F. Holland Day (American, 1864-1933)
The Vision (Orpheus Scene)
1907
Platinum print
The Royal Photographic Society Collection at the National Media Museum, Bradford, United Kingdom

 

Unidentified American artist. 'Man on Rooftop with Eleven Men in Formation on His Shoulders' c. 1930

 

Unidentified American artist
Man on Rooftop with Eleven Men in Formation on His Shoulders
c. 1930
Gelatin silver print
Collection of George Eastman House, International Museum of Photography and Film, Rochester

 

Unidentified American artist. 'Dirigible Docked on Empire State Building, New York' 1930

 

Unidentified American artist
Dirigible Docked on Empire State Building, New York
1930
Gelatin silver print
The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2011

 

 

While digital photography and image-editing software have brought about an increased awareness of the degree to which camera images can be manipulated, the practice of doctoring photographs has existed since the medium was invented. Faking It: Manipulated Photography Before Photoshop at The Metropolitan Museum of Art is the first major exhibition devoted to the history of manipulated photography before the digital age. Featuring some 200 visually captivating photographs created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, the exhibition offers a provocative new perspective on the history of photography as it traces the medium’s complex and changing relationship to visual truth. 

The exhibition is made possible by Adobe Systems Incorporated. 

The photographs in the exhibition were altered using a variety of techniques, including multiple exposure (taking two or more pictures on a single negative), combination printing (producing a single print from elements of two or more 
negatives), photomontage, overpainting, and retouching on the negative or print. 

In every case, the meaning and content of the camera image was significantly transformed in the process of manipulation.

Faking It is divided into seven sections, each focusing on a different set of motivations for manipulating the camera image. “Picture Perfect” explores 19th-century photographers’ efforts to compensate for the new medium’s technical limitations – specifically, its inability to depict the world the way it looks to the naked eye. To augment photography’s monochrome palette, pigments were applied to portraits to make them more vivid and lifelike. Landscape photographers faced a different obstacle: the uneven sensitivity of early emulsions often resulted in blotchy, overexposed skies. To overcome this, many photographers, such as Gustave Le Gray and Carleton E. Watkins, created spectacular landscapes by printing two negatives on a single sheet of paper – one exposed for the land, the other for the sky. This section also explores the challenges involved in the creation of large group portraits, which were often cobbled together from dozens of photographs of individuals. 

For early art photographers, the ultimate creativity lay not in the act of taking a photograph but in the subsequent transformation of the camera image into a hand-crafted picture.

“Artifice in the Name of Art” begins in the 1850s with elaborate combination prints of narrative and allegorical subjects by Oscar Gustave Rejlander and Henry Peach Robinson. It continues with the revival of Pictorialism at the dawn of the twentieth century in the work of artist-photographers such as Edward Steichen, Anne W. Brigman, and F. Holland Day. 

“Politics and Persuasion” presents photographs that were manipulated for explicitly political or ideological ends. It begins with Ernest Eugene Appert’s faked photographs of the 1871 Paris Commune massacres, and continues with images used to foster patriotism, advance racial ideologies, and support or protest totalitarian regimes. Sequences of photographs published in Stalin-era Soviet Russia from which purged Party officials were erased demonstrate the chilling ease with which the historical record could be falsified. Also featured are composite portraits of criminals by Francis Galton and original paste-ups of John Heartfield’s anti-Nazi photomontages of the 1930s.

“Novelties and Amusements” brings together a broad variety of amateur and commercial photographs intended to astonish, amuse, and entertain. Here, we find popular images of figures holding their own severed heads or appearing doubled or tripled. Also included in this light-hearted section are ghostly images by the spirit photographer William Mumler, “tall-tale” postcards produced in Midwestern farming communities in the 1910s, trick photographs by amateurs, and Weegee’s experimental distortions of the 1940s. 

”Pictures in Print” reveals the ways in which newspapers, magazines, and advertisers have altered, improved, and sometimes fabricated images in their entirety to depict events that never occurred – such as the docking of a zeppelin on the tip of the Empire State Building. Highlights include Erwin Blumenfeld’s famous “Doe Eye” Vogue cover from 1950 and Richard Avedon’s multiple portrait of Audrey Hepburn from 1967.

“Mind’s Eye” features works from the 1920s through 1940s by such artists as Herbert Bayer, Maurice Tabard, Dora Maar, Clarence John Laughlin, and Grete Stern, who have used photography to evoke subjective states of mind, conjuring dreamlike scenarios and surreal imaginary worlds. 

