vrijdag 22 maart 2019

Views & Reviews Photographer Luigi Ghirri Loved ordinary Things The Map and the Territory Photography


This first retrospective of photographs taken outside his native Italy by Luigi Ghirri (1943- 1992) focuses on the 1970s. It covers a decade in which Luigi Ghirri produced a corpus of colour photographs unparalleled in Europe at that time.

Luigi Ghirri, who was a trained surveyor, began taking photographs at weekends in the early 1970s, devising projects and themes as he roamed up and down the streets, the piazzas and the suburbs of Modena. He cast an attentive and affectionate eye on the signs of the outside world, observing, without openly commenting on them, the changes wrought by humans to the landscape and the housing in the Reggio Emilia, his province of birth. It was a barometer for a local vernacular exposed to the advent of new forms of housing, leisure and advertising. “I am interested in ephemeral architecture, in the provincial world, in objects generally regarded as bad taste, as kitsch, but which have never been that for me, in objects charged with desires, dreams, collective memories [...], windows, mirrors, stars, palm trees, atlases, globes, books, museums and human beings seen through images.”

By the end of the decade, Luigi Ghirri had accumulated thousands of pictures and developed a unique style and complex conceptual framework for his work. That first decade concluded with two high points: the publication, in 1978, of Kodachrome, a truly exceptional book of photographs, and a major exhibition, "Vera Fotografia", which was held in 1979 at the exhibition centre of the University of Parma. It was organised by Arturo Carlo Quintavalle and Massimo Mussini, and presented fourteen projects and themes to illustrate Luigi Ghirri's distinctive philosophy and methods of action.

This exhibition is based on the poetic map of the 1979 exhibition, which featured both highly structured projects such as Atlante (1973) – photographs of pages from atlases –, and Colazione sull'erba (1972-1974), in which the artist had observed and examined the interface between artifice and nature in the tinygardens of Modena, as well as more diverse groups such as Diaframma 11, 1/125, luce naturale (1970-1979), which dealt with the ways in which people took photographs and were photographed, or the landscape of the signs of provincial Italy in Italia Ailati and Vedute (1970-1979).

Luigi Ghirri had an unshakeable fascination for representations of the world, for reproductions, pictures, posters, models and maps, and for the way in which these representations were incorporated into the world, as signs in the heart of the city or in the landscape. For Luigi Ghirri, the mediation of experience through images in an Italy torn between the old and the new was an inexhaustible source of study, “a great adventure in the world of thought and of the gaze, a great magic toy that miraculously reconciles our knowledge as adults with the fabulous world of childhood, a never-ending journey into the great and the small, in the variations that appear throughout the kingdom of illusions and appearances, labyrinths and mirrors, of multitudes and simulations.”

Curator : James Lingwood

Exhibition jointly organised by Museo Nacional Centro de Arte Reina Sofía, Madrid, in collaboration with the Jeu de Paume, Paris, and the Museum Folkwang, Essen.

In partnership with the Italian Cultural Institut in Paris.

With the exceptional support of the Bibliothèque nationale de France and the Centro Studi e Archivio della Communicazione - Università degli Studi di Parma.

Thanks to the Hôtel Chavanel, Paris

Media partners: À NOUS PARIS, GRAZIA, Le Monde, Télérama, ARTE, Radio Nova

See also

Luigi Ghirri - Catalogues, monographs and periodicals Photography

Egmond am Zee Kodachrome Luigi Ghirri Photography



Fotograaf Luigi Ghirri hield van gewone dingen
Tentoonstelling Luigi Ghirri toont ons een ander Italië dan we kennen uit de reisgidsen. Zijn foto’s, die een voorliefde tonen voor de banaliteit van het alledaagse leven, zijn nu te zien op een schitterend overzicht in Parijs.

Sandra Smallenburg
19 maart 2019

Luigi Ghirri, Orbetello (1974)
Foto Estate Luigi Ghirri 

Fotografie
Luigi Ghirri: The Map and the Territory. T/m 2 juni in Jeu de Paume, Parijs. Inl: jeudepaume.org

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Zou hij verlegen zijn geweest? Zou de Italiaanse fotograaf Luigi Ghirri daarom steeds een beetje stiekem, als een voyeur, mensen op hun rug hebben gefotografeerd? Het is de eerste gedachte die bij je opkomt wanneer je in het Parijse Jeu de Paume rondloopt over Ghirri’s fenomenale overzichtstentoonstelling The Map and the Territory. Zijn kleine kleurenfoto’s tonen keer op keer mensen die zich onbespied wanen. Een man in een rode jas die tegen het glas van een bushokje leunt. Een vrouw in een plooirok die voor hem de trap oploopt. Een ouder echtpaar dat op een bankje geniet van het uitzicht op een besneeuwde bergtop. Altijd is er die afstand, alsof Ghirri zijn onderwerpen niet durfde te benaderen.

