Berenice Abbott (American, 1898-1991), Eugene Atget, 1927.
Gelatin silver print. Courtesy of the Philadelphia Museum of Art:
Gift of Mr. and Mrs. Carl Zigrosser, 1968, 1968-162-38
Interesting article (From Paris to New York: The Story of Eugène Atget and Berenice Abbott) on the occasion of the publication of a new book by Kevin Moore: Old Paris and Changing New York: Photographs by Eugène Atget and Berenice Abbott (Yale University Press).
According to Yale University Press:
An insightful new look at two renowned photographers, their interconnected legacies, and the vital documents of urban transformation that they created
In this comprehensive study, Kevin Moore examines the relationship between Eugène Atget (1857–1927) and Berenice Abbott (1898–1991) and the nuances of their individual photographic projects. Abbott and Atget met in Man Ray’s Paris studio in the early 1920s. Atget, then in his sixties, was obsessively recording the streets, gardens, and courtyards of the 19th-century city—old Paris—as modernization transformed it. Abbott acquired much of Atget’s work after his death and was a tireless advocate for its value. She later relocated to New York and emulated Atget in her systematic documentation of that city, culminating in the publication of the project Changing New York.
This engaging publication discusses how, during the 1930s and 1940s, Abbott paid further tribute to Atget by publishing and exhibiting his work and by printing hundreds of images from his negatives, using the gelatin silver process. Through Abbott’s efforts, Atget became known to an audience of photographers and writers who found diverse inspiration in his photographs. Abbott herself is remembered as one of the most independent, determined, and respected photographers of the 20th century.
Kevin Moore is an independent curator and writer and is artistic director and curator of FotoFocus, Cincinnati. He is the author of Starburst: Color Photography in America 1970-1980 and Jacques Henri Lartigue: The Invention of an Artist.
According to the article:
Bonnie McCurry has shared many long-distance phone calls with her brother Steve without knowing when they’d next speak. She saw him grow up in the wake of their mother’s death, and she remembers things about their childhood he was too young to understand. More than once, as he was busy documenting life on the other side of the world, she worried he’d been killed in the field. Now, Bonnie McCurry helps tell the story of one of the world’s most influential photographers in their new book Steve McCurry: A Life in Pictures, out now by Laurence King.
With words by Bonnie, 350-plus pictures by Steve, and contributions from colleagues and friends, A Life in Pictures spans four decades of work behind the camera. The detailed chapters trace Steve’s journeys around the globe to locations where he’s covered conflict, disaster, and daily life. From war in Afghanistan and Kuwait to the fall of the Berlin Wall to the attacks of 9/11 in Manhattan, McCurry has immortalized some of the most significant events of our time, and Bonnie, now the President of the McCurry Foundation, was there every step of the way, even if they were separated by thousands of miles. This book is about human history, but it’s also about the ties that bind us together.
Hang Em High,” New York, 1968.Photograph by Garry Winogrand © The Estate of Garry Winogrand / Courtesy Fraenkel Gallery
Interesting article in the New Yorker about a new documentary: “All Things Are Photographable,” which traces “how the legendarily prolific photographer pulled his art form into modernity”.
This was the fourth and final exhibition I visited. According to the Center’s website:
On June 8, 1968, thousands of people lined the train tracks from New York to Washington, DC, paying their last respects and expressing bewilderment and sorrow at the assassination of Robert F. Kennedy. Photographer Paul Fusco documented the funeral train’s journey and his images have become emblematic of the loss of idealism during a period of political upheaval in the United States. Dutch visual artist, photographer, and filmmaker Rein Jelle Terpstra has been tracking down the bystanders’ views of this day. He has collected more than two hundred images, including snapshots and home movies of the train. In RFK Funeral Train: The People’s View, Terpstra combines a multiscreen video projection that stitches together this collection of vernacular photographs and audio and video remembrances of these mourners with prints by Fusco. Through this project, Terpstra adds a new chapter to a collective memory that is slowly disappearing. This exhibition is organized by Erin Barnett, Director of Exhibitions and Collections.
An interesting concept, but once again I didn’t spend much time on it – although I did sit through the entire multiscreen video presentation.
The exhibition runs until September 2, 2018.
Taken with a Sony RX-100 M3.
According to the Center’s website:
This exhibition features an intergenerational group of women artists whose work explores representations of identity. Working in photography, video, and film, through assemblage, collage, multipart portraiture, and the use of avatars both analogue and digital, these artists reckon with the complex and changeable elements that inform who we are. These selves emerge from intersecting confrontations: with the artist’s own image, with the weight of personal and social stereotypes of race, class, gender, and age, and with the ambivalent promises of technology. These hybrid and multiple selves are depicted through mirroring and cloning, repetition and transfiguration.
Made between the late 1990s and today, the work on view has roots in feminist art historical discussions of the ways artists have visualized selfhood as manifold, presenting portraits that in their multiplicity and radicality challenge patriarchal ways of looking that define narrowly while presuming broadly. Featuring work ranging from cut-photograph collage to an exploration of life-extending artificial intelligence, the exhibition considers our enduring impulse to push against the limits of the discrete human body—from stretching the boundaries of representation to anticipating a future in which our consciousness is not bound to a physical body at all.
Transcending the singular, unified self is a psychological and political aspiration—to appear in all the disparate ways that we are—as well as a future, technology-enabled reality. The artists brought together here create a space in which the feeling of longing for other possibilities of being and being seen is made palpable.
– Marina Chao, Curator
The exhibition features the work of Mickalene Thomas; Geta Brătescu; Wangechi Mutu; Lorna Simpson and Barbara Hammer.
I’m afraid this exhibition didn’t really appeal to me – maybe just a bit to avant-garde for my tastes (for example a series of photographs seemed to portray a nude figure with internal organs overlaid and titled “What You Are Not Supposed to Look At”. So I didn’t spend a lot of time there. Maybe I should have? Maybe I would have understood more?
Taken with a Sony RX-100 M3.