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.
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.
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?
In 1950 Elliott Erwitt, then just twenty-two years old, set out to capture Pittsburgh’s transformation from an industrial city into a modern metropolis. Commissioned by Roy Stryker, the mastermind behind the large-scale documentary photography projects launched by the US government during the Great Depression, Erwitt shot hundreds of frames. His images recorded the city’s communities against the backdrop of urban change, highlighting his quiet observations with the playful wit that has defined his style for over five decades. After only four months, Erwitt was drafted into the army and sent to Germany, leaving his negatives behind in Stryker’s Pittsburgh Photographic Library. The negatives remained at the Pennsylvania Department of the Carnegie Library of Pittsburgh for decades. This exhibition, organized by Assistant Curator Claartje van Dijk in association with the photographer, will present these images in the United States for the first time.
This exhibition is right next to “The Decisive Moment” – so close in fact that I didn’t immediately realize that I was no longer seeing works by Cartier-Bresson. I’m something of a fan of Erwitt too (particularly for the humor he brings to his work), but seeing it right next to Cartier-Bresson I couldn’t help be feel it was a step down. I did try to bear in mind, however, that this is very early Erwitt (he was only 22 at the time where Cartier-Bresson was 44 when “The Decisive Moment” was published) and I’m such a fan of Cartier-Bresson that, to me, almost anything would suffer by comparison.
The exhibition runs until September 2, 2018.
For more on the story behind these pictures see the video below: “What Were You Thinking?” with Legendary Magnum Photographer Elliott Erwitt
We went into New York City the other day and while my wife was shopping I went down to the International Center of Photography. The exhibitions used to shown in their location in midtown west, which was quite convenient when I was still working. I hadn’t been to this new location before, but it turned out to be only a short train ride from Grand Central Terminal.
Henri Cartier-Bresson: The Decisive Moment examines Cartier-Bresson’s influential publication, widely considered to be one of the most important photobooks of the twentieth century. Pioneering for its emphasis on the photograph itself as a unique narrative form, The Decisive Moment was described by Robert Capa as “a Bible for photographers.” Originally titled Images à la Sauvette (“images on the run”) in the French, the book was published in English with a new title, The Decisive Moment, which unintentionally imposed the motto which would define Cartier-Bresson’s work. The exhibition details how the decisions made by the collaborators in this major project—including Cartier-Bresson, French art publisher Tériade, American publisher Simon & Schuster, and Henri Matisse, who designed the book’s cover—have shaped our understanding of Cartier-Bresson’s photographs. Through vintage gelatin silver prints, first-edition publications, periodicals, and correspondence, Henri Cartier-Bresson: The Decisive Moment brings new insights to this iconic work.
I’m a big fan of Cartier-Bresson and it was inspiring to see some of his work “in the flesh” (i.e. not on the internet or in books) as it were. I’ve always been in awe of his ability to blend form and content in the split second it took him to see and take the photograph.
The exhibition runs until September 2, 2018. It’s well worth seeing.
I recently picked a copy of this book. Amazon.com describes it as follows:
Now available again in a stunning new format, this generously illustrated book for lovers of photography includes 365 images from the greatest photojournalists of today and yesterday. Founded by Henri Cartier-Bresson, Magnum Photos is the iconic international photographic cooperative whose members have captured the major historical events of their times, as well as private and intimate moments. A year’s worth of these images is offered in this visually stunning book that features full page reproductions organized to reflect what CartierBresson himself declared a “community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually.” Nearly 70 photographers are represented with five to six images each, and the current Magnum members have selected the photographs that they consider to best represent their own output. Running more than 700 pages, this book includes images that make history both individual and universal.
It’s a small (about 7 inches by 7 inches), thick book so of course the images inside are also quite small. There’s little in the way of explanatory text. No introductory essay. No text other than brief captions (usually just the name of the photographer and the place/date where the photograph was taken) accompanying the photographs. Just a short (four paragraphs) blurb from Jonas Bendiksen, President of Magnum Photos (2010) and an even shorter (two paragraphs) piece from Marie-Christine Biebuyck, Magnum Photos.
There were a few images that I was familiar with, but the vast majority I’d not seen before. I find it a great book to keep handy so that I can pick it up from to time just to browse through the beautiful photographs.