The final section, “Protoshop,” presents photographs from the second half of the 20th century by Yves Klein, John Baldessari, Duane Michals, Jerry Uelsmann, and other artists who have adapted earlier techniques of image manipulation – such as spirit photography or news photo retouching – to create works that self-consciously and often humorously question photography’s presumed objectivity.

Press release from The Metropolitan Museum of Art website

 

Maurice Tabard. 'Room with Eye' 1930

 

Maurice Tabard (French, 1897-1984)
Room with Eye
1930
Gelatin silver print
The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1962

 

Wanda Wulz. 'Io + gatto (Cat + I)' 1932

 

Wanda Wulz (Italian, 1903-1984)
Io + gatto (Cat + I)
1932
Gelatin silver print
The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987
Alinari / Art Resource © Wanda Wulz

 

John Paul Pennebaker. 'Sealed Power Piston Rings' 1933

 

John Paul Pennebaker (American, 1903-1953)
Sealed Power Piston Rings
1933
Gelatin silver print
1934 Art and Industry Exhibition Photograph Collection, Baker Library Historical Collections, Harvard Business School, Boston, Mass.
© John Paul Pennebaker

 

George Platt Lynes. 'The Sleepwalker' 1935

 

George Platt Lynes (American, 1907-1955)
The Sleepwalker
1935
Gelatin silver print with applied media
The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987
© The Estate of George Platt Lynes

 

Barbara Morgan. 'Hearst over the People' 1939

 

Barbara Morgan (American, 1900-1992)
Hearst over the People
1939
Collage of gelatin silver prints with applied media
The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Hallmark Cards, Inc.

 

Grete Stern. 'Dream No. 1: Electrical Appliances for the Home' 1948

 

Grete Stern (Argentinian born Germany, 1904-1999)
Dream No. 1: Electrical Appliances for the Home
1948
Gelatin silver print
The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2012
Courtesy of Galería Jorge Mara – La Ruche, Buenos Aires

 

Erwin Blumenfeld. '"Doe Eye" Vogue cover' 1950

 

Erwin Blumenfeld (American born Germany, 1897-1969)
“Doe Eye” Vogue cover
1950

 

Yves Klein (French, 1928-1962) Photographed by Harry Shunk (German, 1924-2006) and János (Jean) Kender (Hungarian, 1937-2009) 'Leap into the Void' 1960

 

Yves Klein (French, 1928-1962)
Photographed by Harry Shunk (German, 1924-2006) and János (Jean) Kender (Hungarian, 1937-2009)
Leap into the Void
1960
Gelatin silver print
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1992
© Yves Klein / Artists Rights Society (ARS), New York / ADAGP, Paris
Photograph Shunk-Kender © Roy Lichtenstein Foundation

 

Weegee (Arthur Fellig). 'American, 1899-1968 Draft Johnson for President' c. 1968

 

Weegee (Arthur Fellig) (American, 1899-1968)
Draft Johnson for President
c. 1968
Gelatin silver print
International Center of Photography, Bequest of Wilma Wilcox, 1993
Copyright Weegee/International Center of Photography/Getty Images.

 

Weegee (Arthur Fellig) American, 1899-1968 'Judy Garland' 1960

 

Weegee (Arthur Fellig) (American, 1899-1968)
Judy Garland
1960
Silver gelatin photograph
Copyright Weegee/International Center of Photography/Getty Images

 

William Mortensen (American, 1897-1965) 'Obsession' c. 1930

 

William Mortensen  (American, 1897-1965)
Obsession
c. 1930
Gelatin silver print
18.4 x 14.5 cm
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1975

 

Richard Avedon (American 1923-2004) 'Audrey Hepburn, New York, January 1967' 1967

 

Richard Avedon (American, 1923-2004)
Audrey Hepburn, New York, January 1967
1967
Collage of gelatin silver prints, with applied media, mylar overlay with applied media

 

Jerry N. Uelsmann. 'Untitled' 1969

 

Jerry N. Uelsmann (American, b. 1934)
Untitled
1969
Gelatin silver print
The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2011
© Jerry N. Uelsmann

 

Martha Rosler. 'Red Stripe Kitchen', from the series "House Beautiful: Bringing the War Home" 1967-72

 

Martha Rosler (American, b. 1943)
Red Stripe Kitchen
1967-72, printed early 1990s
From the series “House Beautiful: Bringing the War Home”
Chromogenic print
The Metropolitan Museum of Art, Purchase, Anonymous Gift, 2002
© Martha Rosler

 

 

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Phone: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30am – 5.30pm*
Friday and Saturday: 9.30am – 9.00pm*
Sunday: 9.30am – 5.30pm*
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The Metropolitan Museum of Art website

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National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
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National Gallery of Art 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, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor 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.

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

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