Gaandeweg de tentoonstelling, die zo’n vierhonderd foto’s in veertien series omvat, begin je te begrijpen dat de Italiaan juist precies wist wat hij wilde. Al zijn foto’s gaan over kijken, over hoe wij de wereld om ons heen ervaren. „Ik heb veel mensen van achteren gefotografeerd terwijl ze kijken naar schilderijen, plattegronden of wandelkaarten”, zei Ghirri in een van de vele teksten die hij schreef over fotografie. „Daarmee wilde ik de personen een oneindig aantal van mogelijke identiteiten geven, van fotograaf tot onderwerp, van degene naar wie gekeken wordt tot degene die zelf kijkt. We zijn allemaal acteurs in gebeurtenissen die we niet helemaal begrijpen.”

Luigi Ghirri (1943-1992) maakte zijn beste werken in de jaren zeventig, in een tijd dat de kunstwereld nog neerkeek op kleurenfotografie. Echte fotografen werkten in zwart-wit, kleur was iets voor reclames en billboards. Maar Ghirri was stellig in zijn keuze: „Ik neem foto’s in kleur omdat de echte wereld in kleur is en omdat de kleurenfilm is uitgevonden.” Hij werkte altijd met een Canon-compactcamera en Kodachrome-film, wat zijn foto’s die heerlijke dromerige kleuren geeft. De rolletjes liet hij gewoon bij een fotowinkel ontwikkelen.

Luigi Ghirri, ‘∞’ Pescara (1972)
Foto Estate Luigi Ghirri

Vanwege het terloopse karakter doen Ghirri’s foto’s denken aan die van beroemde Amerikanen als William Eggleston, Joel Meyerowitz, Joel Sternfield of Stephen Shore. Net als zij interesseerde Ghirri zich voor de banaliteit van het alledaagse leven: fastfood in wegrestaurants, tankstations en snelwegen, of lullige plantjes in de vensterbank. Maar anders dan de Amerikanen, die hun beelden schoten tijdens kilometerslange roadtrips door ‘smalltown America’, fotografeerde Ghirri vooral dichtbij huis. Veel van zijn vroege foto’s zijn gemaakt binnen een straal van drie kilometer rond Modena, de stad waar hij woonde vanaf zijn twintigste tot zijn dood in 1992 – hij stierf op zijn 49ste aan een hartaanval.

Hoewel Ghirri tijdens zijn leven wel in Italië exposeerde, werd zijn werk pas lang na zijn dood in de rest van de wereld opgepikt. De eerste Engelstalige monografie verscheen pas in 2008. In 2011 waren zijn kleurenfoto’s voor veel niet-Italianen dé ontdekking op de Biënnale van Venetië. Twee jaar later, in 2013, volgde zijn eerste Amerikaanse solo bij Matthew Marks Gallery in New York. En nu is er dus dit schitterende overzicht, dat Jeu de Paume samen met Museum Folkwang en het Reina Sofia heeft samengesteld, en dat gebaseerd is op een expositie die Ghirri in 1979 zelf samenstelde voor de Universiteit van Parma.

Luigi Ghirri, Modena, (1973)
Foto Estate Luigi Ghirri

Landmeter
Dat Ghirri nooit ver van huis fotografeerde, had te maken met zijn vaste baan. Als fotograaf was hij autodidact, overdag verdiende hij zijn brood als landmeter. Aanvankelijk trok hij er alleen in het weekend met zijn camera op uit. ‘Viaggio minimo’, noemde hij die zondagse reisjes: minimale tripjes waarbij hij zijn omgeving „zigzaggend” in kaart bracht, steeds weer terugkerend naar bekende plekken. Soms ging hij zelfs de deur helemaal niet uit. Dan schuimde hij met zijn camera de pagina’s van zijn atlas af, op zoek naar mooie bergkammen, eilanden of oases. Pas in 1973, op zijn dertigste, nam Ghirri het besluit om zich volledig op de fotografie te richten.

