Landscapes by Edward Chambre-Hardman

Open Eye Gallery – Liverpool

After coffee, we went back to the Open Eye gallery to see another exhibition upstairs in the Archive Gallery. this time, another OCA tutor, Keith W Roberts, introduced the work to us since he is presently working on a Ph D about Hardman, focusing not on his landscape work visible in the gallery but the thousands upon thousands of portraits that Hardman made.

Keith gave us a brief introduction to Hardman, a photographer who worked in Liverpool during the middle of the twentieth century, and whose house in Rodney Street is preserved as a working studio by the National Trust; the Trust’s information says … “Explore the contrasting sides of this house: the neat, professional, spacious business rooms and the cluttered, cramped living quarters of the renowned portrait photographer Edward Chambré Hardman and his wife Margaret. They lived and worked here for 40 years, keeping everything and changing nothing. The business focused on professional studio portraits but their real love was for vivid landscape images. Some of their huge collection of photographs is on display in the house, along with the equipment they used to take and develop the iconic images.”

Hardman seems to have been quite an astute individual and was a Fellow of the Royal Photographic Society; Keith hands us a copy of a talk delivered by Hardman about obtaining “Exhibition Quality” prints which seems a bit ironic since I am not the only one to find the prints on show as somewhat lacklustre; there are no bright highlights for instance rather a certain dullness pervades. Hardman recognised Alvin Langford Coburn as an influence and there is a similarity in style but at the time Hardman was working the technology of photography had increased in quality allowing Ansel Adams to make prints of much better quality. In his article, Hardman quotes a photographer called Ward Muir who encouraged photographers to “make your photographs sing!” and although the compositions of these images are pleasant, the photographs do not personally inspire me.

photographic prints by E.C.Hardman

In his article, Hardman writes about pictorialism and points out that “Some critics – those belong to the world of journalism – would have you believe that it is almost a crime to produce a pictorial photograph. The highest praise goes to semi-documentary photographs showing life and action – often a very slummy kind of life. One could sum it up as a glorification of the instantaneous moment. Composition, balance, lighting, tone rendering, definition and all the other things which we pictorialists strive after, do not seem to matter in the least. In fact, the photographer’s personality must not intrude. It is subject-interest only which counts.” (from The Photographic Journal, Volume XCV, 1955)

Peter Haveland talks to us about this exhibition. He considers the subject matter as unrepresentative of the age in which the photographs were made. Hardman photographs not what was there rather certain views that he wants to make a picture of. For instance, a hay rick is included as what would appear to be the subject of the photograph yet apparently Hardman made the image because of the cloud formation in the sky behind; there is a similar image of a copse on a hill where clouds engulf the small wood and spiral up into the sky. To emphasise his point, Peter remarks that these images were not made of the 1950’s but of another time, they are not honest representations.

Peter addresses OCA students in the archive gallery – Keith, bottom left

At this point, a woman storms through our group towards the exit exclaiming, “You don’t know what you are talking about! I knew Hardman, he was a friend, and I can assure you all his images were made by him in his time!” I call after her, suggesting she might like to join the debate but she replies that she has an appointment. She has misunderstood Peter by taking his remarks literally which is surely a mistake – if I took Peter that seriously, I would no longer be studying at the OCA but would have “exploded” and gone off on my own way. Peter has a reputation for challenging people!

For instance, Peter makes a reference to the Ansel Adams School of Anal Retentiveness which is amusing but not an easy pill to swallow. Personally, I feel I learnt a lot from the basics of the Zone System since it gives a grounding in the understanding of the photograph which many critics of the medium seem to lack. I can’t help that Hardman’s work would be a lot more appealing if he had understood Ansel Adams a bit more. However, we live in an age where the screen is taking over from the print and although the latter is not redundant, most photographs are viewed on screens.

The fact is though that we all photograph things to which we are attracted since photography is a selective process. Hence, the view expressed through our images is bound to be slanted and can never be total.

There is a good review of Hardman’s work to be found on the internet that was published in The Independent while a blog called That’s How the Light Gets In has accounts not just of this exhibition but also other work of Harman such as his book, Life through a lens.

Out of Focus : a visit to the Saatchi Gallery

“Springs” outside the Saatchi Gallery

“Images are snatched from the ether; they are serial, unsequential, layered. They spill out of frames and art turned into objects. Ambiguity is prized.” William A Ewing quoted from the catalogue of the Out of Focus exhibition

Another OCA meeting, this time at the Saatchi Gallery where I have never been before although the name Saatchi is famous; I once worked with someone from Saatchi on a project which in the end came to nothing perhaps because people did not seem to like this person in whom they had invested some kind of moral authority that they also wanted to dismiss. Chelsea conjures up not just The King’s Road but some of the artists who once lived around there such as Augustus John who apparently once tried to seduce my mother – he was no longer in his prime then!

Sloane Square and the beginning of The King’s Road, Chelsea

Make the mercifully short walk from Sloane Square Underground to the gallery in pouring rain

It is suggested that we read a review of the exhibition by Sean O’Hagan in The Guardian newspaper. It is not very complimentary, describing the exhibition as a big sprawling mess yet it also recognises it as a significant exhibition of contemporary photographic art with a number of key players and obviously it exerts a fascination for O’Hagan. He mentions that the book accompanying the exhibition by William A Ewing is helpful and I have picked out a few quotes such as the following … “I believe that we are missing something essential if we don’t acknowledge that photography covers a much broader field than what is found on museum or gallery walls.” The reviewer from The Times wrote … “I left feeling rather perplexed — the variety is astonishing but it feels uncurated. The catalogue suggests looking at this show through “an appropriate lens — a kaleidoscope”. It made my eyes go a bit funny.”

Entrance to the Saatchi Gallery

The OCA suggest we take one or two photographers whose work we like and look at them as a way to understand a little of what this exhibition is about; it is not easy to restrict oneself but Mitch Epstein interests me while I can not help be attracted by the work of Katy Grannan that features so prominently.

OCA CEO, Gareth Dent, whittles down the list of photographers to see

This exhibition is perhaps not easy to understand for the layman although there is nothing to stop the casual onlooker enjoying it unless they are rigorously stuck in the traditional view of what art should be. Ewing is helpful in deepening one’s view of what it might all be about writing that “the fields of photography overlap and interconnect in dynamic and complex ways” while OCA tutor Clive White echoes Ewing’s comment that photography is “a world, with continents, countries, extremely varied terrain, unsettled lands, over-populated areas, and boundaries that are vigorously contested” while he singles out one of these groups as Amateurs, described as “A savage folk, Amateurs know no history, nor follow any rules.”

From left to right, Gareth Dent, Sharon Boothroyd, Clive and Francesca White

I look around the Saatchi Gallery website and come across a page of links to videos of discussions that have taken place there recently. The most recent is entitled “Photography and the art world” (art world is actually spelt Art World, the capitals announcing it’s importance!?). I decide to watch this and end up making notes because the debate is not only lively but also an interesting reflection on contemporary photography and photography as a whole; it also turns out to be a good introduction to the Out of Focus exhibition.

The first speaker is Hannah Starkey, for whom photography gives freedom from the tyranny of words (being a dyslexic she seems to have trouble talking sometimes repeating words until she gets them right) who did a degree course in vocational photography. For her, it is the medium that most succinctly expresses the human condition which is why she loves photography. She works towards making a portrait that both sitter and photographer are happy with and says that consideration and observation are qualities of photography that she respects. She makes allegorical photos with layers of meaning. The following is a statement in her own words about her work which appears in the book Art Photography Now by Susan Bright in the section Narratives … “By carefully constructing my photographs and controlling all elements within the image, I can express to others how I view the world around me. Also, by collaborating with the people that I cast for my characters and working with them, I find out how others view this world … I then use this history, both cultural and personal, as the framework for the work.”

The next speaker is Susan Bright, the author of the book in which the above quote appears. As a writer about photography, she is concerned with the medium which she says is dogged with questions not so much about whether it is art or not but more exactly, what is it’s place in art ? In the introduction to her book Art Photography Now, she says … “Photography is constantly changing and hard to define. Its discursive and somewhat promiscuous nature has tended to confuse many people as to its status and value as an art form. The trouble is that it lends itself to many varied uses.” For instance, what is it’s role in auction houses, archives or agencies !? There is confusion about photography and about it’s purpose … “Meanings can slip and slide depending on context, and the fact that photography lacks any kind of unity and seems to have no intrinsic character … “; this is helpful in understanding what the exhibition is about.

She is particularly attracted by the work of Cindy Sherman about whom she writes “exclusively photographing herself and using the formulaic appearance of certain types of photographs, from the publicity shot to pornography, Sherman has continuously questioned the construction of feminity in contemporary society.” She was however, inspired initially by Ansel Adams, on seeing one of his “3 dimensional prints“. She mentions his “stylistic elegance” but does not include him in her book since he is no longer contemporary. Nevertheless, she talks about him in her introduction to the landscape section since along with Edward Weston, he “took American landscape photography to its formal conclusions.” Adams was a modernist who self-consciously and self-assuredly declared his work as art … “They dazzle and seduce with technical and sensual qualities that aesthetically idealise the landscape.”

