Chapter II of the ongoing series Ian Talbot : Retrospective by British fine art photographer Ian Talbot.

Three Squares 01: Formal Concerns

© Ian Talbot

“Photography concentrates one’s eye on the superficial. For that reason it obscures the hidden life which glimmers through the outlines of things like a play of light and shade.”Franz Kafka

The premise of this image and the set from which it has been drawn is a simple one; square “distressed” mirror tiles on a field or background. I have called this series “Formal Concerns” because, with content being minimal, concerns of form, or formal arrangement of the given elements is practically all there is.

Of course, in one sense, what Kafka calls in the quote above, “…the outlines of things like a play of light and shade” is basically what any photograph amounts to. Naturally, with the addition of colour too if present… but not here obviously.

I won’t bore you with technical details except to say that I used a recently purchased “Lens Baby” for the shots; basically a cheap plastic lens on the end of a bendy tube which has the effect of distorting and smearing its already dubious optical qualities. In fact I only mention it because it was useful to “bend” the perfect squares and push the shapes out of their parallel perfection. Almost like painting with light and form. Almost…

I’ve selected this particular image here because it illustrates the point. Basically nothing could be simpler than three tiles in a row as here. To “lift” the image I manipulated the aforementioned “Lens Baby” to induce the bright line of edge reflection on the left.

Immediately I saw the first image I made of my own eye I knew that I could achieve something of the same sort of effect with my own image. There was no real great trick to it… a handheld camera and macro lens, all it required was to get the lighting, framing and angle right! It took a while…

So what does it all mean? Beats me…

Oh, and BTW, I have used the “Lens Baby” again precisely once since I made these images.

Ian Talbot

Text & image © Ian Talbot

• You can see the complete set at Ian Talbot’s website : Formal Concerns

Next week
Photogenic Drawing : The Natural Order

Link

• Chapter I – Ian Talbot: Retrospective – Right Eye : Fingering The Edge






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Morris Museum of Art, Augusta Georgia




Deep Sea: Drawings by William O. Golding
December 12, 2009 – March 14, 2010





Deep Sea: Drawings by William O. Golding, an exhibition of twenty-nine remarkable maritime drawings by self-taught African-American artist William O. Golding (1874–1943), opens to the public December 12, at the Morris Museum of Art. Shanghaied from the Savannah waterfront when he was eight years old, William O. Golding chronicled his travels world-wide through drawings that he created near the end of his life while a patient at the U.S. Marine Hospital in Savannah. Between 1932 and 1939, he executed approximately sixty drawings, literally drawn from his memories of the ships on which he sailed and the ports he visited around the globe.





William Golding





William Golding
Saluda Chasing Whales, North Cape Artic, 1939.
Pencil and crayon on paper.
© Morris Museum of Art, Augusta, Georgia








“Golding’s is a remarkable story of a remarkable life, most of which was spent as a merchant seaman at the very end of the Age of Sail. He traveled the world at a time when most Americans spent their entire lives within fifty miles of their place of birth, and he had the innate ability to share, with stylistic verve and wit, a life’s experience that was so rare and unusual as to be, for all practical purposes, unique,” said Kevin Grogan, director of the Morris Museum of Art.

Artist Biography

William O. Golding was likely born on January 15, 1874, but his future was determined on July 15, 1882. In a letter he wrote in 1932 to Margaret Stiles, the recreation director at the U.S. Marine Hospital in Savannah, Georgia, and a member of the Savannah Art Club, he recalled the day that he and his cousin were strolling along the wharf in Savannah. According to Golding, the two boys passed the ship Wandering Jew and overheard Captain William Potter ask his wife, Polly, to select one of the boys. She chose Golding, who was invited aboard; by the time he wanted to leave, the ship was already out at sea. He did not see his home again until a brief visit in 1904.