Ghirri hield van de periferie, van huizen in kleinburgerlijke buitenwijken, met hun rolluiken en hun luxaflex. Hij liet zijn oog glijden over speeltoestellen op afgetrapte veldjes, of kitscherige plantenbakken naast een voordeur, omdat niemand anders dat deed. „Ik kijk naar de huizen in mijn straat, naar de deuren, de kleuren van het pleisterwerk, de vaasjes in de ramen, de mozaïektegeltjes op de gevels. Ik onderzoek die met liefde. Juist omdat ze zo anoniem en verloren waren, leken ze te wachten op iemand die ze een identiteit kon geven.”

Die liefde voor de dingen deelde Ghirri met zijn favoriete kunstenaar Giorgio Morandi, de Italiaan die zijn leven lang vaasjes had geschilderd in Bologna. Ghirri streefde naar eenzelfde gevoel van eenvoud, balans en verstilling in zijn composities. Zijn beelden ogen simpel, als snapshots haast, maar zijn extreem precies in hun lijnenspel en kleurgebruik. In Riva di Tures fotografeerde hij in 1977 twee bergtoppen die door een perfect horizontale witte vliegtuigstreep met elkaar verbonden lijken – alsof er een koorddanser overheen zou kunnen wandelen. In L’Ile-Rousse maakte hij in 1976 een foto van de zee, die precies in tweeën wordt gesplitst door een betonnen paal. Met de analytische blik van een landmeter keek hij ook als fotograaf naar het landschap: frontaal, vaak symmetrisch, zonder wijkende lijnen die het beeld vertekenen.

Luigi Ghirri, Padova (1973)
Foto Estate Luigi Ghirri

Zijn vele duizenden foto’s bracht Ghirri onder in een ordelijk archief. De afdrukken plakte hij op kartonnen kaarten, met de bijpassende negatieven erbij in kleine envelopjes. Daarmee kon hij eindeloos husselen tot er samenhangende series uit tevoorschijn kwamen. De conceptuele inslag waarmee Ghirri dat deed, verraadt de invloed van Amerikaanse kunstenaars als John Baldessari en Ed Ruscha, van wie hij meerdere fotoboeken bezat.

Toerist
Soms maakte hij als toerist langere reizen, op vakantie naar Zwitserland, Frankrijk of Nederland. Maar ook dan maakte hij geen toeristenkiekjes. Hij beschouwde de toeristenindustrie met humor en milde ironie. In Egmond aan Zee fotografeerde hij de tientallen lege bankjes op een verlaten parkeerplaats. In Salzburg spotte hij een steenbok die bij nadere beschouwing een opgezet exemplaar in een diorama blijkt te zijn.

Luigi Ghirri, Salzburgo ( 1977)
Foto Estate Luigi Ghirri

Illusies, trompe-l’oeils, spiegelingen – Luigi Ghirri was er dol op. Hij was vaak te vinden in het pretpark Italia in Miniatura in de badplaats Rimini, een soort Madurodam waar de beroemdste Italiaanse gebouwen op schaal zijn nagebouwd. Het leidde tot de briljante serie In Scala (1977-1978), vol hilarische foto’s die eruitzien als collages, maar toch echt zo gezien zijn door Ghirri. Achter Siena’s Piazza del Palio rijst dan bijvoorbeeld de Mont Blanc op, terwijl even verderop Michelangelo’s David net iets te buitenproportioneel voor het Palazzo Vecchio in Florence staat.

Luigi Ghirri, Rimini (1977)
Foto Estate Luigi Ghirri

Zo toont Ghirri ons op deze tentoonstelling een totaal ander Italië dan we kennen uit de reisgidsen. Geen historische steden vol afgebladderde schoonheid en culturele schatten, maar aftandse badplaatsen met hun kermissen en souvenirshops. Geen grootstedelijke grandeur, maar provinciaalse alledaagsheid. „Als ik met de trein reis”, zo schreef Ghirri over die verscheurdheid tussen verleden en heden, „verbaas ik me altijd over het verschil tussen het landschap dat je ziet uit het treinraam en de foto’s van de bekende toeristenplekken die in de treinstellen zijn opgehangen – de scheve toren van Pisa, de Romaanse kathedralen, de renaissancesteden. De reis is dus tweeledig: er is één die je ziet door het raam en één die je ziet in de treinwagon.”

Ghirri slaagde erin die lelijkheid van neonreclames, plastic palmbomen en rotan parasols om te zetten in pareltjes van vorm, lijn en kleur – uiteraard op ansichtkaartformaat.

