Posts Tagged ‘Woman with Veil on Fifth Avenue

01
Feb
10

Exhibition: ‘Picturing New York: Photographs from The Museum of Modern Art’ at the Irish Museum of Modern Art, Dublin

Exhibition dates: 25th November 2009 – 7th February 2010

 

Many thankx to Monica Cullinane and the Irish Museum of Modern Art for allowing me the reproduce photographs from the exhibition. Please click on the photographs for a larger version of the image.

Marcus

 

 

Times Wide World Photos. 'Mr. and Mrs. Joe Louis Out for a Stroll' September 25, 1935

 

Times Wide World Photos (American, active 1919-1941)
Mr. and Mrs. Joe Louis Out for a Stroll
September 25, 1935
Gelatin silver print
8 ¾ x 6 5/8″ (22.2 x 16.8 cm)
The Museum of Modern Art, New York. The New York Times Collection

 

Cindy Sherman. 'Untitled Film Still #21' 1978

 

Cindy Sherman (American, b. 1954)
Untitled Film Still #21
1978
Gelatin silver print
7 1/2 x 9 1/2″ (19.1 x 24.1 cm)
The Museum of Modern Art, New York
Horace W. Goldsmith Fund through Robert B. Menschel

 

 

Each of Sherman’s sixty-nine Untitled Film Stills (1977-80), presents a female heroine from a movie we feel we must have seen. Here, she is the pert young career girl in a trim new suit on her first day in the big city. Among the others are the luscious librarian (#13), the chic starlet at her seaside hideaway (#7), the ingenue setting out on life’s journey (#48), and the tough but vulnerable film noir idol (#54). To make the pictures, Sherman herself played all of the roles or, more precisely, played all of the actresses playing all of the roles. In other words, the series is a fiction about a fiction, a deft encapsulation of the image of femininity that, through the movies, took hold of the collective imagination in postwar America – the period of Sherman’s youth, and the crucible of our contemporary culture.

In fact, only a handful of the Untitled Film Stills are modelled directly on particular roles in actual movies, let alone on individual stills of the sort that the studios distribute to publicise their films. All the others are inventive allusions to generic types, and so our sure sense of recognition is all the more telling. It tells us that, knowingly or not, we have absorbed the movie culture that Sherman invites us to examine as a powerful force in our lives.

Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 295.

 

Helen Levitt (American, 1913-2009) 'New York' 1982

 

Helen Levitt (American, 1913-2009)
New York
1982
Gelatin silver print
9 9/16 x 6 7/16″ (24.3 x 16.4 cm)
The Museum of Modern Art, New York.
Gift of Marvin Hoshino in memory of Ben Maddow
© 2009 The Estate of Helen Levitt, courtesy Fraenkel Gallery, San Francisco

 

Louis Stettner (American, born 1922) 'Manhattan from the Promenade, Brooklyn, New York' 1954

 

Louis Stettner (American, born 1922)
Manhattan from the Promenade, Brooklyn, New York
1954
Gelatin silver print
12 1/4 x 18 1/4″ (31.1 x 46.4 cm)
The Museum of Modern Art, New York. Gift of the photographer in memory of his brother, David Stettner
© 2009 Louis Stettner, courtesy Bonni Benrubi Gallery, New York

 

Diane Arbus. 'Woman with Veil on Fifth Avenue, N.Y.C' 1968

 

Diane Arbus (American, 1923-1971)
Woman with Veil on Fifth Avenue, N.Y.C.
1968
Gelatin silver print
The Museum of Modern Art, New York

 

 

An exhibition of 145 masterworks from the photographic collection of The Museum of Modern Art (MoMA) in New York , celebrating the architecture and life of that unique city from the 1880s to the present day, opens to the public at the Irish Museum of Modern Art on Wednesday, November 25, 2009. “Picturing New York” draws on one of the most important collections of modern and contemporary photography in the world to celebrate the long tradition of photographing New York, a tradition that continues to frame and influence our perception of the city to this day. Presenting the work of some 40 photographers including such influential figures as Berenice Abbott, Diane Arbus, Garry Winogrand, Lisette Model, Alfred Stieglitz and Cindy Sherman, the exhibition features both the city and its inhabitants, from its vast, overwhelming architecture to the extraordinary diversity of its people.