Susan Bright chose photography as a medium to study and write about partly because it has a short history but actually she found it to have a very complex one; photography is many things … trade, value, intention !! There are so many photographers trying to make a living through art photography; one needs to learn the language of photography to be a photographer. It is no longer correct to say “We are all photographers now!”

Bright thinks we should celebrate the confusion surrounding photography, that the art world does not really get photography. There is a lot of freedom at the moment since what photography is has not been established … photography going through an identity crisis – a good practice would be to enjoy the confusion, it can allow one to do things one might not be otherwise able to. Of the confusion, she writes in her book that “in the acceptance of photography, new areas of confusion are emerging. Just as we think we are beginning to recognise the medium, or at least to characterise it, important technical changes see certainties slip through our fingers once again.” This however is not sounding the death knell of the medium but indicative of “vital elements that are important to its existence.” Photography has always confused people and probably will continue to do so.

It is an oversimplified idea that Black and White equals photography; colour equals art.

One might consider how many photographs one sees in a day !

The next speaker, some of whose work appears in the exhibition Out of Focus, is Mitch Epstein whose book American Power won the Pictet photo book award; he has worked as a photographer for 40 years. ALthough he does not appear in Susan Bright’s book Art Photography Now perhaps because of his somewhat modernist rather than post-modernist stance, he does exhibit regularly in galleries.

OCA student Ariadne, makes notes in front of an Epstein photograph

Epstein is not trying to defend photography since it does not need to be defended; he does however, talk at length about the position of photography in the art world where he says it tends to get short shrift since it is not fully understood being quite a young medium. There is a lot of written reflection on painting, centuries worth in fact, yet not merely so much on photography. Starting out as a photographer, he was helped by Szarkowski’s pioneering ideas on the unique nature of photography and its elusive meaning.

The art world sometimes denigrates representational photography believing it not to be imaginative and inventive enough since it is apparently just showing the real world as we already know it. However, it helps us discover things we would otherwise miss and to see the familiar anew, to see the extraordinary in the ordinary as in the work of Atget, beloved by the Surrealists. Photography as art accomplishes a convergence of mythmaking and memesis that is impossible in any other medium.

To see our actual world in a photograph, tricks us into recasting that world into something more meaningful and shocking; a subtle and deep effect! It is easy to overlook masters of straight photography particularly in the internet age which values speed. Furthermore, it is easier to see art in a constructed work such as painting, conceptual photography or where the artist’s imagination can be seen to have created something rather than in a representational photograph where the imagination of the artist is embedded. It is hard to see the art in a representational photograph because the artist has chosen to embed his imagination in an uninvented subject matter; the photograph itself is the invention! The art world forgets that an imaginative concept does not have to be overt in order to be an animating force in a work of art; art not a matter of flaunting the imagination rather imbedding it in the world one is describing.

Mitch Epstein mentions the silly definitions people make in order to divide and conquer. The opposite of straight photography is conceptual photography but one can not really separate the two; all photography is both straight and conceptual.The photographer should not need to shout loudly anymore than a playwright should do !!

Epstein considers his equipment as a painter might his brushes and paint; spends a lot of time composing, getting the cameras into exactly the right position for the light etc The photograph isn’t made until one brings something to it, something of one’s life experience. The picture is made when something inexplicable enters in. No photographer simply wanders around just snapping the world around him – need to set every mechanic and compositional element – still not made until one brings something to it while something of the inexplicable is also required. There is the vantage of light and frame, a need for research.

Art is the convergence of the right mechanical tools and the artist’s practiced intuition; it requires athleticism, resourcefulness, psychological resilience, the extra element that we can not control, what Walker-Evans called “an unapproachable thing”. It can’t really be named but the artist needs to be aware of it and ready to receive it; a fleeting thing!

Takes a lot of effort to make a fine so called straight photograph, something that art critics can miss all together. Would one consider someone like Lewis Baltz as just a snapper? He has been described as thus by one critic.

Epstein ends by saying there is no difference between old art and modern art just between good art and bad art !! Unfortunately, it seems “we humans can’t handle so much reality!?” is this the problem photography has !?

The final speaker is Geoff Dyer, a writer on photography who starts by bluffing the audience in an attempt to humour them which does work to a certain extent. He delivers a few quotes …

” real battle for recognition of pictorial photography is over !” (Camerawork 1906)

“Is photography an art?” asked Susan Sontag in 1962 according to her diaries; she also wrote “art is never a photograph!” Logically, one might ask whether art even art !? Nowadays, few question whether photography is an art .. except perhaps some photographers !? Photographers feel excluded as do Jazz musicians yet this is actually one way of trumpeting their achieved status, helpful for them to act so!

Steiglitz on Weston – “if he’d only forget trying to be an artist maybe he’d come close to being one!” Steiglitz according to Walker Evans was “a screaming aesthete who forced art into quotation marks and into unwanted earnestness”.

a photographer in a gallery of photographs

There is a danger now that art can force photographers not into earnestness but into knee jerk irony with a light conceptual gaze, a light conceptual reduction. There are problems with achieved respectability

Joel Sternfield referred to 1970’s colour photography as “the early Christian era of colour photography” ; not much chance of being accepted then if working in colour more likely to be “fed to the lions“! No institutional acceptance! Egglestone’s show at MOMA marked the turning point !

Some of best art has been produced in circumstances where it was largely believed to be anything but art while there is a tendency for artists to be accepted as photographers should they choose to work in that medium. The practice of blowing photographs up very big can be to make them look like art even if they are shit !!

GB Shaw said “He would willingly exchange every single painting of Christ on the cross for just one snapshot!” For GB, thats’ what photography has going for it, a reference often quoted by the photographer Philip Jones Griffiths. Geoff Dyer finishes his talk by reading out another two quotes. One is from the late MOMA director of photography, John Szarkowski who said that “Walker Evans’ work is rooted in the photography of the earlier past and constitutes affirmation of what has always been photography’s essential sense of purpose and aesthetic, the precise and lucid description of significant fact”

It is Lee Freidlander who regards photography as a generous medium since it accepts many different types. This final aside is perhaps a good introduction to the “Out of Focus” exhibition which contains work by some 39 artists from around the world whose work covers many different kinds of genre. The title of the exhibition, Out of Focus, appears to be a reference to this for photography has no homogeneity, no easy definition – it is composed of many continents. Gareth Dent who introduces the day says he can give no simple definition of the work we are going to see because it is too diverse, it presents a very broad view of photography.

The OCA group assemble outside for the study day

Before entering, I acquire a cheap version of the large-sized art catalogue; this contains reproductions of all the images in the exhibition and like the gallery, a distance is kept between caption and photograph so that one can look at the images without trying to project a suggested meaning onto them. This helps because although it is nice to have some kind of reference for the images such as who they are by and what the subject is, looking at the photographs with an open mind helps one to discover meanings that might otherwise go unnoticed.

first gallery in the extensive “Out of Focus” exhibition showing work by Katy Grannan

The first gallery is composed of large portrait photographs by Katy Grannan made of people in the street with their permission. Against plain white often textured backgrounds, the subjects are portrayed graphically with harsh light being used to bring out the details in people’s faces such as wrinkles. How accurate are these photographs as documents? It seems there has been an emphasis not just in detail but colour that appears to have a slight magenta shift. The images seem rather unsympathetic of the subjects and there is the suggestion that the photographer may be ridiculing them; this seems unlikely but there is an obvious attempt on the part of the photographer to show the unglamorous side, the side that people don’t really want to look at. This work could be considered as a reaction to the glamour photography with its’ airbrushed faces that dominates so much of contemporary media and the business of celebrity.

A woman comes up and tells me not to use any photographs of her. I have no idea of who she is but it turns out she is an OCA student and after looking through my photographs later on, I see that she is in some of the group shots often near the centre; it seems that she is unaware that I am using an ultra-wide lens and assumes I must be focusing on her when in fact I am making group shots with her somewhere near the centre; only one of these works as she mostly has her back to me. If I do use it then I can black box out her face or use some other kind of digital trickery. It is always a bit unnerving when people come up for no apparent reason and tell one to stop photographing them; it can make one question what one is doing in a rather negative way. At the end of a day, another woman comes up to ask whether she can acquire copies of the photos and I tell her that they will be mailed to the OCA. Perhaps I whould offer to share them with the group as a whole; something I can do through my Flickr account.

fellow OCA students in the Saatchi Gallery

The second gallery is full of monochromatic landscapes with some slightly cryptic captions such as “Soaring Yellow Morning Breath” of a giant yellowish rocky outcrop and “Ultimate Earth”of a landscape with forest, lake and mountain. This is certainly a far call from Ansel Adams’ landscape photographs though there is a similarity in composition and subject matter. Some are quite pleasant to look at and in the right context, an office or even a home, might prove attractive but altogether in a gallery space they look a bit like what an amateur might produce at a camera club after playing around with cross-processing in an attempt to make something “arty”.