Luigi Ghirri, ‘∞’ Infinito (1974)
Foto Estate Luigi Ghirri






















donderdag 21 maart 2019

Make Love not War in Suite 902 Amsterdam Hilton Photography

Lees verder ...


Reconstruction of Room 902 at the Amsterdam Hilton where John Lennon and Yoko Ono staged their Bed-In for Peace in March, 1969. Based on photographs by Nico Koster, Bert Sprenkeling, Claude Vanheye, Cor Jaring and various TV footage.From "In Bed with John and Yoko" by Jan-Cees ter Brugge, Jan van Galen and Patrick van den Hanenberg, March 2009

Celebrating 40 years anniversary of The Bed-in for Peace

From the 21st until the 29th of March a commemoration about the legendary Bed-in for Peace will be held in the Hilton Amsterdam with a tripartite photo exhibition 'From Holland with Peace'.

Bed-in for Peace
Beatle John Lennon and his wife Yoko Ono stayed in the Hilton Amsterdam hotel during their honeymoon in March 1969 and stayed in bed for 7 days in room 1902 ( now 702 ). During this so-called ‘Bed-in for Peace’ they spoke about peace with the international press. Their historical action will be set in contemporary perspective in three exhibitions, all linked with the themes illustrated Photography, Peace and the Netherlands.

Three exhibitions
Message by photo 1969 – 2009 is a choice of 40 images, made between 1969 – 2009, these images show what the Netherlands have produced on illustrated photography within the theme ‘peace’. Professional photographers will be invited to send in their most lively and visual peace messages, from where a jury of professionals, experts and affectionate people will make a final choice.


What happened in room 902? Is the title of a story telling exposition of 40 images that gives you a direct or indirect idea of the actual Bed-in happening. The material is from professional photographers, among them are Govert de Roos, Nico Koster , Claude Vanheye and Cor Jaring, completed with historical photo material by Spaarnephoto.

People like U & Me 4 Peace is dedicated to the top 40 best judged images, contributed by the public. The selection that will be presented is the result of a co-create public photo campaign where contestants will be asked to send in an actual and unique photographic peace message. You can also participate: http://www.flickr.com/groups/fromhollandwithpeace




On Sunday 29th there is a special tribute to John’s music. You can find more details at the Dutch Beatlesfansfanclub.

The expo From Holland with Peace can be visited free of charge
21 – 29 maart 2009Hilton Hotel AmsterdamApollolaan 1381077 BG Amsterdam+31(0)20-7106000www.hilton.com

woensdag 20 maart 2019

The Face of the Century the April 2019 Auctions Phillips & Christie's & Sotheby's Photography


Helmut Newton's Amazons
Highlighted in our 4 April Photographs auction, we reflect on how one of Newton’s most iconic works revolutionized fashion photography.
13 MARCH 2019

Detail from Helmut Newton's 1981 diptych, Sie Kommen, Paris (Dressed and Naked) 

Highlighted in our 4 April Photographs auction, we reflect on how one of Newton’s most iconic works revolutionized fashion photography.

Sie Kommen, Paris (Dressed and Naked), the title for Helmut Newton’s stunning diptych, translates from German to English as “they are coming.” It is an imposing diptych of four super-women on the march. Posed exactly in the same way in the left and right halves, they are triumphant and empowered both in their high fashion suits and in their nudity. Further, the present lot is a rare exhibition-sized printing, which imbues the models with a towering presence, and places all who stand before this monumental installation in the path of the models’ powerful, verging on dangerous, beauty.

Helmut Newton Sie Kommen, Paris (Dressed and Naked), 1981

First used as a two-page spread in French Vogue in 1981, Sie Kommen, Paris marked a turning point in Newton’s work. Newton started working for French Vogue in the 1960s and had become famous for introducing erotic subjects to fashion photography. In his earlier work, the location in which he photographed his models added to the sexual fantasy of his images, but with Sie Kommen, Paris, Newton left the lush interiors and streets of Paris and shot his subjects in a studio. In Sie Kommen (Dressed) we see the interior of the studio where the white backdrop touches the floor. In contrast, in Sie Kommen (Naked) the clothes disappear with the exception of high heels, and the studio becomes a boundless white space. As Karl Lagerfeld once noted, it is only with high heels that “. . . a woman [is] really naked for Newton.” With no supporting props the dressed and naked models become the whole story. Anne Tucker, who curated the first American retrospective of Newton, said “Big Nudes, for me, is where he steps away from the fashion magazines and came into his own on what a Helmet Newton woman was. . . Look at the way these women are boldly striding in these pictures. . . They are Amazons.”

