I caught up with Pink Floyd’s Moonhead, their live improv broadcast by BBC’s Apollo 11–themed episode of Omnibus. The Atlantic published a closer look at this performance this week. And like Pink Floyd, Robert Rauschenberg was invited to be part of the Apollo 11 celebrations.
The Guardian considers the photography that came back from the mission (and others) as art which takes us to Geoffrey Batchen’s exhibition in Wellington this year, Live from the Moon.
Another exhibition here looks at the history of mapping the moon.
On Saturday I judged the 12th edition of the Estuary Art and Ecology Prize at Uxbridge Art and Culture’s Malcolm Smith Gallery. More info on the prize can be found here and some local press coverage here. Here are the four winning works from the finalists in the exhibition. More images are available here from artsdiary.
A new acquisition for my collection, this 1928 Martin Hürlimann photograph of the Chinese fishing nets at Fort Kochin, leads to news from the Indian Express on the Keralan government’s decision to fund the restoration of the nets, a key tourist driver for the state.
Museum of New Zealand Te Papa Tongarewa curator of historical photography Lissa Mitchell writes on Louisa Herrmann, owner of the Herrmann Photography Studio, one of Wellington’s most successful studios of the late 19th and early 20th centuries.
“3Essays on Imagereality is the photographic picaresque: a world of image-multiplicity, failed theory and a 24-hours reflecting on the image, the truth and the knuckleball within the walls of the museum.” – Paul Brobbel, Len Lye Curator at the Govett – Brewster Art Gallery
Haunted by photography and fueled by failure, Carlos Spencer-Bayard is an insomniac anythingarian boozehound, who is known to his friends and family simply as “Ghost.” A keen observer of the strangemotion of his own mind, he spends his days engrossed in the daily demands of parenting (i.e. liontaming), but at night, when the noose of nightmadness tightens and the turtle of thought is flipped onto its back, he wrestles with Imagereality. Understanding Imagereality is no easy task, as images are everywhere; and wherever images go, imagetheory must follow. Thus an imagethinker is a scholar of the cultural kitchen sink: nothing is verboten. Shakespeare’s Sonnets and potential self- slaughter, Gnostic intoxication, Gérard Depardieu’s inexplicable sex appeal, Talkreality (also known as Squawkreality), drag queens, author photos, absinthe, and endlessnessnessness: everything is permissible under Imagereality’s spectacular perspectival sun.
Just back from Melbourne after a quick two-day trip to attend the opening of Antipodean Emanations: Cameraless Photographyfrom Australia and New Zealand at Monash Gallery of Art. Curated by the MGA, the exhibition takes over from the Govett-Brewster Art Gallery’s 2016 exhibition Emanations: The Art of the Cameraless Photograph (curated by Geoffrey Batchen) and considers cameraless photography from this part of the world in more detail.
You can see from the image above that Len Lye is a strong feature, as he did with the earlier Emanations (serving as the starting point for the whole project). The MGA’s exhibition casts a wider net for artists working with cameraless photography from Australia and New Zealand, including many not seen in the earlier exhibition and many others represented by different or more examples of their work. A few examples can be seen here. I’ll write in more detail on this in a separate post. I’d expect a fair few reviews of the exhibition to turn up in coming months. Here’s the first, from Anna Dunnill at Art Guide Australia.
The publication by Geoffrey Batchen,Emanations: The Art of the Cameraless Photograph continues to accompany the exhibition is its present form. A recent review has been published by CAA from Australian reviewer Natalya Hughes.
While I was in Melbourne I was able to make the last days of Runes at the Centre for Contemporary Photography. Curated by Justine Varga and Geoffrey Batchen, this was great to see alongside Emanations at the MGA as it included a few works from the Brewster’s earlier Emanations. Irrespective of that connection, this small exhibition was a fascinating group of photographs and the notion of readability.
I also had a little time to see the NGV Triennial which recently received a miserable review from the Australian, similar in tone to recent articles in the UK from Tiffany Jenkins. A more positive review is here from the Guardian.
