Winter Photography

Over the past week due to dropping temperatures and icy snow I have spent a great deal of time inside listening to podcasts and perusing my collection of photography books. As someone that enjoys winter and the comforts of hot tea, stews and sweaters I thought this post would be the perfect time to share some of my favorite photographs from a season that encourages personal reflection.

Ansel Adams. Winter, Yosemite Valley, 1933-1934.

The act of looking at photographs is a simple enough task, it is however not always easy. I often think about who the photographer was, the history behind the image, and the criticism surrounding it. I was recently reminded of how important the practice of simply looking is while listening to an interview with photographer David duChemin on The Candid Frame. duChemin was addressing a problem that many photographers encounter which is focusing on the technical aspects of creating a photograph rather then capturing good form. He suggested that in order to create the aesthetics of a image you have to study them, and the best way to do that is to look at big, beautiful photographs. As an art historian I immediately connected with this statement. In a field where so much attention lies on networking, perfectly curated shows and intuitive criticisms, sometimes I need to be reminded to just look. After all, it was the intrinsic act of observing that compelled me to study art history in the first place. So this week I encourage you to look with me and to ponder duChemin's suggestion of contemplating "the light, the lines and the moment" surrounding each photograph.

Ansel Adams. El Capitan, Yosemite National Park, California, 1968.

Albert Renger-Patzch. Winter Landscape with Oak Grove. 1955.

Kenji Tadamoto. Snow Pattern, 1959.

Harry Callahan. Objects in Snow, 1947.

Hans Hammarskiold. Snow on Slats, 1940.

John Vachon. Rider in the Snow, 1940.

Edward Steichen. The Flatiron, 1904.

Alfred Stieglitz. Winter - Fifth Avenue, 1893.

Bruce Davidson. Out a Gallery Window in Winter, 1968.

Faking It

As promised here's a recap of my experience at The Metropolitan Museum of Art's current photography exhibition, "Faking It: Manipulated Photography Before Photoshop," curated by Mia Fineman.

I am trying to get better about seeing shows soon after they open, not a week before they close. I always find something else to do or see and wait until the last minute then rush to the museum before the exhibition is dismantled. Going during the last week is usually a terrible idea and I would not recommend it. The crowds are horrendous and all the extras such as gallery talks, lectures and tours have already run their course. But lucky for me this was not the case last Friday, even with bustling galleries and crowds of tourists I was able to make the most out of the exhibition.

The Metropolitan Museum of Art

I arrived promptly at 11 am and was able to catch a gallery tour which highlighted a few pieces in the show. The tour was given by Fineman's research assistant and I spoke to her about a variety of subjects, including her favorite works and the curatorial goals behind the exhibition's organization. The exhibition, divided into seven categories (Picture Perfect, Artifice in the Name of Art, Politics & Persuasion, Novelties & Amusements, Pictures in Print, Mind's Eye and Protoshop) explores the rich history of photographic manipulation. By organizing the work thematically the viewer can read the photographs in the context in which they were created. The curator did an excellent job representing various time periods and the accompanying labels not only provided a history of the photographs but also explained why they belonged in each particular section.

One of the earliest examples of photographic manipulation was an image by Paolo Salviati. Taken in the 1880s this photograph depicts a Venetian canal lit by the moonlight. Because night photography was not technologically possible during this time period, Salviati repurposed his daylight scene by painting a wash of blue over the sky, adding a moon and creating shadows on the water. The practice of painting over photographs was fairly common and was likely a profitable technique since customers often requested nocturnal photographs like the one seen here. 

Paolo Salviati. 17 Rio Pesaro, Venice. 1880s.

While painting over photographs was done to increase aesthetic appeal, another form of manipulation was harnessed to make the photographers job easier. As explained by the research assistant, group photography was a difficult genre to master as it was often hard to get all the participants together at the same time. There are several examples of group photography in the exhibition, many of them serious portraits of generals and soldiers, but one of my favorites was this piece by George Washington Wilson.  Created in 1857 this collection of busts is amusing as Wilson literally cut and pasted the heads of these elite individuals into a larger collage then re-photographed it. It is fun to get especially close up and examine the various expressions.

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

The use of collage was effective when it came to arranging subjects for a group portrait and continued to be a preferred method of manipulation into the 20th century. Perhaps one of the most famous examples of collage can be found in the political work of John Heartfield. Known for his anti-fascist stance Heartfield perfected the art of photomontage by creating images which almost forced the reader to believe what he was presenting. The piece featured in the exhibition depicts Adolf Hitler, his propaganda master Joseph Goebbels and the Luftwaffe chief Hermann Göring teetering on the edge of a tight rope. The composition while politically motivated is also interesting from a technical standpoint. Upon closer inspection you can see the hand of Heartfield in the ink lines, cut outs, pencil markings and cropping notes. Photomontage may have been one of the more popular ways to manipulate photography but it was certainly not the only technique used.