In the third gallery, one is initially confronted by a couple of Mitch Epstein’s large photographs. These are carefully composed as Mitch described in the discussion that began this particular blog. A new student objects to a certain asymmetry in one image and poor use of light in the other. I can not help but remark that photography is true to life rather than the principles of art! In one of these images, it is industry that dominates and in the other nature; both show the relationship between the two and are part of a larger body of work that won Epstein an environmental award. Other work in this room contains intricately made black and white montages of aerial city centre views by Sohei Nishino, a tableau of nature-landscape images by Matthew Day Jackson and views from the inside of vehicles by Luis Gispert.

looking at a photo-work by Mathew Day Jackson

The fourth gallery shows the work of John Steziker and his schizophrenic poraits (my description) in which a face is portrayed by using two photographs placed together or a photograph placed over a face; the associations seem quite obvious here suggesting the anima and animus or the persona that hides the real. Although striking and suggestive, these photographs do not have a great deal of appeal. I miss the small circular photographs that were covered up by stickers being placed on them by archivists.

In the fifth gallery, I am struck by the work of a South African photographer Michael Subotzky whose images are somewhat outrageous. One is of an operating room where someone is lying prone and a drama is being enacted around them; another shows a dead goat with its insides removed as an offering to the gods.

There is work by Mariah Robertson that looks more like art than photography with garish designs on a long sheet of paper that runs up the wall and along the floor; other images look more like photographs. A group of photographs that run along a part of the gallery wall are by Sara Vanderbeek; I feel drawn to these and intrigued by the design. Am not sure this is an obvious attempt to mirror the work of the artist but quite a lot of work here does seem to be referencing painting such as the portraits of Daniel Gordon whose portraits immediately remind me of some of Picasso’s portraits from his Cubist period and beyond.

“Pornographic” images by A.L.Steiner on view in Gallery 9

In gallery nine, there is a grotesque montage by A.L.Steiner of photographs portraying women with naked breasts. I do not like it very much but it does make me laugh as it seems to be an obvious parody of the kind of big breast images and corresponding psychology that is part of the psychological make up of some men. In fact, this room contains other pornographic images that are shown in a particular way that makes one question the nature of the male gaze. It seems hard to take these images as pornographic in intention though obviously some visitors will see them in this light and perhaps draw their own voyeuristc pleasure from it. I mention to Gareth and other who are discussing it the practice of putting erotic sculptures on the outside of temples not to glorify sex but as a way to say that this belongs to the outer world of desire.

looking at photographs in Gallery 10

There is quite a lot of humour in some images and one is of a woodland scene in which there is a false waterfall made up of polythene sheets that are draped in a way to make them look like flowing water. This is one of a couple of photographs by Noeme Goudal from her Les Amants series and might be seen as a satire on so called “beautiful photography”

The photographs of Hannah Starkey draw my attention since she features in both the debate and Susan Bright’s book. Of her work she says, “Working within the language and medium of photography, including Photoshop, is enough to keep me occupied.”

a member of the gallery explaining work

I find myself pausing to reflect while looking at this exhibition, on the practice of putting photography in a gallery to look at. People come to see what they expect to be art and if photography does not live up to their expectations then they may consider it poor or not worth looking at simply because it does not correspond to preconceived notions of what art should be. There is also the idea that if a work is big then it is art while if it is small it is photography! There is so much to see here that one can not take it all in although some themes do emerge such as Marylyn Monroe (at least a couple of images suggesting her) while coloured monochromatic images also occur more than once.

There is confusion in this exhibition because there not bodies of work rather than fragments; the selection of work seems to be a result of images being cherry picked, as good examples of the artists on show. What made Saatchi collect these particular images? Was it a conscious choice on his part to collect photographs he liked or even loved or was he trying to amass a body of work that contained the best photographers of the time. Perhaps it was an investment decision. I don’t think one has to like the photographs on show or even enjoy them; it is enough to respond to them in one’s own way and according to one’s own taste. One tutor points out that this is the kind of work thet is exemplary – one does not have to aspire to it but is a useful reference for one’s own work. There is no point in making photography fit into a particular framework.. difficult to know what if anything this exhibition is about but it can be considered a comment on the star of photography as a whole, out of focus perhaps because it is not concerned with popular notions of the photographic medium. It is described as a “rag bag of stuff” by one member of our group.

BAUHAUS : ART AS LIFE (exhibition at The Barbican)

Gunta Stolzi, a student at the Bauhaus school of art wrote in her diary during OCtober 1919, “ …oh, I’d like to give myself … but I know that I have to wait, look into myself, all of myself. My little garret is just right for that; you cannot see outside, it envelops you and does not permit you to gaze into the distance – but into the depths – I need to look deep inside in the coming months.”

The Barbican Centre – the gallery is to the right in this photograph

I had read an announcement of this exhibition last year; it seemed to me imperative to attend since the school is mentioned in photography modules and “Bauhaus” exercises are part of the course. However, this day is for fine artists not for photographers though we are allowed to attend. Another day with stroppy artists sounding out could be fun.

The first review I read is in The Times. Like many reviews of the arts by this newspaper, it is rather negative although extremely informative mentioning for instance, the “hygiene of the optical” proposed by Maholy-Nagy, the modernist approach and the general air of celebration of perhaps the greatest art school ever certainly of the twentieth century although this is something this exhibition apparently does not convey.The article ends by quoting Mies Van der Rohe, the last director of the Bauhaus, who said “The Bauhaus is not a school, but an idea.” Surely, the Bauhaus was more than an idea but according to this review this is not evident here.

legs outside the Barbican Centre

I learnt a lot from doing Bauhaus exercises particularly in understanding colour; the work of artists like Mondrian and Kandinsky now makes sense even Damien Hurst’s work with his multiple coloured dots seems comprehensible. Itten’s books are not too difficult to understand. He wrote, “Play becomes celebration; celebration becomes work; work becomes play” The Guardian review describes him as a “nightmare person” owing to his beliefs that involved strange diets (for instance, a large consumption of garlic), head shaving and the wearing of monastic robes. His writing is fascinating; here he is commenting on another Bauhaus member, Kandinsky who “began painting non-objective pictures about 1908. He contended that every color has its proper expressionist value, and that it is therefore possible to create meaningful realities without representing objects.”

I order a copy of the catalogue before visiting and it is interesting to read some of the documentation (The Times review mentions that the documentation is good). My main interest is photography and it is strange to hear that photography students at that time also needed to know algebra; the emphasis was much more on the technical rather than the artistic side yet owing to rapid advances in photographic technology a more creative approach is possible today.

The Guardian review is more positive describing the exhibition is a superb collection of Bauhaus art works … “It was the last thoroughgoing attempt to apply a consistent idea to modern living, and we still live with and among its ideas and artefacts. At the time, everyone involved was feeling the way forward. There is a sense here of the genuinely exploratory.”

Adrian Searle, writer of the Guardian review, says something that seems apt … “one feels a sense of optimism but also disquiet of a whole world about to be dismantled.” This does tend to be my overall impression although I realise the school at the time was quite different for as Searle says, “Innovation and pleasure went hand in hand at the Bauhaus.” A reader comments “The Bauhaus aesthetic is sometimes too austere for me but some wonderful things came out of its desire to break down barriers between the art-forms.”

A review in The Telegraph mentions that this exhibition does something to challenge the reductionist concept of modernism. The exhibition is as much about the school as it’s products. The exhibition helps to brings this complex body of art to life.

Catherine Ince, co-curator of the exhibition, writes that the Bauhaus means many things to different people. It was the modernist’s most ambitious attempt to change the world.

Leaving home early, about 6.30 a.m., I drive to the station and catch a train to London; it’ll get me there well on time but later trains cost considerably more and I’ll be able to make use of the extra time – such as checking my emails. In fact, I am unable to pay for the parking at Taunton station so need to go online to sort this out.

Lighted ceiling at The Barbican Centre

The “Bauhaus : Art as Life” exhibition is being held at The Barbican which is itself quite modernist in construction. It is also a bit of a maze and although I do eventually find my way to the Barbican Centre, it is only after one or two wrong turns. The artists I am due to meet are nowhere to be found so I head for the exhibition itself and meet them on the way. Although this is a day for fine artists, there are a number of photographers there too such as Catherine and a Mexican woman called Ariadne.

OCA tutor Jim Cowan

Our tutor for the day was Jim Cowan from the OCA who had already seen the exhibition and gave us something of a guided tour; he also handed us a questionnaire which I shall consider later. His remarks sometimes slightly irreverent, helped to stimulate one’s interest in the exhibition.

This is a very big exhibition and not easy to view as a result. We visit the upper floor which focuses on the first Bauhaus building, to begin with, Jim giving a brief commentary on what each room is about; this helps to guide our attention and take in the work. Even with the three hours we spend there, before and after some lunch, there is too much to view in it’s entirety.

The Bauhaus started in 1919, soon after the First World War, and was really a merger between two art schools of the time under the directorship of Walter Gropius. This was an attempt to build a new world through art and was initially art and craft orientated with emphasis on learning skills. Gropius wrote the Bauhaus manifesto …

“The artist is an exalted craftsman. In rare moments of inspiration, transcending the consciousness of his will, the grace of heaven may cause his work to blossom into art. But proficiency in a craft is essential to every artist. Therein lies the prime source of creative imagination.”

Already mentioned, one of it’s more colourful characters was Itten, himself a colour theorist who was also the member of a Zorastrian based sect called Mazdaznan that resulted in him wearng monks robes, eating plenty of garlic and even inducing vomiting as part of a spiritual purification process. There were those that loved him and those that loathed him.