When he was in his fifties, Golding, whose nickname was “Deep Sea,” returned permanently to Savannah, when his declining health forced him to remain on land. During the 1930s he was a patient intermittently at the U.S. Marine Hospital, where he received treatment for a chronic lung condition. (The hospital, which accepted seamen, veterans, and government employees, recorded his birth date as January 15, 1874.) During his time at the hospital, Golding was befriended by Miss Margaret Stiles, the facility’s recreation director. She encouraged him to draw and supplied the necessary paper, pencils, and crayons that he used to create the works of art inspired by his peripatetic life. Stiles bought some of his finished drawings and arranged for the sale of others.

There are few details known of the forty-nine years that Golding spent at sea beyond those provided by the drawings themselves. By his own account, he sailed the Seven Seas on a variety of vessels—merchant ships, whalers, and yachts. His duties aboard ship and the length of time he was associated with each vessel remain unknown. When he was fifty-nine, Golding stated in a letter to his patron, Miss Stiles, that he still sailed in his dreams—he wrote, “now [I] only goes to sea in my sleep…”—and met his cronies (“other old shell backs”) to swap yarns.






William Golding





William Golding
Chefoo, China, 1939. Pencil and crayon on paper.
© Morris Museum of Art, Augusta, Georgia.








Golding executed all his drawings from memory. His sometimes fanciful drawings of ships are meticulously detailed, and they often include specific information regarding captains or ports of origin. Port cities often appear similar at first glance, but careful observation reveals that Golding included distinctive topographical characteristics of the land and architectural details of the cities themselves. Certain stylistic elements—including flags, buoys, lighthouses, smaller vessels, people, animals, and a sun with triangularly pointed rays beckoning from behind a cloud—appear frequently in Golding’s work. As he diligently recorded his life in his drawings, he seems to have recalled only the happiest of times. The weather is always favorable, and the people, animals, and vessels are busy, robust, and productive.

Golding stated that he had traveled the world, including visits to Africa, Asia, Australia, Central and South America, and Europe. He was adamant about drawing only the places and vessels that he knew personally and refused to draw Bali or Hawaii, since he had not seen either place.

Copying a technique found in marine prints, he carefully colored in a frame and a nameplate (sometimes complete with drawn screw heads) at the bottom center of the work.

Information concerning Golding’s final years is also scarce. He is listed as a resident of Savannah with his wife, Josephine, in the 1940 city directory. He died there on August 25, 1943.

Although it is not known now how Stiles exhibited Golding’s drawings, several exhibitions of his work were mounted after his death. His drawings were included in the landmark exhibition Missing Pieces: Georgia Folk Art, 1770-1976, which traveled from the Atlanta History Center to the Telfair Museum of Art in Savannah to the Columbus (Georgia) Museum. In 2000, the Telfair Museum of Art organized a retrospective exhibition, Hard Knocks, Hardship, and a Lot of Experience: The Maritime Art of William O. Golding, and the Morris Museum of Art in Augusta exhibited his work the following year in Maritime Memories. Golding’s work is found in the permanent collections of the Georgia Museum of Art in Athens and the Morris Museum of Art, which holds thirty of his drawings—nearly half his total output.

[Klacsmann, Karen Towers, The New Georgia Encyclopedia, 2008.]






Courtesy The Morris Museum of Art
Images © Morris Museum of Art




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]]> http://eaobjets.wordpress.com/2009/12/03/william-o-golding/feed/ 0 Stampfli & Turci http://eaobjets.wordpress.com/2009/11/26/ian-talbot-2/ http://eaobjets.wordpress.com/2009/11/26/ian-talbot-2/#comments Thu, 26 Nov 2009 12:05:09 +0000 Stampfli & Turci http://eaobjets.wordpress.com/?p=9924 ]]>









Stampfli & Turci are very pleased to present a new series entitled “Retrospective”, by British fine art photographer Ian Talbot, in which he looks back at his previous work.