John Heartfield. Die Drei Weisen aus dem Sorgenland. 1935.

Highlighted in the Novelties & Amusements section is a series of decapitation photographs which were all created using trick photography. This bizarre collection of images depicting self-decapitation, men juggling their own heads and plenty of fake blood is worth a second look. The majority of these photographs were taken in the late-19th century and were the work of amateur photographers who were experimenting with tips and tricks available in popular trade magazines. This collection of photographs is surprisingly large and provides insight into the culture surrounding new dark room technology at the turn of the century.

Unknown. Decapitated Man with Head on Platter. ca. 1865.

Saint Thomas D'Aquin. Man Juggling His Own Head. ca. 1880.

The exhibition which provides examples of photographic manipulation from the invention of the medium (1839) to the release of the first Photoshop program (1990) wraps up with images from the later part of the 20th century. Yves Klein, Harry Shunk and Janos Kender's piece, Leap Into the Void is perhaps one of the better examples of photomontage from the 1960s. The photograph depicting an air born Klein was distributed throughout Paris in the form of broadsheet and became a well known example of the artist's favored gesture. 

Yves Klein, Harry Shunk and Janos Kender. Leap Into the Void. 1960.

This well executed and extensively researched exhibition provides an interesting glimpse into the history of photography. Fineman's broad look into the medium's past reminds viewers that there are many explanations for a photograph's purpose. Whether created for aesthetic reasons, utilitarian purposes, political statements or for simple amusement there is a rich history of photographic manipulation. The notion that photography can communicate a truthful and realistic representation of the world is a myth that is often perpetuated by the medium and if this exhibition shows you anything it is that photographic images have been manipulated since photography's inception.
 
The exhibition, although closing this week in New York is set to travel to the National Gallery of Art and The Museum of Fine Arts in Houston. If you're in either of these towns I highly recommend reserving a few hours to check out this exhibition. With over 200 photographs there is certainly a lot to see. Many of these photographs are best experienced up close so that you can examine the idiosyncrasies of the various techniques. In addition to the exhibition catalogue all of the images are on The Metropolitan Museum of Art's website so you can take a closer look into some of the specifics surrounding these works. 
 

Back In New York

Well after a four week hiatus, I am back. The holidays were a total blur. A wonderful, family and friend filled blur, but nevertheless very busy. My husband and I traveled a good deal which made squeezing in blog time rather difficult. But now that we are back in new york and settling in for the winter I am once again discovering that free time does exist.

I have not seen any shows since I have been back, but there are plenty on my list for this month. Next week I am planning on visiting "Faking It: Manipulated Photography Before Ohotoshop" at the Metropolitan Museum of Art and am also attending an opening at the International Center of Photography, so I will have lots to discuss.

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Although I didn't have time to write while I was away I did have a lot of time to read and to catch up on podcasts as well as to discover a few new ones. As I'm sure you know many museums publish podcasts of symposiums, conferences and general exhibition tours. These are some of my favorite to listen to not only because I can't make it to every event but also because it allows you to revisit a particular exhibition through a simple auditory experience. These podcasts are also great if you do not have access to the wide gamut of institutions that we have here in New York.

In addition to museum published podcasts I have been listening to a variety of independent ones. One of my new favorites is a series of class lectures on the history of photography. This podcast is published by Jeff Curto who is a professor at the college of Dupage in Chicago, Illinois. Curto has two podcasts, one focuses on the more creative aspects of photography called "Camera Position" and another is broadcast of history of photography lectures.

Recently, I have been considering applying for PhD programs so that I can further my career as an art historian and educator so I thought it would be interesting to hear Curto's take on photography's history.

I found his lectures to be incredibly insightful and interesting. He not only outlines the complex, although relatively brief history of the medium, but encourages his students to think about photographs and how we interact with them on a daily basis. In his first two episodes he provides a condensed overview of the timeline of photography. He begins his chronology not with the year 1839 and the invention of the mechanically reproduced image but with ancient Egypt and the importance of perspective, subject matter and point of view.

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He continues on this train on thought and highlights other important art historical moments such as Giotto's frescos and the use of the camera obscura, camera lucida and so on. I found his methodology of outlining photography within the greater context of art and the history of the world to be a dynamic approach. Rather then the traditional presentation of a simple timeline beginning with Louis Daguerre and Henry Fox Talbot. Curto's course encourages students to think about photographs as not only historical documents and "high art" but as something we interact with on a daily basis.