The exhibition reflects photographers’ ongoing fascination with New York, a city whose vitality, energy, dynamism and sheer beauty have also inspired innumerable artists, writers, filmmakers and composers. New York’s unique architecture is explored, from elegant skyscrapers to small shop fronts; likewise the life of its citizens, from anonymous pedestrians to celebrities and politicians. The city’s characteristic optimism is caught time and again in these images, even in those taken in difficult times. Together, they present a fascinating history of the city over more than a century, from Jacob Riis’s 1888 view of bandits on the Lower East Side to Michael Wesely’s images taken during the recent expansion at MoMA.

The photographs reveal New York as a city of contrasts and extremes through images of towering buildings and tenements, party-goers and street-dwellers, hurried groups and solitary individuals. “Picturing New York” suggests the symbiosis between the city’s progression from past to present and the evolution of photography as a medium and as an art form. Additionally, these photographs of New York contribute significantly to the notion that the photograph, as a work of art, is capable of constructing a sense of place and a sense of self.

“I am thrilled that ‘Picturing New York’ will be presented in Dublin – a city whose vitality, grit, and vibrant artistic community resonates with that of New York ,” said Sarah Meister, Curator in MoMA’s Department of Photography, who organised the exhibition. “In addition, the layout and scale of the galleries at IMMA will allow this story – of New York and photography becoming modern together throughout the twentieth century – to unfold as if chapter by chapter.”

Press release from the Irish Museum of Modern Art website [Online] Cited 26/01/2010 no longer available online

 

Jacob Riis (Danish-American, 1849-1914) 'Bandit's Roost at 59½ Mulberry Street' 1888

 

Jacob Riis (Danish-American, 1849-1914)
Bandit’s Roost at 59½ Mulberry Street
1888
Gelatin silver print, printed 1958
19 3/16 x 15 1/2″ (48.7 x 39.4 cm)
The Museum of Modern Art, New York
Gift of the Museum of the City of New York

 

 

Late 19th-century New York City was a magnet for the world’s immigrants, and the vast majority of them found not streets paved with gold but nearly subhuman squalor. While polite society turned a blind eye, brave reporters like the Danish-born Jacob Riis documented this shame of the Gilded Age. Riis did this by venturing into the city’s most ominous neighbourhoods with his blinding magnesium flash powder lights, capturing the casual crime, grinding poverty and frightful overcrowding. Most famous of these was Riis’ image of a Lower East Side street gang, which conveys the danger that lurked around every bend. Such work became the basis of his revelatory book How the Other Half Lives, which forced Americans to confront what they had long ignored and galvanised reformers like the young New York politician Theodore Roosevelt, who wrote to the photographer, “I have read your book, and I have come to help.” Riis’ work was instrumental in bringing about New York State’s landmark Tenement House Act of 1901, which improved conditions for the poor.

Anonymous. “Bandit’s Roost, 59½ Mulberry Street,” on the Time 100 Photos website [Online] Cited 09/06/2019

 

Paul Strand. 'Wall Street, New York' 1915

 

Paul Strand (American, 1890-1976)
Wall Street
1915
Gelatin silver print
The Museum of Modern Art, New York

 

 

Lewis W. Hine (American, 1874-1940)
Welders on the Empire State Building
c. 1930
Gelatin silver print
10 5/8 x 13 5/8″ (27 x 34.6 cm)
The Museum of Modern Art, New York. Committee on Photography Fund

 

 

Dan Weiner (American, 1919-1959)
New Year’s Eve, Times Square
1951
Gelatin silver print
9 1/4 x 13 3/16″ (23.5 x 33.5 cm)
The Museum of Modern Art, New York. Gift of Sandra Weiner
© 2009 Estate of Dan Weiner

 

Bruce Davidson (American, b. 1933) 'Untitled' from the 'Brooklyn Gang' series 1959

 

Bruce Davidson (American, b. 1933)
Untitled from the Brooklyn Band series
1959
Gelatin silver print
6 3/4 x 10″ (17.1 x 25.4 cm)
The Museum of Modern Art, New York. Purchase
© 2019 Magnum Photos, Inc. and Bruce Davidson