With quotes from Johns, W.H.Fox Talbot, Sugimoto, Sudek, Armani, Kafka … punctuating the chapters, this retrospective offers a privileged glimpse into the personal centers of the creative process of this distinguished artist.







Right Eye : Fingering The Edge







© Ian Talbot




“Seeing a thing can sometimes trigger the mind to make another thing” Jasper Johns, 1982





This image is a part of an extended self portrait project.

On the surface it is “just” a more or less moodily lit close up of my right eye. However, on closer examination and with a small effort of will to see it as being my LEFT eye instead, it takes on an altogether different appearance… animal like and disturbing. Of course, in the context of being a “self portrait” one could think that the image is intended to express an animal or sinister side to one’s nature. That may well be a possible “effect” but the intent and thinking behind this image was somewhat more prosaic, albeit more complex and layered in meaning.

For some time I had been studying intensely the work of Jasper Johns for a projected series of works some loosely, others more tightly, based on the motifs and concerns of his later pieces. So when it came to embarking on my “self portrait” project Johns was still very much on my mind. In 1989 he executed a curious work entitled “Montez Singing” in which he used a device, largely derived from his reading of certain works by Picasso, of allowing the features of the face to float freely, as it were, within the confines of his canvas. The ensuing result was lips, eyes etc, coming to rest at or near the edges of the canvas with seemingly no relation to the face as a complete entity. It was this canvas that first sparked a thought to isolate just one eye in a close up self portrait of my own.

Previous to the “Montez” canvas Johns had executed the piece “Cups 4 Picasso”, a 1972 lithograph which was Johns’s contribution to a portfolio honouring Picasso’s ninetieth birthday. In this work Johns had used the device of the famous “ambiguous figure” of the goblet that can also (or rather alternatively) be seen as two faces at will, as it were. The use of the term “at will” is true but ambiguous as once one has settled on seeing it one way it requires an effort of will to “see” the alternative view.

Immediately I saw the first image I made of my own eye I knew that I could achieve something of the same sort of effect with my own image. There was no real great trick to it… a handheld camera and macro lens, all it required was to get the lighting, framing and angle right! It took a while…

As a sort of incidental “by the way”, in actual fact the resulting image (and this has been confirmed by quite a few viewers) has a slightly greater tendency to be read at first sight as of a left eye, the “disturbing” reading if you like. The simple device of giving it the correct title of “Right Eye”, however, effectively sets up the duality or oscillation of the possible interpretations.

Ian Talbot

Text & image © Ian Talbot




• You can see the complete set at Ian Talbot’s website : Fingering The Edge :Identikit




Next week
Three Squares 01 : Formal Concerns







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]]> http://eaobjets.wordpress.com/2009/11/26/ian-talbot-2/feed/ 2 Stampfli & Turci http://eaobjets.wordpress.com/2009/11/20/bauhaus/ http://eaobjets.wordpress.com/2009/11/20/bauhaus/#comments Fri, 20 Nov 2009 12:17:59 +0000 Stampfli & Turci http://eaobjets.wordpress.com/?p=9908 ]]>








The Museum of Modern Art MoMA, New York

The Joan and Preston Robert Tisch Gallery, sixth floor



Bauhaus 1919–1933: Workshops for Modernity
November 8, 2009 > January 25, 2010





The Museum of Modern Art presents Bauhaus 1919–1933: Workshops for Modernity from November 8, 2009, to January 25, 2010. The Bauhaus school in Germany—the most famous and influential school of avant-garde art in the twentieth century—brought together artists, architects, and designers in an extraordinary conversation about the nature of art in the modern age.