I looking forward to listening to the remainder of his lectures. For the rest of the course he breaks his discussions into thematic subjects with titles such as: "Light and Likeness" and "Photography as Transportation." hether you are interested in photography, teaching the history of photography or just need a refresher course, listening to Curto's podcasts is a wonderful way to spend a few hours. I have also begun following him on twitter @jeffcurto and #photohistory.

I would love to hear what podcasts you listen too and if you have any preferred methodology to teaching photographic histories and I'll keep you updated if I find any other noteworthy podcasts. 

The Americans

Robert Frank's seminal series and photo book "The Americans" as been on my mind for awhile now. In light of our recent national holiday I thought this would be an appropriate time to share and discuss this specific body of work. Frank's photographs, taken on a 1955/1956 road trip through America chronicle the often banal and routine activities of his subjects. They have also been heralded as the one of the most important photographic events of the 1950s (the project of course would not have been possible without Frank receiving a grant from the Guggenheim Foundation).

Parade - Hoboken, New Jersey

During the two year period that Frank traveled he went to nearly 48 states and took 28,000 shots (83 of which ended up in the original publication). While the images featured in the book can certainly speak for themselves, they become all the more poetic when read in conjunction with Jack Kerouac's exquisite imagery and undulating prose. It seems that no matter how many times I read the opening line featured below I am flooded with images of America.

that crazy feeling in america when the sun is hot on the streets and music comes out of the jukebox or from a nearby funeral that's what robert frank has captured - jack kerouac

Funeral - St. Helena, South Carolina

While Frank's work brings forth a sense of nostalgia of what America once was, it also raises some interesting questions concerning the shifting focus of the so called 'cold war aesthetic.' After all, this was a time period when many artists began moving away from external forces (both political and social) and instead focused their energies on more personal quests. This trend is certainly exemplified in this series as Frank abandons the preconceived notions of documentary truth and social relevance. In it's place he captures his own personal, yet fragmented perception of the American people.

Rooming house - Bunker Hill, Los Angeles

Featured below are a few of my favorite images from the series and some of Kerouac's well chosen words. I hope you enjoy.

...the humor, the sadness, the EVERYTHING-ness and American-ness of these pictures! 

Rodeo - Detroit

...madroad driving men ahead - the mad road, lonely, leading around the bend into the openings of space toward the horizon...

U.S. 285 -  New Mexico

 ...and the loneliest picture ever made, the urinals women never see, the shoeshine going on in sad eternity...

Men's room, railway station - Memphis, Tennessee

 ... love under the sky and in the womb of our universe...

Beaufort, South Carolina

 

... drain your basins in old Ohio... bring your Big Muddy rivers thru Kansas and the mudlands... punch lake holes in Florida and L.A., raise your cities in the white plain, cast your mountains up, bedawze the west, bedight the west... America - we're going home, going home...

Fourth of July - Jay, New York

*** all images and quoted text were gathered from Steidl's 2008 publication of Robert Frank's The Americans ***

Ellis Island

I was recently browsing through one of my favorite discussion boards "Vintage Photography" and stumbled across these great images from photographer Alfred Eisenstaedt. Eisenstaedt, who worked for LIFE magazine is perhaps best known for his iconic photograph depicting the celebrations that occurred after the second world war. 

V-J Day Kiss in Times Square. New York, NY. 1945.

While this image has become synonymous with romance and victory, and has been reproduced on everything from calendars to coffee mugs, the photographs featured here and on LIFE's website depict a strikingly different reality. These rare images capture the bewilderment, confusion and exhaustion that was the first few moments on Ellis Island. 

Never Published. Ellis Island, 1950.

Antonio Magnani copes with his children and fat briefcase holding his entry papers. Ellis Island, 1950.

Taken in the 1950s these pictures depict the last few years of the island's operation as an immigration port. Because more than 100 million people passed through Ellis Island from 1892 to its closing in 1954, these images are especially poignant. If you've ever visited the site, you know first hand how cavernous the processing hall is and one can only imagine how drastically different it would feel teaming with tired and anxious newcomers. 

Photographer Uknown. The Great Hall. Ellis Island. 2012. [Image Source]

Photographer Uknown. The Great Hall. Ellis Island. 1900s. [Image Source]

While other photographers such as Lewis Hine showed the immigration process in a more formal and documentary style, Esenstaedt lent a certain sense of candidness to the composition. As typical of the time period, he steered away from frontal and formal portraits and instead focused on the smaller stories within the bigger picture. I especially love this moment of a very tired mother trying to calm her child. 