Look at the way these women are boldly striding in these pictures. . . They are Amazons. — Anne Tucker

One can only imagine the effect such a subversively powerful image had on the public when it first appeared in French Vogue. Since then, Sie Kommen, Paris, has become an icon and has been illustrated extensively. It is the centerfold image in Newton’s provocative book Helmut Newton: Big Nudes, 1990. In his introductory essay for Big Nudes, Karl Lagerfeld states that for Newton “. . . there is no ‘weaker sex’. . . His women are part of a ‘strong’ sex.” Lagerfeld goes on to discuss the three periods of Newton’s life: the Berlin of his youth, “his spiritual home” from which Newton fled in 1938 after the horrors of Kristallnacht (during which his father was interned); “the unknown mysterious Australian period” where Newton enlisted in the Australian army; followed by Paris, where he arrived “in 1956 in a white Porsche with red leather upholstery." It is in the fashion world of Paris that Newton created this enduring image of sex, glamour, and female power, which boldly resonates from this exceptional presentation of Sie Kommen, Paris.


Paul Strand (1890–1976), The Family, Luzzara, Italy, 1953. Estimate: $200,000-300,000. © Christie's Images Ltd 2019.

NEW YORK, NY.- Christie’s announced three auctions of photographs on 2 April 2019, The Face of the Century: Photographs from a Private Collection a 90 lot sale coming just in time for the 100th anniversary of the Bauhaus, this collection celebrates key figures of the European avant-garde movement, Daydreaming: Photographs from the Goldstein Collection whose 69 lots are a testament to a lifelong commitment to the medium and the various owner Photographs auction which features superb examples of photography from the notable masters. The view will open to the public from Thursday, 28 March 2019 to Monday 1 April 2019 in Christie’s Rockefeller galleries. Highlights across the three sales include the iconic photograph by Richard Avedon, Dovima with Elephants, Evening Dress by Dior, Cirque d'Hiver, Paris, 1955 ($350,000-550,000), Irving Penn’s Harlequin Dress (Lisa Fonssagrives-Penn), NY, 1950 ($200,000-300,000) that once graced a famous, timeless editorial in Vogue, William Eggleston’s 10.D.70.V1 portfolio of ten dye transfer prints ($150,000-200,000) and the top lot across all three sales, Edward Weston’s Shells 6S, 1927 ($300,000-500,000).

Daydreaming: Photographs from the Goldstein Collection | 2 April 2019 | 10:00 AM
Over the years, the Goldsteins would meet the artists whose work adorned their house, from Richard Avedon to Zanele Muholi, Alex Prager, Andrew Moore, Yousuf Karsh, Julie Blackmon and Rachel Perry. With each encounter, the couple gained insight into the complexity and inspiration of each artist, picking works that they thought best represented the artists’ oeuvre that also synchronized with the rest of the collection. “We always went for works that we wanted to spend the rest of our lives with. None of the works in this collection were bought as an investment. We wanted them to be part of our lives,” they say. Highlights from the Goldstein Collection include Irving Penn’s Harlequin Dress (Lisa Fonssagrives-Penn), NY, 1950 ($200,000-300,000) and Edward Steichen’s Greta Garbo, Hollywood, 1928 ($30,000-50,000).


The Face of the Century: Photographs from a Private Collection | 2 April 2019 | 11:00 AM
The Face of the Century collection is overflowing with works from some of the keys figures of the European avant-garde movement during the 1920s and 1930s, notably László Moholy–Nagy, Man Ray, Herbert List, František Drtikol, and Helmar Lerski. Both Moholy-Nagy and Man Ray, whose work has been associated together since they shared pages in BROOM magazine in 1923, are celebrated with separate sections in the catalogue. Highlights include Man Ray’s Kiki Silhouette, 1922 ($100,000-150,000) and László Moholy-Nagy’s Advertisement for Shocken Department Store (Variation of The Law of the Series), 1925 ($50,000-70,000).


Photographs | 2 April 2019 | 2:00 PM
Anchoring the various owner sale is a ‘Spotlight’ section featuring Robert Mapplethorpe. In a relatively short career that stretched just over two decades, Mapplethorpe fearlessly explored and exposed the unseen. It was not merely that no subject was taboo. Rather, all taboo was subject. Indeed, Mapplethorpe defied expectations and demanded that being young, openly gay and openly sexual was represented in art, and more importantly, acknowledged by the public. This section celebrates the figure in all forms from Mapplethorpe’s Self Portrait, 1982 ($60,000-80,000) to Lydia Cheng, 1987 ($30,000-50,000).