 

Arthur Fellig (Weegee) 'Coney Island' 1940

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968)
Coney Island
c. 1939
Gelatin silver print
10 5/16 x 13 11/16″ (26.2 x 34.8 cm)
The Museum of Modern Art, New York. Anonymous gift

 

Unknown photographer. 'Brooklyn Bridge' c. 1914

 

Unknown photographer (American)
Brooklyn Bridge
c. 1914
Gelatin silver print
7 5/8 x 9 9/16″ (19.4 x 24.3 cm)
The Museum of Modern Art, New York, The New York Times Collection

 

Ted Croner. 'Central Park South' 1947-48

 

Ted Croner (American, 1922-2005)
Central Park South
1947-48
Gelatin silver print
The Museum of Modern Art, New York

 

Bernice Abbott. 'Night View, New York City' 1932

 

Bernice Abbott (American, 1898-1991)
Night View, New York City
1932
Gelatin silver print
The Museum of Modern Art, New York

 

 

Irish Museum of Modern Art/Áras Nua-Ealaíne na hÉireann
Royal Hospital
Military Road
Kilmainham
Dublin 8
Ireland
Phone: +353-1-612 9900

Opening hours:
Tuesday – Saturday: 10.00am – 5.30pm
except Wednesday: 10.30am – 5.30pm
Sundays and Bank Holidays: 12pm – 5.30pm

Irish Museum of Modern Art website

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02
May
09

Exhibition: ‘Portraits of New York: Photographs from the MoMA’ at La Casa Encendida, Madrid

Exhibition dates: 27th March – 14th June, 2009

Curator: Sarah Hermanson Meister, associate curator of MoMA’s Department of Photography

 

Many thankx to La Casa Encendida for allowing me to publish the photographs in the posting. Please click on the photograph for a larger version of the image.

 

 

Paul Strand. 'Wall Street, New York' 1915

 

Paul Strand (American, 1890-1976)
Wall Street
1915
Platinum palladium print

 

 

Wall Street is a platinum palladium print photograph by the American photographer Paul Strand taken in 1915. There are currently only two vintage prints of this photograph with one at the Whitney Museum of American Art (printed posthumously) and the other, along with negatives, at the Philadelphia Museum of Art. This photograph was included in Paul Strand, circa 1916, an exhibition of photographs that exemplify his push toward modernism.

It depicts a scene of everyday life in Manhattan’s Financial District. Workers are seen walking past the J.P. Morgan & Co. building in New York City on the famous Wall Street, of which the photograph takes its name. The photograph is famous for its reliance on the sharpness and contrast of the shapes and angles, created by the building and the workers, that lead to its abstraction. This photograph is considered to be one of Strand’s most famous works and an example of his change from pictorialism to straight photography. Strand moved from the posed to portraying the purity of the subjects. It is one of several images that stand as marks of the turn to modernism in photography. …

 

Technique

This photograph depicts the J.P. Morgan building in New York City. Strand photographed “people hurrying to work past the banking building” situated on Wall Street, from which the photo takes its name. the subject depicted is a real-life subject without manipulation. The depiction of the real nature of the medium and the subject is an example of straight photography. There is no focal point, with the lines converging off of the frame of the image. The financial building take majority of the frame. Emphasis is placed on the strong shapes created by the architecture of the building. The workers are included in the image, but are faceless and are trumped in size by the massive square shapes from the building they walk past. Also, the workers are captured in motion which on film makes them appear blurry. This aesthetic that Strand creates in Wall Street is his break toward the modern, the straight photography, demonstrating that pictorialism is no longer part of his aesthetic. Strand captured the building with clean, sharp lines. The building is covered in the high contrast, chiaroscuro. It is heavily in the shadows, but still creates an overwhelming presence over the people that walk past it. These people are also shrouded in the contrast made evident with the clean lines and black and white nature of his photos and photography as a medium. The people jump from their places, being the dark figures in the light of the sun that beams in from the left of the frame.