Oskar Schlemmer





Oskar Schlemmer
Bauhaus Stairway, 1932
63 7/8 x 45″ (162.3 x 114.3 cm)
© The Museum of Modern Art, New York. Gift of Philip Johnson








Aiming to rethink the very form of contemporary life, the students and faculty of the Bauhaus made the school the venue for a dazzling array of experiments in the visual arts that had a transformative effect on the 1920s and 1930s. The effects are still felt in our contemporary visual world. The exhibition brings together over 400 works that reflect the extraordinarily broad range of the school’s production, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting, and sculpture. It includes works by famous faculty members and well-known students including Anni Albers, Josef Albers, Herbert Bayer, Marianne Brandt, Marcel Breuer, Lyonel Feininger, Walter Gropius, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lucia Moholy, Lilly Reich, Oskar Schlemmer, and Gunta Stölzl, as well as less well-known, but equally innovative, artists.

Bauhaus 1919–1933: Workshops for Modernity opens 80 years after the founding of MoMA, and 90 years after the establishment of the Bauhaus. It brings together a rich group of approximately 150 rarely seen works of art from the three German Bauhaus collections—Bauhaus-Archiv Berlin, Stiftung Bauhaus Dessau, and Klassik Stiftung Weimar—and over 80 works from MoMA’s own collection to form the foundation of the exhibition. In addition, major loans come from The Josef and Anni Albers Foundation; the Centre Pompidou, Musée national d’art moderne/Centre de création industrielle; the Harvard Art Museum/Busch-Reisinger Museum; The Metropolitan Museum of Art; and numerous other public and private collections in the United States and Europe.

In popular discussion, the Bauhaus is often used as shorthand for a timeless style of international modernism. In contrast, Bauhaus 1919–1933: Workshops for Modernit looks at the Bauhaus as a radically new school deeply in tune with its historical moment from 1919 to 1933. These were the exact years of the tumultuous tenure of the Weimar Republic. The school was led by three different directors—Walter Gropius (1919–1928), Hannes Meyer (1928–1930), and Ludwig Mies van der Rohe (1930–1933)—each one of the 20th century’s most important architectural minds, but each quite distinct in outlook and philosophy.






Herbert Bayer





Herbert Bayer
Design for a multimedia building. 1924
Gouache, cut-and-pasted photomechanical elements, charcoal, ink, and pencil on paper.
21 1/2 x 18 7/16″ (54.6 x 46.8 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of the artist
Photo: Imaging Department © President and Fellows of Harvard College
© 2009 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn


Walter Gropius





Walter Gropius
Törten housing estate, Dessau. 1926–28
Row houses, isometric. 1926–28
Ink, spatter paint, and gouache, on paperboard. 34 15/16 x 42 1/4” (88.8 x 107.3 cm)
Harvard Art Museum, Busch-Reisinger Museum. Gift of Walter Gropius
Photo: Katya Kallsen © President and Fellows of Harvard College
© 2009 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn








The school also occupied homes in three cities with distinct cultural and political climates: founded in 1919 in Weimar, the city of Goethe and Schiller, the school was later forced by local political opposition to depart for the industrialized city of Dessau in 1925, where it moved into the internationally acclaimed buildings Gropius designed for the school. In 1932, after the National Socialist-dominated local government closed the school in Dessau, a small core of students and faculty tried to hold on in an abandoned telephone factory in Berlin, but the institution was closed in less than a year.

The exhibition is organized in loose chronological order, with sections dedicated to the Weimar, Dessau, and Berlin years. This historical grounding demonstrates the degree to which the school functioned as a cultural think tank for trying times; its diverse faculty of prominent artists, designs, and architecture engaged in a 14-year conversation about the nature of art in the age of technology, industrial production, and global communication.

The exhibition installation focuses on the productive interrelations among diverse mediums, mixing works from the school’s different workshops to trace formal and conceptual ideas as they manifest in objects made of different materials and for different purposes. The focus on cross-pollination makes the show pertinent as a re-evaluation of the Bauhaus in its time, with resonance for our own. The color palette used in the exhibition comes from those that Gropius used in houses he designed for himself and the Bauhaus masters in Dessau in 1925. Along with the standard Bauhaus colors of white, black, and gray, unexpected colors such as gold, pink, and tangerine are used.