PAE WHITE, ‘Untitled’, 2017
TEAMLAB, ‘Moving Creates Vortices and Vortices Create Movement’, 2017
This week the Adam Art Gallery at Victoria University (Wellington) opened the exhibition Apparitions: the photograph and its image (14 October – 17 December 2017). Curated by Geoffrey Batchen and Victoria University art history honours students, the exhibition considers the reproducibility and circulation of photographic images during the early years of the medium. What you see on display in Apparitions is a diffuse reading of the photograph through the 19th century, largely through engraving and lithographs produced after a photographic source.
The first objects you seen in the exhibition are a series of 19th century copies of the Portland Vase by Josiah Wedgwood and Sons Ltd. It’s a clever conceit. Thomas Wedgwood (1771-1805), one of Josiah’s four sons, was an early pioneer of photography and his father’s efforts to copy the famed object demonstrate the industry and commerce that was similarly involved in the development of photography.
One of the key works in Apparitions is Noël Marie Paymal Lerebours’ publication Excursions daguerriennes: vues et monuments les plus remarquables du globe (1841-1864). Lerebours (1807-1873) was a Parisian optician involved in popularising the daguerreotype technique, reproducing images of monuments and landscapes from around the world made using this new technology. The unique nature of each daguerreotype image made them unsuitable for easy or large scale reproduction so Lerebours’ developed a technique of tracing the image from a daguerreotype onto paper for transfer to an engraving plate. Soliciting images from daguerreotypists, Lerebours was able to promote the exciting new view of the world captured by this new photographic technology in numerous volumes of the Excursions daguerriennes.
One photograph from my own collection was included in Apparitions, a 1840 view of Beirut by Frédéric Goupil-Fesquet (1806-1893) and appears in Excursions daguerriennes. This photograph is notable for several reasons. It is recognised as the first photograph to document Beirut and is one of the few photographs published by Lerebours to acknowledge the photographer as a author of the image.
Being so far removed from the localities of 19th photographic innovation, New Zealand is a difficult place in which to mount such an exhibition. However, loans from the Museum of New Zealand Te Papa Tongarewa, the National Library of New Zealand and Auckland Museum illustrate there is a surprising depth to New Zealand’s photography collecting. Batchen’s previous exhibition, Emanations: the art of the cameraless photograph, similarly brought together a wealth of photographs one wouldn’t expect to find so close at hand from Australasian collections, proving that New Zealand audiences can see some expertly produced exhibitions given the right attention and resourcing.
Dayanita Singh is interviewed here discussing her Pocket Museum publication, a miniature version of the Museum Bhavan exhibition published by Steidl.
Some listening for a change. Last month 95bFM broadcast an interview with Erika Balsom as part of their Artbank programme. Balsom is Senior Lecturer in Film Studies at King’s College London and was visiting New Zealand as part of the Govett-Brewster At Gallery’s International Film Curator in residence programme. Balsom covers her visit to New Zealand (and Australia) in this month’s Art Monthly magazine (unavailable online).
There’s a lot of talk around Alexander Calder lately, principally around he Whitney Museum’s exhibition, Calder: Hypermobility. This piece from Hyperallergic covers the performative aspect of Calder’s motor driven works in the Whitney show. The article includes several videos from the Whitney’s channel which lead me on the Calder Foundation’s own videos. Here’s Calder Foundation chairman and grandson of Calder, Alexander S. C. Rower, demonstrating motion in Calder’s work.
The other exciting news in the Calder world is Jed Perl’s new biography, an excerpt published here by the Smithsonian.
WYNDHAM LEWIS: A BATTERY SHELLED (1919)
The Imperial War Museum North’s Wyndham Lewis exhibition gets a review in the London Review of Books, reviewer Jon Day observing Lewis’ best work was his war paintings:
‘In fact, the pictures are still shocking: war gave Lewis a subject which was equal to his anger. He pays as much attention to the angle of a rack of shells as he does to the bodies of the men around them. Unlike some of his peers, he wasn’t interested in the dynamism of war – there are no explosions, his war paintings are strangely static. Nor did the war do much to strip him of the schoolboyish contrarianism of Blast. But it did give him a way of applying Vorticism to the real world, providing a context for what Read called ‘the geometry of fear’. Lewis’s work can still feel more modernist than any of his peers.’