Strand fills the image with his recognisable aesthetic. The photo is platinum print, one of the materials frequently used by photographers of the time. Strand was unique in how he printed his photos. As stated on the George Eastman House website section Notes on Photography, Strand would make large prints from small negatives. He also left them in their matte condition that was inherent with platinum print. With his printing techniques, he “added a richness to the image.” As with the time, the photo is entirely black and white. There is a heavy contrast with the black and white areas of the photo. Strand creates diagonal shapes that pull emphasis to subject of the building and away from the people.

 

Aspects

Having taken Hine’s class at the Ethical Culture Fieldston School, social change became important to Strand and appeared often in his art. As a pupil of Hine, Strand learned of the social aspect his work could have. With Wall Street, he sought to portray a social message. He captured the faceless people next to the looming financial building in order to give a warning. Strand shows “the recently built J.P. Morgan Co. building, whose huge, dark recesses dwarf the passersby with the imposing powers of uniformity and anonymity.” The people cannot escape the overwhelming power that this modern establishment will have on their future and the future of America. He warns us to not be the small people that look almost ant-like next to this building that has a massive amount of control over the American economy.

Text from the Wikipedia website

 

Ted Croner. 'Central Park South' 1947-48

 

Ted Croner (American, 1922–2005)
Central Park South
1947-48
Silver gelatin print
10 15/16 x 13 3/4″ (27.8 x 34.9 cm)
Gift of the photographer
Museum of Modern Art, New York

 

 

Ted Croner (1922-2005) was an American photographer, described as an influential member of the New York school of photography during the 1940s and 1950s. His images are said to represent the best example of this movement.

Born in Baltimore in 1922 and raised in North Carolina, Croner developed an interest in photography while in high school. He honed his skills while serving as an aerial photographer in World War II before settling in New York City in 1947. At the urging of fashion photographer Fernand Fonssagrives, he enrolled in Alexey Brodovitch’s class at The New School where he studied with Diane Arbus, Richard Avedon and Lisette Model. During this period he produced many of his most memorable images including “Taxi, New York Night, 1947-48”, which appears on the cover of Bob Dylan’s 2006 album, Modern Times. Another of Croner’s photographs was used on the cover of Luna’s album Penthouse.

Croner also had a successful career as a fashion and commercial photographer – his work was published in Harper’s Bazaar and Vogue. He also worked extensively with corporations such as Coca-Cola and Chase Manhattan Bank. Croner is best known for his haunting night images of New York City taken in the 1940s and 1950s. He was one of several important photographers who belonged to the New York school of photography.

Text from the Wikipedia website

 

Arthur Fellig (Weegee) 'Coney Island' 1940

 

Arthur Fellig (Weegee) (American, 1899-1968)
Coney Island
July 22, 1940
Silver gelatin print
10 5/16 x 13 11/16″ (26.2 x 34.8 cm)
Anonymous gift
Museum of Modern Art, New York
© 2019 Weegee/ICP/Getty Images

 

 

Photographs from the MoMA, which will provide an in-depth look at an essential component of the MoMA’s assets: its photography collection. Curated by Sarah Hermanson Meister, associate curator of the museum’s department of photography, the exhibition offers an overview of the history of photography through the work of over 90 artists, with the iconic city as a backdrop. It includes some of the most prestigious names in photography, such as Berenice Abbott, Diane Arbus, Harry Callahan, Henri Cartier-Bresson, Walter Evans, Lee Friedlander, Helen Levitt, Cindy Sherman, Irving Penn and Alfred Stieglitz.

For Sarah Hermanson Meister, associate curator of the MoMA’s Department of Photography, “Portraits of New York amply reflects the history of synergies of this medium and of the Big Apple during a period of important transformations for both. The photographs generated by the restless and constant commitment of numerous photographers to the city of New York have played a fundamental role in determining how New Yorkers perceive the city and themselves. These photographs have also defined the city’s image in the world’s imagination.

[…] The urban landscape of the city is a combination of the old and the new in constant evolution, and these physical transformations are repeated in the demographic changes that have characterised the city since the 1880s, when massive waves of immigrants began to arrive. This same diversity can be seen in the photography of New York of the past four decades. Just as its architects are inspired and limited by surrounding structures and building codes, and just as its inhabitants learn and rub up against each other and previous generations, so too the photographers of New York transport the visual memory of a an extensive and extraordinary repertoire of images of the city. They take on the challenge of creating new works that go beyond traditions and respond to what is new in New York.”