The return to making crafted objects, an attempt to reunite art and industry, was not that new as William Morris had done something similar during the previous century. Apart from experimenting with different materials, students were also asked to consider the essence of the triangle, the cube and the circle. One room in the exhibition is solely about the square.

fountain @ The Barbican Centre

If there is something missing in this exhibition, it is perhaps colour. For instance, there is an impressive staircase window by Albers; there is a maze of different shapes and forms within it but this black and white photograph from 1923 can tell us nothing about what it looked like as the intricate display of colour it once was. This and other art works were part of the original Bauhaus that was destroyed in the Second World War. There is an interesting early photograph by George Muche that shows an arrangement of blades that foretells a sense of excruciating pain. A reminder perhaps of the more negative forces that this school were to arouse whichh ultimately lead to an aspict of modesnism that was later to be rejected. Housing blocks built in sixties England are perhaps an example since later these have been found not be progressive but rather depressing and impossible to live happily in.

Another member of the school was Kandinsky whose initial work was highly intuitive but later became methodical. For him, after a certain amount of research with his students, a triangle became yellow, the square red and the circle blue; however, from an understanding of other cultures such as the Tibetan where the triangle is red, we know that these symbols are not universally understood as Kandinsky imagined. The shift away from expressionism to other approaches such as Cubism and Constructivism (this latter school was not part of the Bauhaus although one of it’s exponents Theo Van Doesberg from Holland set up a school near to the Bauhaus and drew students from there to his place). Fonts were developed during this early period with thicker fonts being used for more emphatic even angry matters and thinner fonts for “sweeter” matters.

fountain composition

In 1923, Itten resigned as a result of differences of view with Gropius who he felt was taking the school in a more commercial direction; in fact, Gropius wanted the school to pave it’s way in the world and become financially viable. Other artists joined the school such as Paul Klee and Albers as well as Maholy-Nagy. Gropius wrote …

“I would consider it a mistake if the Bauhaus were not to face the realities of the world and were to look upon itself as an isolated institution.”

Looking at the Bauhaus from a more historical perspective, one might consider the effect of rapid inflation had on it’s development but it was the rise of right-wing politics that sealed it’s fate. The students were not all from more well to do backgrounds with some being sponsored. The school itself was famous in it’s time but perhaps developed a more populist approach as fine art became design; was the Bauhaus where design became the important force it is today? At that time, graphic designer was not a profession! The Bauhaus became more left wing while the socialism of Germany became more nationalist in sentiment. In 1925, the Bauhaus had to move because the Weimar government was no longer prepared to grant funding and the school was obliged to set up in Dessau in a less prosperous area of the town. While, the print workshop had started by making art prints, it developed into making posters for government and industry even printing emergency bank notes.

A lot of items that they turned out were of a practical nature. For instance, Marianne Brandt who produced some fine photographs also was the only female metal worker; she produced an amazing array of tea pots while Albers made a fruit bowl that could be pushed across the table thanks to stylish ball bearing wheels. Wallpaper was the most successful product and yet the Bauhaus never got rich on this. The profit was taken by the corporates who managed to market the Bauhaus products. One can not help but see parallels with Habitat and Ikea today although these businesses are much more holistic in that they are one body rather than another body taking advantage of the original creators. The designers of Ikea and Habitat though wonld not be where they are if not for the Bauhaus.

The Bauhaus produced a series of books. One wonders if any of these 14 books printed in editions of 2 to 3,00 between 1923 – 30 are still in print; perhaps not, since many of the ideas expressed in them have been developed since particularly in photography which has changed so much.

There is a film being projected on a wall of the gallery that was made by Bauhaus students; it looks a bit dated now and some laugh at the demonstration of what were then innovative designs but are now taken for granted. Titled “How do we live in a healthy and economic way?” it was first shown in 1926 and gives a good idea of the ergonomic approach to living that has become so important in today’s world.

building meets water @ The Barbican

Towards the end of the exhibition, one starts to see more photographs. They are still largely documentary in nature often picturing buildings and groups of people in well produced photographic forms, However, some of the photographs showing sporting activities do not only well to capture movement but also show a sense of composition with mirroring between background and foreground. Photographs were also being used to create montages while different photographs would be placed next to each other in significant ways as in portrait snaps of Josef and Anni Albers. Portaits were made that were not mere mugshots but involved interesting camera angles and also close ups as in a series of photographic images showing someone’s mouth. A striking images is of hands, a number of diptychs being placed together to create a large panel of images. T.Luix Feninger, son of the artist Feninger, produced some good photographs such as one of a line of musicians staged not horizontally but vertically, one agove the other; not only is the composition strong here, the musicians are not strictly posed while the print sees a widening of the tonal range, an aspect of the photograph that was to be developed in America largely by Ansel Adams.

Although Walter Peterhans was the official photographer employed by the Bauhaus, Laszlo Maholy-Nagy did much of the photography and is well known for his contribution to the medium. In a 1930 film called “Lightplay: blcak white grey” he shows a dazzling array of form and light with accompanying music. the effect is a little dizzy but it is a wonderful exposition of Bauhaus made through the medium of film. His writing is of interest as he sought to define the uniqueness of the medium … “Until now, all the essays and commentaries about the paths and aims of photography have been following a false trail … photography does not gain or diminish in value according to whether it is classified as a method of recording reality or as a medium of scientific investigation or as a way of preserving vanished events, or as basis for the process of reproduction, or as ‘art’ … when photography relies on it’s own possibilities, its results, too, are without precedent … the range of infinitely subtle gradations of light and dark that capture the phenomena of light in what seems to be an almost immaterial radiance … only after a more or less exact photographic language has been developed will a truly gifted photographer be able to elevate it to an ‘artistic’ level … No ancient or contemporary painting can match the singular effectiveness available to photography.”

These words are from “Unprecedented Photography” a piece written by Maholy-Nagy in 1927; in it he mentions seven essential facets of photography which encompass making unfamiliar views with the camera, experimenting with different lenses, encircling the object, using different kinds of camera, X-ray effects, cameraless photography and true colour sensitivity. Photography has done a lot to explore these avenues since this time.

Paul Klee was another artist who gave his students exercises described as “purposeful play” described by the curator as “experimentationn under particular constraints to explore inherent and functional and constructive possibilities without stated practical aims” which rather aptly describes the exercises I was asked to do as part of the OCA modules in Level 1 photography.I enjoyed these and became interested in Itten and his ideas but this exhibition has made me more aware of the Bauhaus and it’s influence and it is one I do not particularly like. The nausea I feel while looking at it is perhaps an intended effect by some of the work inspired by a teacher from whom vomiting was encouraged!!

Some of the technical terms used to describe photographic processes are a little hard to understand. One sees what looks like a photo-montage, a group of photographs that have been stuck together on a single sheet of paper described as a photomechanical production.

An OCA student in the penultimate gallery

The penultimate room is devoted to photography. Photography developed towards the end of the Bauhaus and reveals an innovative approach different angles of view, close ups and different subjects, photographs that are not purely functional. The first head of photography was Walter Peterhans, son of the maker of Zeiss lenses, whose exercises for his students were to help them develop technically superior prints. He achieved this partly through lectures on mathematics yet also through exercises involving lighting, exposure and printing; for example, one of his students made a series of different exposures of a light bulb from one in which only the filament was visible through to a final one where the light bulb was visible as a glowing object. There were close ups of a mouth shown in a series all showing different expressions and a similar group of photographs of hands with wrists in some cases, arranged beside each other in provocative ways. Peterhans himself was a gifted photographer who made work that anticipates much that was to follow in the years to come.

After spending some five hours at The Barbican of which three and a half were spent inside the exhibition space, I made my way to The Tate Modern to meet a friend who is herself an artist and studied the Bauhaus; she helped me to see the school with a little more perspective. The Bauhaus were a little idealistic in their approach and their concern for the straight line and lack of ornamentation did not have a good effect on those who had to live in or alongside some of their constructions. Their altruistic ideas have since been questioned and yet the work they undertook, which has been so vastly influential, remains interesting. They perhaps mark the end of traditional art and the birth of modern art where form becomes function. Photography here however got off to a good start and although the works it produced are no longer contemporary, it’s traces can still be seen. Personally I do not care for the high contrast it tended to encourage and see this as due to a lack of understanding in how to use the materials. It was left to Ansel Adams in America to develop the science of exposure.

Visit to the Ffotogallery, Penarth, near Cardiff, Wales

Turner House, home to the Ffotogallery

The Ffotogallery is in Penarth, a small town to the west of Cardiff and a short walk from the train station though it seems we all came via road.The easiest way to visit is of course online … http://www.ffotogallery.org/

We had a friendly welcome, being given tea or coffee and greeted by Helen who explained to us what the gallery does. It is an impressive place for the quality of the work it shows, the bookcase full of books it has published and the programme of events it organises. For instance, there is a forthcoming exhibition of Daniel Meadow’s work with an artist’s talk.

Helen welcomes us to the exhibition space

The current exhibition we have come to see about the Falkand Islands is exceptionally good largely because of an audio-video piece; it is not just about a a particular conflict but war in general. Called Voices of the South Atlantic, the photographer Adriana Groisman, an American, has taken 8 years to complete the work which looks at both sides of the conflict. There are recordings not just of British survivors but also Argentinians talking about the sufferings they went through during the conflict. The audio-visual presentation is let down somewhat by poorly processed images that do not reveal the quality inherent in their printed versions, a few of which are hung around the gallery; Elgar sounding music accompany this audio-visual gives it a lift.