Erich Mrozek





Erich Mrozek
Design for a poster for Internationale Hygiene Austellung (International hygiene exhibition), Dresden. 1930
Gouache on paper. 16 1/2 x 23 3/8″ (41.9 x 59.4 cm)
Collection Merrill C. Berman. Photo: Jim Frank
© All rights reserved


Marcel Breuer





Marcel Breuer
Wassily Chair, 1927 28
28 1/4 x 30 3/4 x 28″ (71.8 x 78.1 x 71.1 cm)
©The Museum of Modern Art, New York. Gift of Herbert Bayer








A full range of historical work is presented in the exhibition, including such Bauhaus icons as Marcel Breuer’s tubular steel furniture and László Moholy-Nagy’s oblique angle photographs, as well as works that counter expectations, like Lothar Schreyer’s design for a coffin (1920) or Kurt Kranz’s project for an abstract cinema (c. 1930).

Among the many other objects in the exhibition are rare textiles by Anni Albers woven in the Bauhaus period (most seen today are rewoven later) and others by Gunta Stölzl; important paintings by Vasily Kandinsky (including On White II and Black Form, both from 1923), Paul Klee (such as Fire in the Evening and Highway and Byroads, both from 1929), and Oskar Schlemmer (Bauhaus Stairway, from 1932); graphic designs by Herbert Bayer and Joost Schmidt; a superb range of photographs, including a selection of Lucia Moholy’s close-up photographic portraits; stained glass windows by Josef Albers; a tea set by Marianne Brandt; and marionettes by Kurt Schmidt from the 1923 Bauhaus production of The Adventures of the Little Hunchback directed by Schlemmer.

Also included is Marcel Breuer’s ―African‖ Chair (1921), created in collaboration with the weaver Gunta Stölzl. Made of painted wood with a colorful woven textile, this chair embodies the spirit of the early Bauhaus in its romantic experimentalism. The chair was presumed lost for the past 80 years—the only documentation available was a black-and-white photograph—until 2004, when its owners offered the chair to the Bauhaus-Archiv in Berlin. This is the chair’s first appearance outside of Germany.






Paul Klee





Paul Klee
Fire in the Evening, 1929
13 3/8 x 13 1/4″ (33.8 x 33.3 cm)
The Museum of Modern Art, New York. Mr. and Mrs. Joachim Jean Aberbach Fund
© 2009 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn


Marcel Breuer





Marcel Breuer with textile by Gunta Stölzl
“African” or “Romantic” chair. 1921
Oak and cherrywood painted with water-soluble color, and brocade of gold, hemp, wool, cotton, silk, and other fabric threads, interwoven by various techniques with twined hemp ground.
70 5/8 x 25 9/16 x 26 7/16″ (179.4 x 65 x 67.1 cm)
© Bauhaus-Archiv Berlin. Acquired with funds provided by Ernst von Siemens Kunststiftung. Photo: Hartwig Klappert








This exhibition was organized in cooperation with Bauhaus-Archiv/Museum für Gestaltung, Berlin; Stiftung Bauhaus Dessau; Klassik Stiftung Weimar; and the German Federal Cultural Foundation. A version of the show was presented at Martin-Gropius-Bau in Berlin from July 22 to October 4, 2009. The New York and Berlin exhibitions share a core group of loans, but have distinct curatorial perspectives.





Courtesy The Museum of Modern Art
Images © Their respective owners. All rights reserved




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]]> http://eaobjets.wordpress.com/2009/11/20/bauhaus/feed/ 1 Stampfli & Turci http://eaobjets.wordpress.com/2009/11/19/annie-leibovitz-2/ http://eaobjets.wordpress.com/2009/11/19/annie-leibovitz-2/#comments Thu, 19 Nov 2009 11:02:05 +0000 Stampfli & Turci http://eaobjets.wordpress.com/?p=9899 ]]>







