HISTORY of PHOTOGRAPHY, Part 2
Installation detail.
Nov 09, 2015 - Nov 25, 2015
The selection of works for this installation supports and extends the students’ discussion of artists and issues related to the History of Photography - Part 2 course being taught this semester by Niko Kallianiotis.
Issues such as the emergence of street photography in the early 70s is strongly evidenced in the black and white photographs by Mark Cohen. The use and manipulation of various materials and light in a studio environment is addressed through the works of Barbara Kasten, David Haxton, Robert Cumming, and Herwig Kempinger. Manipulation and collage of images to form a more complex statement is clearly revealed in the work by Sandy Skoglund, while in the photograph by Jane Hammond, the fact of the manipulation is intentionally concealed through the process, raising question regarding the truthfulness of the photograph.
The major work by Bernd and Hilla Becher provides for a discussion of what is involved in the development of a sustained long term project, and the issues that need to be addressed to maintain a consistent image view that, in their case, is meant to objectify the subject. In the case of the Bechers, it is also relevant to consider the influence they have had on generations of photographs that have come after them. We have also included the signature print by Chuck Close, Phil III, 1982 in order to examine the way photography has functioned to extend an artist's work into other media.
Photographs in this installation include: four black and white photographs by Mark Cohen, Boy in Pit, 1971, Girl Holding Popsicle, 1972, Twisting, 1976, and Girl Coming Out of Ocean, 1989; Bernd and Hilla Becher’s ’s Winding Towers, 1983; Hamish Fulton’s The Skylark and the Frog, 1986; Robert Cumming’s Red Perceives Only a Bulb in the Outline, 1979; Sandy Skoglund’s The Laws of Interior Design, 1986; Barbara Kasten’s Construct NYC – 8, 1983; David Haxton’s Untitled (266), 1983; Herwig Kempinger’s untitled, 1989; Harry Callahan’s Morocco, 1980; and Jane Hammond’s The Touch Up, 2012. In addition, three mailed post cards from Eleanor Antin’s 100 Boots, 1971-73 are included in one display case.
The installation of the works in this exhibition was carried out by the curator, Robert Schweitzer, along with the assistance of La’nae Charles and Victoria Marples, two of the interns working with The Maslow Collection this semester.
Four black and white photographs by Mark Cohen.
L to R: Bernd and Hilla Becher’s ’s Winding Towers, and Hamish Fulton’s The Skylark and the Frog.
Eleanor Antin’s 100 Boots, 1971-73.
Installation detail.
Morocco by Harry Callahan, 1980.
L to R: The Touch Up by Jane Hammond and The Laws of Interior Design by Sandy Skoglund.
Installation detail.
L to R: The Laws of Interior Design by Sandy Skoglund; Robert Cumming’s Red Perceives Only a Bulb in the Outline; and Barbara Kasten’s Construct NYC – 8.
L to R: Barbara Kasten’s Construct NYC – 8; David Haxton’s Untitled (266); and Herwig Kempinger’s untitled.
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