Here is the gallery’s blurb about the exhibition …

“Timed to coincide with the 30^th anniversary of the Falklands/Malvinas war, Voices of the South Atlantic examines issues of war and its consequences. Rooted in the 1982 Falklands/Malvinas conflict, it includes the voices of people who fought on both sides, as well as civilians who were directly affected. Colour photographs of landscapes of the islands and black and white seascapes of the South Atlantic, act as visual metaphors that allude to feelings of menace, courage and fear, at the same time showing physical traces of war. Through juxtaposing photographs of scarred landscapes with testimonies from British and Argentine veterans and Falkland Islanders, a dialogue is established between the time needed for the terrain to heal and the period the men themselves need to recover.”

Helen shows us a large print hanging upstairs

The prints are large; a British officer’s head and shoulders are at one end of the gallery while facing him at the other end is a similar portrait of an Argentinian. It is this presentation of both sides of the conflict that made this work resound for me particularly at a time when public opinion is being polarised by the current Argentinian Prime Minister making representations at the United Nations about the ownership of The Falklands being rightfully Argentinian while the British are saying that the Falkland Islands have a right to determine their own rule.

Eddy shows his images on a laptop as others offer comments

After seeing the exhibition, we get down to looking at each other’s photographs with Jesse offering comments from an Open College of the Arts perspective. Eddy starts showing photographs that are from an assignment that he is struggling with in which he is meant to be recording an event. Jesse’s comments are kind and I say something positive about the use of flash which Eddy has bounced off the ceiling.

In our general discussion, Robert Adams is mentioned. The beauty of photography is in the truth it conveys.

Eddie outside the Deli

We go out to get some lunch from a nearby Deli where I grab a greasy Samosa which is however, pleasantly spicy. The afternoon starts with me showing some prints of the Taj Mahal from a project that has come out of my studies at the Open College of the Arts. This is the first time I have shown the work to another group of photographers or even assembled the photographs as a group and a body of work. Jesse asks me a few questions and offers a little advice which I question a little perhaps because I am not good at taking criticism yet also because I want to discuss the work and not come to any definite idea about it at this stage. As Jesse suggests, I need to add context via historical or at least some kind of pertinent information. He is surprised that I have not done any classic, recognisable shots of the Taj Mahal; in fact, I have but they are not shown here since they were submitted digitally rather than in print form. Apart from doing some more reading about the Taj Mahal, I have decided to start a blog for the project.

discussion continues

After my 30 minutes or so of relative fame, we see work by another student who I have not met before but has done some very nice flower photos as well as work by Stephanie who has made a series of images of her mother walking with a dog as Stephanie follows behind, framing her mother’s legs, handbag and dog in blurry images. We look at the work and try to decide which effects work best.

There is a need to engage with subject matter, issues that arise as well as ideas; photography is not just a matter of technique although this can not be avoided. One needs to communicate, consider one’s potential audience rather than merely do what one thinks as this might be self-indulgent even narcissistic. The question of why we photograph comes up. Are we megalomaniacs? Personally, I want to do as good a job as possible, to make photographs that are not dead rather say something of the moment.

At the end of the day, talk turns to Open College of the Arts study matters. The day seems to have been a success.

View down from the upper gallery to the entrance area and lower gallery

Rephotographing Bruce Davidson : an OCA student exhibits in Sheffield

The College had another study day arranged for photographers; a visit to an exhibition of photographs in Sheffield which have been made by an OCA student living in New York. In the end, I found myself unable to attend so here is a link to an excellent account of the day by fellow student Eileen Rafferty ..

http://www.eileen-rafferty.com/2012/06/tanya-in-sheffield.html

An image from Tanya Ahmed’s East 100’th Street

We are treated to a video interview with the photographer, Tanya Ahmed, a British sounding woman who has been living in New York and rephotographing East 100’th Street 40 years after Bruce Davidson was there. In his time, it was a very run down area, a ghetto for drug takers and no-hopers; although the buildings remain and the similar kinds of people? live there, the area is no longer run down. Tanya’s images attempt to capture the place as it is today beyond the popular preceptions of gentrification. More images can be seen here …

http://East100street.com/E_100_St/East_100th_Street_HOME/Entries/2012/6/15_Slideshow_-_I_call_this_place_home.html

According to Ahmed, the area is now inhabited by regular folk living in a rehabilitated area. She lives there and set out to give an up to date view of the place in which people are pictured in their own homes. Her neighbours did not know much if anything about the history of the street or the photographer Bruce Davidson. Ahmed wanted to photograph the present day community, “us”, and explained to them her motive as a student of the OCA. She was not only interested in portraying the place but also the people who inhabit it; her exhibition is composed entirely of interior views! Ahmed has been in touch with Bruce Davidson who has been supportive of her work and interested too. He did return to 100’th Street but has not visited for sometime. Ahmed has been a working photographer for sometime and enjoyed the collaboration with others while making this body of work. Her comment on the OCA website was … “This whole experience has been amazing and it has been wonderful to meet everyone involved, they have all done a brilliant job and been exceptionally nice. Thank you also to all the students taking the time to follow and comment on the various posts of my work, I feel like I have a new set of best friends”

My own comment of the website ruuns thus … “What interests me about re-photography is the contrasts that exist between the two times pictured. There seems to be no deliberate attempt on Tanya’s part to emphasise this by, for instance, rephotographing the same places from the same point of view, rather it is about the general atmosphere of the place which appears to have changed for the better.”

To see some of the photos by Bruce Daidson …

http://www.google.co.uk/search?q=bruce+davidson+east+100th+street&hl=en&client=safari&rls=en&prmd=imvnso&tbm=isch&tbo=u&source=univ&sa=X&ei=4L3ZT46nM4SQ0AXWuIWmCg&ved=0CHoQsAQ&biw=1280&bih=821

For a peek at the book …

http://www.magnumphotos.com/c.aspx?VP=XSpecific_MAG.BookDetail_VPage&pid=2K7O3R182828

He was interviewed by The Guardian about this body of work …

http://www.guardian.co.uk/artanddesign/2011/apr/24/bruce-davidson-interview-sean-ohagan

Another interesting read is …

http://www.moma.org/docs/press_archives/4518/releases/MOMA_1970_July-December_0037_97.pdf?2010

Ahmed’s approach is not as different as might at first appear to be the case. Her photographs are setup, arranged beforehand, while Davidson’s photographs that appear to rely on the spontaneity of the moment were often made with a tripod mounted camera. Davidson however, was working with a political brief, showing the way people there were suffering from poor living conditions. Ahmed on the other hand sets out to present the place as it is today, a place she is happy to live in; there is no stigma to what she is doing.

Ahmed has also had her work commented on by Maggy Milner, an OCA tutor, who was struck by the quality of her photographs. She describes them as extraordinary, well made prints, with thorough attention to detail. Ahmed does not give much mention of technique rather the concept behind the photographs and her research. She lets the families choose where they want to be photographed unlike Davidson who approached as a photojournalist yet worked on the project for a couple of years and ended up getting to know his subjects. Her submission to the OCA was not just the prints but also her comments on images via post-cards.

One student, Dewald who lives in China, comments “There is constant discussions going on everywhere, OCA, Flickr and on here, where students are told NOT to produce material specifically for the approval of the assessors.” This makes good sense since I do not think I shall be making the kind of work that the assessors want to see. For instance, photos of the outskirts of Delhi with quotes from the Bhagavad Gita; the assessors won’t know the place and probably find the quotes incomprehensible.

Dewald also says, “This work of Tanya seems to be a combination of an immense amount of research into a photographer and work that has a connection to where she herself is right at this time, not only as a person, but as an artist. The fact that she then went out and got involved with people who live around her, and built that kinds of relationships with them, is admirable in an age where I think very few people bother to even acknowledge other people living in the same building.”

Tanya comments on her submission … “I don’t want to speak for the assessors, but IMHO I think it is more than just the final collection of images that they considered. Obviously they had much more information than just the images about the concept and the way I progressed through the project. The basic premise of which was that I wanted to see if being an insider made a difference to the images produced. I used Davidson’s book as a stepping stone and considered his images against mine to see if what I was doing was different and why. On the face of things we were doing the same thing but in reality we were not. Each time I found something different I looked into it- One example I analyzed how people were looking at his camera, how they looked at mine, with some book suggestions from my tutor I looked back through history at portraits and justified the approach I used. Obviously you and any other audience will only have the final images to judge. The question is will you see the behind the scenes work in the images? Will you see a thread or an approach tying them together? Will you notice a different mood or different focus than in Davidson’s work and is there a difference in the work of an insider compared to an outsider? I hope this little bit of explanation is helpful.”

Tanya emphasises the collaboration that took place between her and her subjects.

Interestingly, a MOMA press release made at the time of Davidson’s exhibition, states …”The antithesis of candid photography, these pictures are the product of a conscious collaboration between photographer and subject”.

John Szarowski who was at that time the Director of MOMA photography said, “he (Davidson) has shown us true and specific people, photographed in those private moments of suspended action in which the complexity and ambiguity of individual lives triumphs over abstraction.”