Kunst Haus Wien – Museum Hundertwasser



Annie Leibovitz : A Photographer’s Life 1990 – 2005
30 October 2009 – 31 January 2010





The exhibition “Annie Leibovitz −A Photographer’s Life 1990−2005″ at KUNST HAUS WIEN offers an unusual glimpse of the oeuvre of one of the best-known portrait photographers of our time. In addition to her portraits of famous personages, which have long since become icons of photographic art, the more than 150 works on display include photographs from Leibovitz’s private life that have never been exhibited before. The result is a unique chronology, a composite of family album, diary and assignment work. The exhibition was organised by the Brooklyn Museum, New York and is being sponsored by American Express.







Annie Leibovitz





Annie Leibovitz
Mikhail Baryshnikov and Rob Besserer, Cumberland Island, Georgia, 1990
Photograph © Annie Leibovitz
From Annie Leibovitz: A Photographer’s Life, 1990 – 2005








Annie Leibovitz’s photographs for magazines have chronicled American popular culture since the 1970s. Accordingly, her world-famous portraits of artists and politicians form an important part of the exhibition: Mikhail Baryshnikov on the shore of Long Island, William S. Burroughs in Kansas, a heavily pregnant Demi Moore, Bill Clinton in the Oval Office, portraits of Agnes Martin, Mick Jagger, Mathew Barney, Chuck Close, Robert de Niro and Scarlett Johansson.

Annie Leibovitz was born in 1949 in Westport, Connecticut. Today she lives in New York with her daughters Sarah, Susan und Samuelle. Numerous photo series show scenes from the photographer’s private life: Her parents and her yearly growing circle of relatives are featured in sequences taken during family gatherings and jaunts to the seaside. The births of her three daughters appear alongside the illness and death of Leibovitz’s father. Photographs of travels to Venice, Berlin, Kyoto and Cairo focus on Leibovitz’s family and close friends. These highly personal works, which have the character of candid snapshots, contrast biographically and artistically with lesser known landscape photography by Annie Leibovitz, for example in Monument Valley in the USA or Wadi Rum in the Jordanian desert, and reportages such as the one of the siege of Sarajevo.

The photographer sees her work, which has been displayed in numerous museums throughout the world, as a unified whole: “I don’t have two lives,” Leibovitz says. “This is one life, and the personal pictures and the assignment work are all part of it.” The exhibition can be read both as a very personal, even intimate chronology of one of the most celebrated photographers of our time and as the story of her development. Leibovitz herself says: “I have no single favourite photograph. What means the most to me is my work as a whole.”

Franz Patay, Director of KUNST HAUS WIEN, points out the longtime connections between Annie Leibovitz and KUNST HAUS WIEN: “This exhibition follows up on a presentation of works by Annie Leibovitz from the years 1970 to 1990 that was shown at KUNST HAUS WIEN in 1993. We are happy to enjoy such continuity in our cooperation, as a consequence of which we, as the only venue in Central Europe, are privileged to present this important exhibition.”





Courtesy Kunsthaus Wien – Museum Hundertwasser
Photograph © Annie Leibovitz




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Kunst Haus Wien – Museum Hundertwasser



Annie Leibovitz : A Photographer’s Life 1990 – 2005
30. Oktober 2009 – 31. Jänner 2010





Mit der Ausstellung “Annie Leibovitz – A Photographer’s Life 1990 –2005″ bietet das KUNST HAUS WIEN einen außergewöhnlichen Blick auf das Oeuvre einer der bekanntesten Porträtfotografinnen unserer Zeit. Die mehr als 150 Werke umfassende Ausstellung fügt erstmals unbekannte Fotos aus Leibovitz’ Privatleben mit ihren längst zu Ikonen gewordenen Porträts berühmter Personen zu einer Chronologie aus Familienalbum, Tagebuch und Werkschau professioneller Auftragsarbeiten zusammen. Die Ausstellung wurde vom Brooklyn Museum, New York, organisiert und von American Express als Sponsor unterstützt.