Another important portion of the sale is a selection of photographs from the collection of Susan and David Barron, New York. Susan Barron, an internationally recognized and collected artist, vividly remembers the first day she met Paul Strand, the artist whose work and spirit would come to influence her own practice. Over the years, Strand and Barron shared many conversations about photography and developed a profound, familial relationship. For Barron, the interest in Strand was not in the technical aspects of photography, but rather in the way in which he saw the world. It was through lifelong friendship that Barron eventually came to own some of Strand’s most iconic photographs, which Christie’s is honored to be offering on her and David’s behalf. Highlights include The Family, Luzzara, Italy, 1953 ($200,000-300,000) and Cobweb in Rain, Georgetown, Maine, 1927 ($20,000-30,000) by Paul Strand.

Margaret Bourke-White, 'Gargoyle, Chrysler Building, N. Y. C.' oversized, warm-toned, with title and annotation 'Mid-winter 1929-30' and 'Her Studio on 61st Floor Where Gargoyles Situated' in pencil on the reverse, framed, circa 1930, 19 by 13⅝ in. (48.3 by 34.6 cm.) Estimate $250/350,000. Courtesy Sotheby’s.

NEW YORK, NY.- Sotheby’s spring auction of Photographs on 5 April in New York includes a fresh and wide-ranging selection of images from all decades, from 19th-century daguerreotypes to contemporary works by Mishka Henner, David Yarrow, Carrie Mae Weems and Hank Willis Thomas. Nearly 200 lots with estimates ranging from $1,000 to $500,000 will be on view in Sotheby's New York galleries beginning on 29 March.

European Modernism & Avant-Garde Photographs 
Anchoring the sale is an extremely rare print of Pelikan Tinte by El Lissitzky (estimate $300/500,000). Among the Russian-born artist’s most famous works, Pelikan Tinte combines photogram and typography to stunning visual effect. The ghostly form of an ink bottle floats across the image with its stopper flying above. A fountain pen - its ink tank perhaps recently filled - is clearly delineated; its position is angled as if having just finished writing the word ‘Pelikan’ on its own. The bright, stenciled lettering of the word TINTE (ink) punctuates the blurred background, rendering the finished image seemingly in three-dimensions. This rare work is further distinguished by its provenance, coming to auction from the personal collection of Manfred Heiting. A renowned collector of the medium, the present photograph has remained in Heiting's personal collection since it was acquired nearly 30 years ago. At the time of this sale, it is believed that only two other examples of this image have appeared at auction in the last three decades. Photographs by August Sander, André Kertész, Werner Rohde, and Piet Zwart are also on offer.

Fashion Photography 
An all-embracing visual culture has pushed fashion photography into the spotlight over the last decade, with works by famous names such as Richard Avedon, Helmut Newton and Herb Ritts becoming highly sought after. Arguably one of the most dominant photographers of the 20th century, Irving Penn is represented by a number of works, with subjects ranging from fashion to portraiture and still life. The group is led by a platinum print of Black and White Vogue Cover (estimate $150/250,000), which was first published on the cover of the April 1950 issue of American Vogue, as the lead illustration for its feature article, ‘The Black and White Idea’. With its simple yet potent use of clean lines, symmetry, and positive and negative space, Black and White Vogue Cover was not only Penn’s first monochromatic cover but also the first non-color Vogue cover in nearly twenty years. The sale is further distinguished by a group of photographs from one of today’s most influential photographers, Annie Leibovitz. A prolific photographer for Vanity Fair, Rolling Stone and Vogue, her images of Keith Haring, Demi Moore, Whoopi Goldberg and Steve Martin are among the most recognizable portraits of the 20th century.

American Modernism 
American Modernism is featured throughout the sale, with a selection of works by Ansel Adams, Brett Weston, Edward Weston, Harry Callahan, and Minor White on offer. Three impressive mural-sized prints by Adams, including both the horizontal Aspens, Northern New Mexico (estimate $150/250,000) and the vertical versions fully convey the photographer’s technical prowess both behind the camera and in the darkroom. Among the sale’s five works by Edward Weston, Shells (3S) is remarkable for its rarity and provenance (estimate $50/70,000). It was acquired directly from the photographer by Euliel Ballenger White, an early admirer of Weston’s work, who taught in Glendale, California, alongside Flora, the photographer’s first wife. An early print of Harry Callahan’s 1949 Chicago (Windows and Fire Escape) comes originally from the collection of The Museum of Modern Art, New York and was exhibited there in 1962 (estimate $30/50,000).