For me, the parallels between the two photographers approach is striking. The most obvious of these is the use of black and white.

There is more comment on We Are OCA;  I write …

“As someone just beginning the PWDP module and hence occupied with photographing his locality, a rural street, I found this video helpful as well as being a good introduction for tomorrow’s visit.

What interests me about re-photography is the contrasts that exist between the two times pictured. There seems to be no deliberate attempt on Tanya’s part to emphasise this by, for instance by rephotographing the same places from the same point of view, rather it is about the general atmosphere of the place which appears to have changed for the better.”

Tanya Ahmed replies …

“I wrote about rephotography for my level 3 essay. I did take one photo, a street view, that later I realized was in Davidson’s foot steps, it gave me a thrill when I realized it. However, I really didn’t want to go round looking for Davidson’s footprints, I was more interested in my own. I wanted to see whether time and my insider status made a difference to the subject matter and the resulting photographs despite being in a very tiny geographical area. If I had limited myself to trying to restage Davidson’s images I might have got a superb lesson in understanding his subject and technical choices and yes we would have seen easily observable changes but I don’t think my voice would have been there at all. The way I did it was to try to understand his work through comparison with my own. For example, how and in what numbers were children portrayed by both of us- this is one of the biggest differences between us and relates to both our gender, our age and experience in the street. I hope you are enjoying photographically discovering your street”

I then commented again …

“Perhaps re-photography is not the right word to use for describing your work. I can understand you not wanting to “follow” Bruce Davidson since although it might be a learning experience, it could easily result in something second hand.”

In the end, I do not make it to the exhibition and OCA day as the cost of my train fare has more than doubled but am grateful for Tanya Ahmed in responding to my comments.

For her books see …

 http://www.lulu.com/spotlight/hometownimagepress

OIL – an exhibition by Edward Burtynsky

The first exhibition at the newly opened Photographer’s Gallery is called Oil and is a series of large landscape style images; the subject is Oil and the landscapes it gives rise to. Not all images are of land however as a massive heap of road tyres demonstrates.

The exhibition is about the “life cycle” of oil from the place where it is extracted and the impact that it has on the environment towards it’s inevitable demise.

Photographs of oilfields such as those from California and Alberta inform one of a phenomena of which most of us are not fully aware.

The images in this exhibition are presumably made with a large format camera; they are excellently printed with attention to detail although the colour seems a little saturated at times.

His subjects are made creatively so that an oil refinery can be represented by a mass of pipes.

Another photo is of a Volkswagen Lot, a massive car park in Houston, Texas where some 1,0000 cars are represented.

Another photo from 2004 is of Nanpu Bridge Interchange, Shanghai in which one can see a number of levels with cars passing by, while in the background there is a cityscape.

Another photo is of a speedway in which the size of the crowd is emphasised.

My impression of the exhibition is really one of a succession of large extremely striking prints covering a range of subjects relating to oil; they are documentary photographs with artistic appeal.

Liz Wells talked extensively on the subject. She points out that his exhibition prints are matt; the images draw in the viewer with their beauty but the subject matter keeps the viewer at a distance. They are seductive yet allow the viewer to contemplate the scenes depicted.

“Epic” is how I might describe this body of work!

http://www.youtube.com/watch?v=KZiKBKnesnU

http://www.youtube.com/watch?v=f4mTGP49n4Y&feature=relmfu

http://www.youtube.com/watch?v=cdQNR1d2Eok&feature=related

Burtynsky is an Eco Hero Award Winner!

“Good art does not have a fixed meaning!”

Suggestion that his work is political – he’s not trying to force a particular view point on people; different people will read the photographs differently. No one way to read his images!

Considers the politicisation of the environment as dangerous

Beyond Documentary – a lecture by Liz Wells

The first talk to be given at the recently refurbished Photographer’s Gallery in London is by Liz Wells. I have read her encyclopaedic “A Critical Introduction to Photography” in which various authors write about the main genres of photography and have just started her “A Photography Reader” which is a series of essays about photography by modern critics.

Her talk is subtitled “currencies of the post-industrial sublime”, a title which reminds one of the complexity of Liz Well’s writing which does however succeed in making the finer points clearer. Without such critics, one would be less able to understand and read a photograph, finding oneself instead rather lost amongst the myriad of photographic images that we constantly come into contact with. Nevertheless, I found her talk which she read from notes, to be difficult to understand even though I made notes.

Her talk was not directly about the Burtinsky exhibition presently showing at The Photographer’s Gallery but it did relate to it’s theme of contemporary landscape; Liz Well’s most recent book is Land Matters that considers the nature of landscape and it’s relation to photography, culture and identity.

She has recently been involved in editing a book about The Antartic entitled Landscapes of Exploration : the role of contemporary art in Antartica through which a sense of the romantic and the sublime are evident; another body of work she has commented on is A Sense of Place : European Landscape Photography which is being exhibited in Bruxelles this year. She also mentions another book Moments Before the Flood by Carl de Keyzer in which photography is being used to capture the disaster before it happens, examining how well Europe is prepared for a probable rise in the sea level.

While these accomplishments help to establish Liz Wells as more than just a compiler of writings suitable for photography graduates, she also talks about the general drift of such work in which the photographer becomes a researcher of place, looks at transformed land as well as toxic landscapes. The viewer may be lured by the beauty of the images into paying some attention to the message inherent in the work which in the case of Burtinsky, is about the massive effect of oil on contemporary civilisation and various issues surrounding it.

There is a sublimity to work such as this and Liz Wells mentions Edmund Burke’s classic work A Philosphical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful and that the sublime causes delight; passions act for self-preservation. Wells also mention Immanuel Kant and his systematic reasoning; for Kant sublimity implies incomprehension. Descartes sees a seperation between the mind and the senses. Liz Wells says that the “sublime is threatened by the possibility of nothing else happening”.

Al Gore has said of Burtinsky’s work that it is “beautiful, insightful, thought provoking”; he is responsible for a number of photographic projects such as the Three Gorges Dam Project, Yangtse River as well as Quarries from around the world. topographic work can be very beautiful and the scale and colour plays an important part. Burtinsky searches for subjects that are rich in detail and scale. He is not a teacher merely an artist.

Liz Wells talks about the work of one of her students, Yan Preston who is Chinese and has been photographing around the Yangtse River.

Landscape photography of the American west corresponded with the expansion into that area; a similar event is happening in the photography of the Antartica.

I have not covered all of what Liz Wells says (there is a little more on my experience of the Burtinsky Oil exhibition) but as Gareth points out, she is careful not to give a personal view. The photographs are stunning but what can the individual do to combat the Oil situation that Burtinsky so graphically covers !?

A video of Liz Wells taking is at …

http://youtu.be/_mqlFxzXOZ8

Leonardo da Vinci @ Bristol Museum and Art Gallery

A chance to meet fellow OCA student, Dorothy Flint, and see some superb drawings from The Royal Collection. In our house, we have at least two copies of Leonardo’s complete works as well as various other publications about him or by him. In the last few years, I have been to a Leonardo exhibition at The Victoria and Albert Museum as well as another exhibition of Italian drawings in which Leonardo was featured at the British Museum while I missed his major exhibition of paintings at The National Gallery last year since it was booked up even though he lived some 500 years ago in another country namely Italy.

Dorothy is an octogenerian student who is doing the Illustration Level 1 module. She had seen the exhibition before and so was able to show me around. There are only 12 drawings, all of which have been exquisitely executed, using a variety of papers and drawing materials such as chalk and ink. The subjects are also varied and include references to war, the human body and the apocalypse.

Perhaps my favourite was of acorns, still in their pods and attached to the branch which still bore leaves. Not only was the detail exquisite, it had been done using a rusty red colour, which belonged to both the chalk used to inscribe it and the paper on which it was made.

I also liked the head of an old man who has a somewhat exaggerated beak-like nose and appears short of teeth. His flowing beard is intricately illustrated and restores any dignity he might have lost in the almost comical representation of his face.

Another striking  drawing is that of a woman’s face, the inherent beauty of which is used to advertise the exhibition. However, the point of this drawing is to be found in the complex arrangement of the hair rather than the face.

After taking tea with Dorothy, I go back to see the exhibition again. This time I am with a group of visually impaired people and the guide rather looses my attention by saying that the drawings were probably acquired by the Royal Family during the reign of Charles 1’st when the writing on the wall of the exhibition says it was Charles 2’nd. She also says one or two other things that seem out of place but it is good to be able to spend almost an hour going around having a closer look at some of the drawings. Another image that strikes me is done on blue paper and shows a rearing horse. This was a design for a statue that was never made because Milan was invaded and the copper which would have been used in the statue was required for cannon fodder while the mould made to cast the statue was used for target practice. The guide mentioned something about the impractical aspirations of the artist Leonardo rather than the reality of the situation at that time.

Roger Ballen – Shadowlands – a retrospective exhibition at Manchester Art Gallery UK

My pre-blog of this event, giving an account of background research and links, is at …

https://amanostudy.wordpress.com/2012/04/18/roger-ballen-exhibition/

Is it really worth making the long journey north to Manchester, both time consuming and expensive? I decide I feel like an excursion and that the OCA meeting will be worth it. After a night in a local hotel, just outside the city centre in Salford, I trudge my way to the gallery (a lot longer walk than that suggested by the hotel) and arrive to see Gareth greeting everyone and Peter appearing in search of coffee which he was denied in the early morning train ride over from Wales.