Never Published. Ellis Island. 1950.

Photographs and stories of the Ellis Island experience always seem to intrigue me. Perhaps it is the sense of hope so often conveyed in the images, or the idea that these families and individuals are on the threshold of a challenging yet fruitful beginning. Below I have included some of my favorite photographs from the series. It is also worth noting LIFE Magazine's article where the majority of these images and captions come from. As an added bonus to the photographs the spread also features pages from the original LIFE Magazine story. If you love old magazines and layouts as much as I do it is worth checking out. I also found this article to be a great synopsis of the work.

Twenty-four-year-old Schulim Pewzner, a rabbinical student from Warsaw, Poland. Ellis Island, 1950.

Never Published. Ellis Island. 1950.

Never Published. Ellis Island. 1950.

Never Published. On a ferry in New York Harbor, looking at lower Manhattan. 1950.

Maria Nadalin of Italy, seated at left of the table, is worked on by an inspector-stenographer-translator team... Ellis Island. 1950.

There are so many great images it was hard to only pick a few. What are some of your favorites?

***unless otherwise noted all images were taken by eisenstaedt and are courtesy of Time & Life Picture/Getty Images.***

New Visions

Today I came across an unexpected surprise. After an afternoon meeting in midtown I decided to stop by the Museum of Modern Art to check out a current exhibition.  My intention was to look at the Photography Department's annual "New Photography" show. I always anticipate this annual exhibition as the curatorial team at MoMA does an excellent job of pulling together a variety of relevant working photographers. While the work of the five artists featured - Michele Abeles, Birdhead comprised of Ji Weiyu and Song Tao, Anne Collier, Zoe Crosher and Shirana Shahbazi - was certainly compelling and interesting (see Birdhead's photo installation below) what I found to be the highlight of the trip was the adjoining exhibition "New Visions: Photography, Film and Photobook."

Birdheard. Image from The Song of Early Spring. 2012. Gelatin silver print. Image: 35 7/16 x 42 1/2″ (90 x 108 cm). Courtesy the artists and ShanghART Gallery, Shanghai. © 2012 Birdhead [Image Source]

I heard about this exhibition months ago and was never able to get up to MoMA to check it out.  Therefore, I was pleased that upon arrival I was greeted by rooms filled with early avant-garde photographs, films and photobooks. Here is a picture I ssnapped of the Rodchenko display, complete with his beloved (and one of my favorite) typefaces.

                                           

But it wasn't just the Rodchenko prints that were interesting. The curators made sure to include all the classics; portraits of Schlemmer's children by Maholy-nagy, Man Ray's experiments with light and of course El Lissitzky's famous self portrait, which serves as the signature image for the show.

El Lissitzky. Self-Portrait. 1924. [Image Source]

                    

However, what makes this show so appealing is that the photographs do not end with the obvious "New Vision" works but instead continue to tell the story of unique and unexpected viewpoints. The exhibition highlights more contemporary photographers such as Robert Frank, Diane Arbus, Robert Heinecken and Philip-lorca Dicorcia. I found one of the most interesting although obvious connections to the new vision theme to be Martha Rosler's 1967-1972 series, "Bringing the War Home." Rosler, known for her social and political commentary uses photomontage (like so many other avant-garde artists featured in the show) to juxtapose images of ideal daily life with the horrors of war.

Martha Rosler. Hands Up / Makeup from the series Bringing the War Home: House Beautiful. 1967–1972. [Image Source]

While a more detailed discussion of photomontage and collage merits its own post, it is clear that combining unrelated imagery certainly creates a unique way of reading the subject. The exhibition will be on display through April of next year, so you have plenty of time to head over and check it out. I will likely visit the galleries again (perhaps on a quite winter morning) to continue my thoughts on new vision.

Why Photography

I am starting this blog as an attempt to keep myself rooted (and motivated) in my desire to write and curate on a professional level. Living in new york I am fortunate to experience a wide variety of artistic practices - but where my interests have always seemed to lead is toward the medium of photography.

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There is something enticing about photographs. Perhaps what appeals to me is that they not only seem to capture an exact moment, the corresponding emotion and the appropriate response, but they also expose the photographer's point of view. While photographs can be easily manipulated, either through the placement of subjects, props or technology, there continues to be an pseudo-inherent truth that permeates the image. Perhaps it is this idea of facticity that is rarely present but often assumed that I am trying to explore.

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Throughout this process I hope to not only discuss specific images and critics, but to also delve into my own thoughts on the rhetoric of photography through lectures and exhibitions that I attend and experience. And, of course I hope to share photographs that not only appeal to me aesthetically but also interest the reader and in turn provoke a larger discussion.