Never-Before Seen Photographs of Frida Kahlo
The 5 April sale will present an unprecedented 78 photographs by iconic photographer Nickolas Muray, many of which have never before been published. The sale includes portraits of the socialites, politicians, composers, and writers closely associated with artists Miguel Covarrubias, Frida Kahlo, and Diego Rivera, and represents the most significant offering of work by the photographer to appear at auction. Muray was a prolific photographer for Vanity Fair and Harper’s Bazaar, and it was during his trips to Mexico visiting Covarrubias that he met Frida Kahlo, with whom he had a decade-long affair beginning in 1931. With subjects ranging from Carl van Vechten, composer Carlos Chavez, illustrator John Held, Jr., social realist artist Marian Greenwood, muralist Roberto Montenegro to actress Margo Albert, the photographs offer fascinating insight into the cultural landscape of Mexico in the 1920s, '30s, and '40s.

Behind the Lens: Trailblazing Female Photographers 
Since photography’s inception, women have been at the forefront of the medium’s formation and development. From the 19th century to the present day, female artists embraced photography’s myriad possibilities – encompassing the realms of politics, fashion, war, modernist image-making and self-representation. A strong selection of works by Helen Levitt is available alongside covetable images by Julia Margaret Cameron, Francesca Woodman, Ana Mendieta, Sandy Skoglund, and Diane Arbus. Amongst the sale’s top lots are outstanding works by Imogen Cunningham and Margaret Bourke-White. Cunningham, a pioneer of Modernist photography, is represented by a luminous large print of Orchid Cactus (Cactus Blossom) (estimate $120/180,000). A prime example of the famous flower studies that garnered the artist international renown, no other print of this early image has been located. Ever the fearless photographer, Margaret Bourke-White captured her famous Gargoyle, Chrysler Building, NYC (estimate $250/350,000) by climbing out onto the structure, 800 feet above the street, to photograph the city. The work is further distinguished by its provenance, having last appeared on the market in the landmark 2006 Sotheby’s sale Important Photographs From The Metropolitan Museum Of Art, Including Works From The Gilman Paper Company, which established the current world auction record for the photographer.

Contemporary Photographs 
The sale also includes numerous important contemporary photographs, including works by Thomas Struth, Nobuyoshi Araki, Gregory Crewdson, and Robert Heinecken, among others. Notable artists making their debut at auction include Mishka Henner, with Less Américains, a contemporary remake of Robert Frank’s seminal 1958 photobook The Americans (estimate $25/35,000) and Mark Hogancamp, whose harrowing life-story was recently documented in the 2018 feature-length film 'Welcome to Marwen' starring Steve Carell. Saving The Major is one of the many photographs that captures Hogancamp’s miniature World War II town he named Marwencol (estimate $10/15,000).

maandag 18 maart 2019

Views & Reviews INTERNET GOTHIC in Doug Rickard’s ‘N.A.’ Artists Book Photography


Doing a second book is harder than the first and Doug has done it. Different from “A New American Picture” but related — more obviously edgy yet more lyrical. I am hearing Ornette Coleman moaning in here… Gerry Badger 

N.A Catalog is a dark irresistible hip-hop orgy. Right from the hands and eyes of other people, hijacking their own device to give me very special views and intimate situations. Doug Rickard

VERLAG KETTLER/D.A.P.
Doug Rickard: N.A.
Text by Z. Redman. Poem by Ann Garlid.

For the last three years, photographer Doug Rickard has been immersed in YouTube videos uploaded by Americans from their cellphones. These videos, documenting a dizzying array of activities, from seemingly criminal or semilegal acts to comic antics, allowed Rickard to witness scenarios he otherwise would never have seen-"right from the hands and eyes of other people," he writes, "hijacking their own device to give me very special views and intimate situations." Reveling in this vicariousness, he found that he could be "riding in a car full of teens through Detroit at night with a camera phone hanging out the window … or witnessing, from their own lens, someone who is paying a drug addict to dance for a dollar to later get 'View,' 'Comments' and 'Likes' on YouTube." Rickard then selected and appropriated specific images by pausing the footage and advancing through it second by second. The resulting volume expands on his previous and critically lauded monograph A New American Picture, offering a darker and more dynamic portrait of America's urban underbelly, and engaging with themes of race, politics, technology, surveillance and our cultural shift toward an ever-present camera. Rickard explains the title: "[It] has always been 'N.A.,' coming for 'National Anthem' … it also could be interpreted to mean 'Not Applicable,' a common statistical check box on government forms here in the US, [or] 'North America.'" Visceral and intense, this volume offers an extraordinary inventory of America today.