The exhibition curator continues: “Throughout the 20th century, numerous artists have felt inspired by New York’s combination of glamour and rawness. The city – which acquired its modernity at the same pace as photography, and in an equally impetuous and undisciplined way – has always been a theme of particular vitality for photographers, both those who have visited the city and those who live in it. On one occasion, faced with the challenge of capturing the essence of New York with a camera, the photographer Berenice Abbott wondered, “How shall the two-dimensional print in black and white suggest the flux of activity of the metropolis, the interaction of human beings and solid architectural constructions, all impinging upon each other in time?” Each of the photographs reproduced here is a unique response to that question.

New York may not be the capital of the United States, but it prides itself on being the capital of the world. Its inhabitants are intimate strangers, its avenues are constantly teeming and its buildings are absolutely unmistakeable, though they are packed so close together that it is impossible to see just one. The New York subway runs twenty-four hours a day, which has earned it the sobriquet of “the city that never sleeps.” It is the model for Gotham City, the disturbing metropolis that Batman calls home, and a symbol of independence and a wellspring of opportunities in a wide variety of films, from Breakfast at Tiffany‘s to Working Girl. And this is just a sample of the captivating and abundant raw material that the city offers to artists, regardless of the medium in which they work. However, it is the convergence of photographers in this city – in this place that combines anonymity and community, with its local flavour and global ambitions – that has created the ideal setting for the development of modern photography.”

Text from the La Casa Encendida website [Online] Cited 28/04/2009 no longer available online

 

Bruce Davidson (American, b. 1933) 'Untitled' from the 'Brooklyn Gang' series 1959

 

Bruce Davidson (American, b. 1933)
Untitled from the Brooklyn Gang series
1959
Silver gelatin print
6 3/4 x 10″ (17.1 x 25.4 cm)
Museum of Modern Art, New York
© 2019 Magnum Photos, Inc. and Bruce Davidson

 

 

Cindy Sherman (American, b. 1954)
Untitled Film Still #21
1978
Silver gelatin print
7 1/2 x 9 1/2″ (19.1 x 24.1 cm)
Horace W. Goldsmith Fund through Robert B. Menschel
Museum of Modern Art, New York
© 2019 Cindy Sherman

 

 

Each of Sherman’s sixty-nine Untitled Film Stills (1977-80), presents a female heroine from a movie we feel we must have seen. Here, she is the pert young career girl in a trim new suit on her first day in the big city. Among the others are the luscious librarian (#13), the chic starlet at her seaside hideaway (#7), the ingenue setting out on life’s journey (#48), and the tough but vulnerable film noir idol (#54). To make the pictures, Sherman herself played all of the roles or, more precisely, played all of the actresses playing all of the roles. In other words, the series is a fiction about a fiction, a deft encapsulation of the image of femininity that, through the movies, took hold of the collective imagination in postwar America – the period of Sherman’s youth, and the crucible of our contemporary culture.

In fact, only a handful of the Untitled Film Stills are modelled directly on particular roles in actual movies, let alone on individual stills of the sort that the studios distribute to publicise their films. All the others are inventive allusions to generic types, and so our sure sense of recognition is all the more telling. It tells us that, knowingly or not, we have absorbed the movie culture that Sherman invites us to examine as a powerful force in our lives.

Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 295.

 

Diane Arbus. 'Woman with Veil on Fifth Avenue, N.Y.C' 1968

 

Diane Arbus (American, 1923-1971)
Woman with Veil on Fifth Avenue, N.Y.C
1968
Silver gelatin print
Museum of Modern Art, New York

 

Berenice Abbott. 'Night View, New York City' 1932

 

Berenice Abbott (American, 1891-1991)
Night View, New York City (New York at Night)
1932
Silver gelatin print
12 7/8 x 10 9/16″ (32.7 x 26.9 cm)
Museum of Modern Art, New York
© 2019 Berenice Abbott/Commerce Graphics

 

 

La Casa Encendida
Ronda Valencia, 2 28012 Madrid

Opening hours:
La Casa Encendida is open from Monday to Sunday from 10 a.m. to 10 p.m. every day of the year except national and Community of Madrid holidays

La Casa Encendida 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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