Annie Leibovitz





Annie Leibovitz
Mikhail Baryshnikov and Rob Besserer, Cumberland Island, Georgia, 1990
Photograph © Annie Leibovitz
From Annie Leibovitz: A Photographer’s Life, 1990 – 2005








Seit den 1970er-Jahren können Leibovitz’ fotografische Arbeiten für Magazine als Chronik der amerikanische Populärkultur gelten. Entsprechend bilden ihre weltbekannten Porträts von Künstlern und Politikern einen wesentlichen Bestandteil der Ausstellung: Michael Baryschnikow am Strand auf Long Island, William S. Burroughs in Kansas, die hochschwangere Demi Moore oder Bill Clinton im Oval Office treffen auf Porträts von Agnes Martin, Mick Jagger, Matthew Barney, Chuck Close, Robert de Niro und Scarlett Johansson.

Annie Leibovitz wurde 1949 in Westport, Connecticut geboren, sie lebt heute mit ihren Töchtern Sarah, Susan und Samuelle in New York. Zahlreiche Fotoserien zeigen Szenen aus dem Privatleben der Fotografin: Ihren Eltern und der von Jahr zu Jahr wachsenden Verwandtschaft sind Sequenzen von Familienfesten und Ausflügen ans Meer gewidmet. Bilder von der Geburt ihrer Töchter stehen solchen von Krankheit und Tod von Leibovitz’ Vater gegenüber. Fotografien von gemeinsamen Reisen nach Venedig, Berlin, Kyoto oder Kairo bilden eine Klammer um die Fotos ihrer Familie und ihrer engen Freunde. Diese höchst privaten Werke mit dem Charakter zufälliger Momentaufnahmen berühren sich biografisch und gestalterisch mit weniger bekannter Landschaftsfotografie von Annie Leibovitz etwa im Monument Valley in den USA oder Wadi Rum in der Wüste Jordaniens und Reportagen wie etwa jener von der Belagerung von Sarajewo.

Ihr in vielen Museen der Welt gezeigtes Werk bildet für die Fotografin eine Einheit: “Ich habe keine zwei Leben”, sagt Annie Leibovitz, “dies ist ein Leben, die persönlichen Bilder und die Auftragsarbeiten sind alle Teil davon.” Die Ausstellung lässt sich als ihre sehr persönliche, ja intime Chronologie ebenso betrachten, wie als Geschichte ihrer Entwicklung.als Fotografin.Sie stellt dazu fest: “Ich habe kein einzelnes Lieblingsfoto. Am meisten bedeutet mir mein Gesamtwerk.”

Der Direktor des KUNST HAUS WIEN, Franz Patay, weist auf die weit zurückreichenden Verbindungen zwischen Annie Leibovitz und dem KUNST HAUS WIEN hin: “Mit dieser Ausstellung knüpfen wir an eine Präsentation der Arbeiten von Annie Leibovitz aus den Jahren 1970 bis 1990 an, die 1993 im KUNST HAUS WIEN zu sehen war. Wir freuen uns über solche Kontinuität in der Zusammenarbeit, die es uns ermöglicht, diese wichtige Werkschau als einzige Station in Mitteleuropa zu präsentieren.”





Courtesy Kunsthaus Wien – Museum Hundertwasser
Photograph © Annie Leibovitz




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Albertina, Wien



Impressionismus
Wie das Licht auf die Leinwand kam
11.09. 2009 > 10.01. 2010





In der Herbst-Sonderausstellung Impressionismus – Wie das Licht auf die Leinwand kam präsentiert die Albertina vom 11. September 2009 bis 10. Januar 2010 mit Hauptwerken von Caillebotte, Cézanne, Courbet, Degas, Gauguin, Manet, Monet, Pissarro, Renoir, Signac, Sisley, Toulouse-Lautrec und van Gogh die umfangreichste Schau, die zu diesem Thema je im deutschsprachigen Raum gezeigt wurde.