Doug Rickard (born 1968) studied history and sociology at the University of California, San Diego. He is the founder of American Suburb X (www.americansuburbx.com) and These Americans (www.theseamericans.com), aggregating websites for essays on contemporary photography and historical photographic archives. His previous monograph, A New American Picture (2010, 2012), which offered a view of America through Google Street View, was widely acclaimed, and (in its first edition by White-Press, Helge Schlaghecke, 2010) was voted "best book" of 2010 by Photo-Eye magazine and is reproduced on the last spread of Phaidon's The Photobook Vol. III by Martin Parr and Gerry Badger.

PRAISE AND REVIEWS

TIME LightboxPhil Bicker
A crash course in found photography in the mobile age, artist Doug Rickard takes still frames from YouTube videos depicting semi-illegal and at times unsettling acts and repurposes them as still images, posing harsh and undeniable questions about private vs. public, photography vs. video and art vs. appropriation.

L'oeil de la PhotographieThe Editors
The resulting volume expands on his previous and critically lauded monograph, A New American Picture, offering a darker and more dynamic portrait of America's urban underbelly, and engaging with themes of race, politics, technology, surveillance and our speedy cultural shift toward an ever-present camera in the hand of everyone. Rickard explains the title: "[It] has always been 'N.A.,' an acronym of 'National Anthem' ... it also could be interpreted to mean 'Not Applicable,' a common statistical check box on government forms here in the US, [or] 'North America.'" Visceral and intense, this volume offers an extraordinary inventory of America today.

wmagazine.comFan Zhong
Like much of modern history, the Eric Garner decision will eventually be boiled down to a few memorable images—or in this case, unforgettable video footage taken by a bystander. The photographer Doug Rickard’s timely new book, N.A. (D.A.P.), is a catalogue of striking stills he took from hours of YouTube videos uploaded by amateurs in America’s urban underbellies. Some of the images seem criminal, some titillating, some ridiculous, some unbearably intimate. Seen together, they are vivid evidence of the nonstop surveillance culture in which we live. You might think that the police would’ve picked up on that by now.

American Suburb XOwen Campbell
Abandoned is the word typically deployed to describe these parts of America, yet the first premise of National Anthem is that the places shown are not, in fact, abandoned; they’re merely populated by people without agency, castaways from the middle and upper-class projects of narrative self-representation. The self-representations of the disenfranchised are scattered across mediums with low-publicity and low-barriers to entry, like YouTube, where they exist with a minimum of cross-reference and dialogue, connected by the whims of the algorithms that create the links between them. Rickard takes stills from YouTube, freezes them and rephotographs them. The result is remarkable, atmospheric street photography for the era where everything has already been photographed and selection rivals original documentation.

ArtinfoScott Indrisek
Access to the Internet is relentlessly marching across the global population, and (almost) everyone will have a computer in their hand at all times, at some point. The result is a massive volume of content that is then exponentially and endlessly growing. Richard Prince had his magazines and tear sheets to work from — artists now have a billion images, in addition to those magazines. Everything on the net is simply “material.” If you look at Tumblr, Instagram, and most of the social media apps, appropriation is becoming a de facto mode of expression, as people remix visual images over and over. Art is reflecting this, and it should. The challenge for artists is then to find a voice within an ocean of endless appropriation possibilities.

The Design Observer GroupJohn Foster
Not everyone can agree whether shooting images from Google Earth, and now, appropriating images from other people’s YouTube videos, constitutes art. At least one said his Google Earth images were not documentary photography, that it was no more than “an idea.” Call it what you will, Rickard’s work is unique.

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 11/19/2014
Doug Rickard: N.A.

Featured image is reproduced from N.A., photographer Doug Rickard's exceedingly dark—and all too representative—collection of stills from American YouTube smartphone videos. Time magazine's Krystal Grow writes, "Visual imagery uploaded online is transient at best, but for Rickard, they illustrate larger, darker issues of racism, class inequality and hypocrisy. As images continue to fall haphazardly into the ethers of the internet, Rickard is sifting through them, pulling from our collective virtual consciousness the angst, irony and at times outright aggressiveness we exhibit on quasi-public online forums, but prefer to ignore in the real world." continue to blog