Roger Ballen comes from a well established documentary photography badkground yet he has gone beyond the limitations of that tradition to crate his own work that has resulted in controversy, not just because of a departure in style but also because of subject matter. “Shadow Lands” is his first major UK exhibition.

There is also video to watch in this exhibition notably a music video; of this more later but I was amused to see members of the gallery staff dancing to this when it came on. The relaxed atmosphere of the gallery was also reflected in one being free to photograph both in and outside the exhibition space although video was forbidden.

Roger Ballen says all his photographs are self-portraits; to him the question “Who am I!?” can be found only in his images. I find this rationale rather phoney since the koan, the “Who am I?” question can only be truly directed inwards, and photographs are external objects. Ballen’s photographs are about what he is.

There are disturbing elements to Ballen’s work and for me, the treatment of live animals is one. For instance, a goldfish flaps in a bowl of soup and a pig is hung up with a rope around the neck although an image such as Brian with Pet Pig 1998 (from Outland) is much more compassionate in view. One might be better though questioning the status of the people in the photograph.

The lay out of the gallery is interesting since it contains a series of rooms in one big room, each one showing a particular body of work. Nevertheless, it is a bit overpowering to see so much work altogether and the result is an exhibition that is more about Roger Ballen and who he is rather than the subjects he is exploring; surely it is the subjective nature of the work that is worth looking at rather than the photographer. However, the photographs do look a lot better as prints on a gallery wall than rather soft, low contrast images in a book which have presumably been made without the photographer’s co-operation. There is a good balance of tones within the gallery prints so that a balanced chiarusco effect helps emphasise the subject matter. Overall, the exhibition is not so shocking and senseless as the images can suggest.

Diane Arbus is mentioned as an influence. This seems likely though the freakiness did not come till later. Much of Ballen’s early work is quite straightforward although the portraits are usually taken unposed and from a different angle; his first book was called “Boyhood” and is a series of portraits of boys. These earlier images were not however in the exhibition which really focuses on the work that started in South Africa.

The tendency we have to name things is perhaps a desire to control them but through documentation, we are better able to understand them. Similarly, we can apply theory to images yet our theorisation may not be supported by the images we interrogate. Peter Haveland, OCA head tutor for photography and visual culture, mentions John Tagg and Victor Burgin who describe this kind of way of looking at photographs. Peter is bowled over by the work and thinks he may take up knitting instead of photography! I can not help but think these images are of elements “knitted” together as well as containing a few “nits”.

Gareth Dent, OCA CEO, mentions two things to consider; firstly, the use of animals in the photographs (have already discussed my concerns over this but obviously they are not exhaustive since they do not address the significance of such imagery) and secondly, images within the images as there are quite a few of these and they reflect upon the meaning of the photographs as a whole.

One of the first images the group looks at is called “Dressie and Casie, twins, Western Transvaal, 1993” which is striking since the twins are evidently not normal. Seen in a book they can be held at a distance but on the gallery wall almost life size, they loom out at us. This is one of Ballen’s best known images and probably accounts for his work being compared with Diane Arbus although it seems that Kertesz who Ballen knew when much younger was probably a stronger influence. Who had made the decision to print this image larger than the others? The photographer or the curator? It may have been an agreement between both of them as in the exhibition there are a number of photographs made bigger and these are largely ones with a clearer or more obvious meaning. Positioned by this image is the much smaller one of a retired soldier; he looks much smaller now than he might have considered himself and the centre of interest is the expression on his worn face rather than his social stature.

There was not really the time to consider each photograph in depth but I mention a few that struck me. For instance, a smiling woman clutches three puppies; it is a nice image but what really strikes one is the caption that states she is the wife of an abattoir worker. In what way is this relevant to the image? Her husband is an abattoir employee … stating this fact seems rather as if a certain way of looking at the photographs is expected of one.

A disturbing image is “Elias coming out from under John’s bed” since it may simply be the harmless play of a child although he has more likely been told what to do by the photographer, an older male but probably not as old as the man lying on the bed. The presence of younger boys amidst older rather strange looking men is apparent in a number of the photographs and one can not help but think of sexual abuse of youngsters by older males since it is so often in the news these days. Ballen has done a whole book on boys some of whom are rather scantily clad so what is going on in the background to these photographs? It is no longer illegal to be homosexual but to have sex with minors definitely is. Perhaps Ballen is deliberately playing on our senses but alongside the maltreatment of animals, I find this somewhat disturbing.

Another photograph that stands out is called “Tommy, Samson and a mask, 2000 from Outland” (older man and boy again) partly for it’s meaning which is uncertain yet present. Like much of Ballen’s work, there seems to be no meaning that one can grasp hold of. Like all of Ballen’s works, the photograph is carefully constructed, nothing is left to chance as the people represented become actors. Ballen studied psychology and later geology since his photographer mother never wanted him to become a photographer having seen the hardship other photographer’s had suffered in pursuit of his art. His photographic work reflects his interests and references the work of Freud (in particular the fetish) and Jung (the concept of the darker side to the self) might be made from his work. One might draw further parallels such as with Herman Hesse and his book, Daimion.

A touching image, found on the front of his award winning photo book called Outlands, is of a small dog looking as if it has only just been born, peering out between the feet of an unidentified figure who is lying in bed. There is a sensitivity here which Ballen captures.

Peter talks a little more, saying that there is ultimately no such thing as documentary photography as every photograph is part fictional; photographs do not really have the power to say what reality is. Reality … is there such a thing? is it not really a notional concept? This is something Baudrillard has dwelt upon, the lack of ability in defining what reality is. The hype real is something that never existed. Much documentary photography is heading towards art.

I find Ballen a little threatening and so it is good to hear someone else voicing the same impression which meets with assent among others. His book Outland (2001) however, marks the beginning of a more collaborative approach or possibly more shocking since now the meanings of the images have become more intentional. One needs a lot of confidence to make this kind of work which is beyond the snap shot genre. Yet the images in Outland make one work harder to discover their meaning. Artists no longer put something in front of you as a way to inform you, they create something one needs to decipher. Documentary photography appeals because it’s meaning is self-evident and one does not have to think too much.

One image which I do not particularly like, called Twisted Wire it reveals a mass of twisted wire under which a half shrouded figure lurks, is one that resonates with others yet not myself. One can see an illusion is being made but it is one of angst and not a natural state of mind (Ballen says he is contacting the real or at least attempting to.)

Sliced (2007) is another image in which injury appears to have been done to an animal. In this case, a lizard has had it’s tail cut off.

Ballen is said to have made himself unpopular not by his outrageous imagery but because he is presenting a view of South Africa that most people do not want to think about, that of an impoverished white community.

Another image that seems to refer to the weirder side is called Confinement (2003) but might just as well be called Bondage since it sees a prone individual chained to the floor with other chains placed nearby.

Looking at these images, one needs to forget that Ballen is a photographer since he is obviousy so much more, namely a playwright as well as a painter since he actually makes inscriptions on the walls and paints them too. He refers to his work as imaginary realism.

Peter agrees with me when I suggest that one’s response to the images are likely to be determined by one’s conditioning and mental constructs that one has formed.

It is the last image in the show that does mean something to me and I am glad I see it and don’t hurry out as the OCA group make their way to the coffee bar for further discussion.  Called “Deathbed” (2010) it shows what looks like the skeleton of a child covered in sackcloth on a bed with an apparently mummified hand where the feet might be; hieroglyphics can be seen on the wall the bed stands by in the bare room. The uplifting part of this picture is the body of a white dove perched on the skull; one might interpret the bird in different ways such as taking to to be the soul or a symbol of redemption and hope but what it seems to be saying is that amidst all the detritus that Ballen has revealed to us during the exhibition, there is something that transcends it. The bird suggests a kind of freedom, a relief from the confinement implicit in most of the other images. There is light amidst all this darkness since our knowledge of darkness could not exist without light.

The images in the exhibition are often difficult to engage with owing to their subject. Another man’s vomit?

We are asked to see the video and this certainly brings Ballen’s work to life. Initially, his contact with the group called Die Antwerwood was because they were appropriating his images but when they began to work together something quite unique came of it. I find the dance movements very intriguing while the music is good too. One becomes aware of a certain sense of humour to Ballen’s work, an element of celebration.

Ballen does not advise people to do photography unless they are really driven to. Does this mean one has to become an obsessive as he admits to being?

One reason the exhibition is the way it is might be because the gallery has a new director who wants to make an impression and so shows work that is controversial and somewhat in your face. One goes to see art to experience a change in oneself as much art is about self-exploration although to say that art will help one find oneself is probably going a little too far.

To appreciate photography, one needs to stop thinking too much like a photographer by confining oneself to concerns about equipment, grain within the image, film type used etc as this can so easily detract from the actual meaning of photography which is likely to be on a more psychological level.

Are any of these images photoshopped? Apparently not. Photoshop has just been used in the making of high quality prints though.

Bauhaus : Art as Life

Although there is no OCA study day for photographers, there is a day for Fine Art students and so I shall apply to attend this day. The Bauhaus is mentioned at the beginning of the photographic course and one is asked to do a number of assignments with their principles in mind.