Paul Cézanne





Paul Cézanne
Porträt eines Bauern, 1905/06
© Museo Thyssen-Bornemisza, Madrid








Rund 200 Exponate – davon 125 Gemälde und 56 originale Künstlerobjekte, Malutensilien und -behelfe – eröffnen dem Besucher die faszinierende Welt des französischen Impressionismus, von seinen Wurzeln der Freilichtmalerei bis hin zu den optischen Farbexperimenten des Pointillismus und Postimpressionismus.

Diese außergewöhnliche Schau ermöglicht einen neuen Blick auf die Entstehungsgeschichte, die Techniken und Malweisen des Impressionismus. Sie gibt Antworten auf Fragen wie „Was ist eine Impression?“, „Drinnen oder draußen?“ oder „Wann ist ein Bild fertig?“ und erzählt die Geschichte des Impressionismus anhand beispielhafter Werke und Künstlerobjekte aus neuer Sicht.

75 Gemälde – Landschaften, Gartenszenen, Bilder des großstädtischen Paris mit seinen Cafés und Vergnügungsetablissements – kommen aus der Sammlung des Wallraf-Richartz-Museums & Foundation Corboud, Köln. Weitere hochkarätige Leihgaben stammen unter anderem aus dem Musée d’Orsay, Paris, dem Museo Thyssen-Bornemisza, Madrid, der Národní galerie, Prag, dem Szépművészeti Múzeum, Budapest, dem Van Gogh Museum, Amsterdam, sowie aus dem Bestand der Albertina, Sammlung Batliner.

Zahlreiche originale Künstlerobjekte, Malutensilien und -behelfe bringen dem Publikum den Alltag eines Künstlers, die Annäherung an sein Motiv sowie die Vorbereitung und Ausführung eines Gemäldes näher. Unter anderem werden in der Ausstellung Vincent van Goghs Perspektivrahmen und Palette, die Palette Georges Seurats sowie ein Ballettschuh aus dem Besitz Edgar Degas’ zu sehen sein.






Edgar Degas





Edgar Degas
Zimmer auf Schloss Ménil-Hubert, 1892
Privatsammlung, Schweiz
© Alle Rechte vorbehalten


Paul Cézanne





Paul Gauguin
Ein bretonischer Junge, 1889
Wallraf-Richartz-Museum & Fondation Corboud, Köln
© RBA, Köln








Didaktisches Material wie eine Installation zur Erklärung optischer Phänomene oder Röntgenund Infrarotaufnahmen machen die Entstehung impressionistischer Werke im wahrsten Sinn des Wortes greifbar. Maltechnologische Errungenschaften, wie die Einführung flacher Borstenpinsel, die Erfindung der Tubenfarbe oder die Entwicklung vorgrundierter, gebrauchsfertiger Leinwände, werden dem Besucher in der Schau nähergebracht. Gleichzeitig wird erklärt, wie diese neuen Möglichkeiten Malweise und Mobilität der Impressionisten sowie deren technische Ansprüche beeinflussten und ihnen dadurch neue Wege erschlossen.

„Den Impressionismus als wiederholt vermarktete Kunstrichtung, über die scheinbar schon alles gesagt und gezeigt wurde, spannend und facettenreich zu präsentieren ist heute fast schon selbst zur Kunst geworden“, erklärt Klaus Albrecht Schröder, Direktor der Albertina. „Wenn es uns dennoch gelungen ist, dann durch einen einzigartigen Blick hinter die Kulissen. Nämlich dadurch, dass wir auf der Basis des Forschungsprojekts Maltechnik des Impressionismus und Postimpressionismus [des Wallraf-Richartz-Museums, Köln] Kunsttechnologie und Kunstgeschichte auf eine gleichberechtigte Stufe stellen.“





Courtesy Albertina, Wien
Bildmaterial © Die jeweiligen Eigentümer. Alle Rechte vorbehalten




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