I had heard about this exhibition at the Barbican in London last year from perusing the internet and read this week the Times review which gave it 2 stars out of a possible 5, quoting Mies van der Rohe as saying “The Bauhaus is not a school, but an idea” and concluding that the exhibition does not give “the idea” of Bauhaus. Does it need to? The Bauhaus School was surely more than an idea; wild parties were also part of it!

The BBC4 programme Saturday Review also reviewed the exhibition (05-05-2012), this time in a more favourable light with an animated discussion. The Bauhaus began in 1919 in Weimar under the guidance of Walter Gropius, straight after the First World War, and it lasted until 1933 when it ended as a result of Nazi opposition who did not approve it’s association with radical and socialist ideas with it’s idea of achieving a kind of utopia through art and craft rather than racial purity. Regarded as one of the most influential art schools ever, it drew much from past art forms which it attempted to synchronise into a modernist view, and demonstrated a number of arts including photography. This exhibition presents a wide range of Bauhaus work almost as a history. Noted painters such as Klee and Kandinsky taught there. The exhibition explores the social side of the Bauhaus including the playfulness of it’s members evident in their parties which were conducted along Bauhaus lines! The Saturday Review guests are not completely won over by the exhibition (what about the diary entries of some members being shown!?) and mention that the exhibition can be confusing and dehumanising as modernism can be. One positive aspect of the exhibition is about being in the presence of the past with it’s hopes for “us” and engages the viewer in a tangible way, the art works being of substances such as wood. Bauhaus designs come in many forms such as blocks that children can play with and these designs can still be bought today. “Playfulness” is a distinctive characteristic of the Bauhaus. One may have a skeletal view of the Bauhaus but what this exhibition does is give a holistic sense to the movement. The school not only taught Bauhaus it also lived Bauhaus such as in the architecture of the original school building as well as the lives of it’s people; the parties were disciplined along Bauhaus lines which gives a certain Germanic feel as in “We will have fun!” One can see parallels with William Morris and his school of art which drew a great deal from past arts and crafts. There is a sense of hope in this exhibition,it does not pander to the negative views of modernism that have arisen since. There is an odd familiarity to many of the beautiful objects on display as similar designs are still being produced in the market place of today. Not all about German seriousness but also about frivolity. There is work from Kandinsky on display but one wonders whether Kandinsky was overshadowed by the Bauhaus since this work seems to lack some of his originality. Klee’s image of two towers is almost prophetic and hence haunting for what has happened since. Yet the work of these two great painters while at the Bauhaus does seem to bring up the craft versus art debate. There is a surprising amount of colour in this exhibition not something one might expect from the Bauhaus. Curvy lines and mass production! The disappearance of Bauhaus from pre-war Germany and it’s re-emergence in the USA is an encouraging fact.

Leaving home early, about 6.30 a.m., I drive to the station and catch a train to London; it’ll get me there well on time but later trains cost considerably more and I’ll be able to make use of the extra time – such as checking my emails. In fact, I am unable to pay for the parking at Taunton station so need to go online to sort this out.

The “Bauhaus : Art as Life” exhibition is being held at The Barbican which is itself quite modernist in construction. It is also a bit of a maze and although I do eventually find my way to the Barbican Centre, it is only after one or two wrong turns. The artists I am due to meet are nowhere to be found so I head for the exhibition itself and meet them on the way. Although this is a day for fine artists, there are a number of photographers there too such as Catherine and a Mexican woman called Ariadne.

Our tutor for the day was Jim Cowan from the OCA who had already seen the exhibition and gave us something of a guided tour; he also handed us a questionnaire which I shall consider later. His remarks sometimes slightly irreveren,t helped to stimulate one’s interest in the exhibition. At one point, I found myself talking to him about the photographic approach of the school in which mathematics was more important than aesthetic interest; of course, camera technology has come a long way since then and has made a more artistic approach possible but for the Bauhaus students, algebra came in handy.

This is a very big exhibition and not easy to view as a result. We visit the upper floor to begin with, Jim giving a brief commentary on what each room is about; this helps to guide our attention and take in the work. Even with the three hours we spend there, before and after some lunch, there is too much to view in it’s entirety.

The Bauhaus started in 1919, soon after the First World War, and was really a merger between two art schools of the time; it fell under the directorship of Walter Gropius. This was an attempt to build a new world through art and was initially art and craft orientated with emphasis on learning skills. One of it’s more colourful characters was Itten, himself a colour theorist who was also a member of a Zorastrian based sect called Mazdaznan that resulted in him wearing monks robes, eating plenty of garlic and even inducing vomiting as part of a spiritual purification process. There were those that loved him and those that loathed him. (further comment can be read below)

The return to making crafted objects, an attempt to reunite art and industry, was not that new as William Morris had done something similar in England during the previous century. Apart from experimenting with different materials, Bauhaus students were also asked to consider the essence of the triangle, the cube and the circle. One room in the exhibition is solely about the square.

If there is something missing in this exhibition, it is perhaps colour. For instance, there is an impressive staircase window by Albers and while there is a maze of different shapes and forms within it, the black and white photograph of it from 1923 can tell us nothing about what it looked like as the mass of colour it once was. This and other art works were part of the original Bauhaus that was destroyed in the Second World War. There is an interesting early photograph by George Muche that shows an arrangement of blades that foretells a sense of excruciating pain. A reminder perhaps of the more negative forces that this school were to arouse which ultimately lead to an aspect of modernism that was later to be rejected. Housing blocks built in sixties England are perhaps an example since later these have been found not be progressive but rather depressing and impossible to live in.

Another member of the school was Kandinsky whose initial work was highly intuitive but later became more methodical. For him, after a certain amount of research with his students, a triangle became yellow, the square red and the circle blue; however, from an understanding of other cultures such as the Tibetan where the triangle is red, we know that these symbols are not universally understood as Kandinsky imagined. The shift away from expressionism to other approaches such as Cubism and Constructivism (this latter school was not part of the Bauhaus although one of it’s exponents Theo Van Doesberg from Holland set up a school near to the Bauhaus and drew students from there). Fonts were developed during this early period with thicker fonts being used for more emphatic even angry matters and thinner fonts for “sweeter” matters.

In 1921, Itten resigned as a result of differences of view with Gropius who he felt was taking the school in a more commercial direction; in fact, Gropius was being pragmatic and wanted the school to pave it’s way in the world and become financially viable. Other artists joined the school such as Paul Klee and Albers as well as Maholy-Nagy.

Looking at the Bauhaus from a more historical perspective, one might consider the effect rapid inflation had on it’s development if any. The students were probably from more well to do backgrounds, The school itself was famous in it’s time but perhaps developed a more populist approach as fine art became design; was the Bauhaus where design became the important force it is today? At that time, graphic designer was not a profession! The Bauhaus became more left wing while the socialism of Germany became more nationalist in sentiment. In 1925, the Bauhaus had to move because the Weimar government was no longer prepared to grant funding and the school was obliged to set up in Dessau in a less prosperous area of the town. While, the print workshop had started by making art prints, it developed into making posters for government and industry even printing emergency bank notes.

 

A lot of items that they turned out were of a practical nature. For instance, Marianne Brandt who produced some fine photographs also was the only female metal worker; she produced an amazing array of tea pots while Albers made a fruit bowl that could be pushed across the table thanks to ball bearing style wheels. Wallpaper was the most successful product and yet the Bauhaus never got rich on this. The profit was taken by the corporates who managed to market the Bauhaus products. One can not help but see parallels with Habitat and Ikea today although these businesses are much more holistic in that they are one body rather than another body taking advantage of the original creators. The designers of Ikea and Habitat though wonld not be where they are if not for the Bauhaus.

 

The Bauhaus produced a series of books. One wonders if any of these 14 books printed in editions of 2 to 3,00 between 1923 – 30 are still in print; perhaps not, since many of the ideas expressed in them have been developed since particularly in photography which has changed so much.

 

There is a film being projected on a wall of the gallery that was made by Bauhaus students; it looks a bit dated now and some laugh at the demonstration of what were then innovative designs and are now taken for granted. Titled “How do we live in a healthy and economic way?”it was first shown in 1926 and ives a good idea of the ergonomic approach to living that has become so important in today’s world.

 

TOwards the end of the exhibition, one starts to see more photographs. They are still largely documentary in nature often picturing buildings and groups of people in well produced photographic forms, However, some of the photographs showing sporting activities do not only well to capture movement but also show a sense of composition with mirroring between background and foreground. Photographs were also being used to create montages while different photographs would be placed next to each other in significant ways as in portrait snaps of Josef and Anni Albers. Portaits were made that were not mere mugshots but involved interesting camera angles and also close ups as in a series of photographic images showing someone’s mouth. A striking images is of hands, a number of diptychs being placed together to create a large panel of images. T.Luix Feninger, son of the artist Feninger, produced some good photographs such as one of a line of musicians staged not horizontally but vertically, one agove the other; not only is the composition strong here, the musicians are not strictly posed while the print sees a widening of the tonal range, an aspict of the photograph that was to be developed in America largely by Ansel Adams.

 

Laszlo Maholy-Nagy did much of the photography and is well known for his contribution to the medium. In a 1930 film called “Lightplay: blcak white grey” he shows a dazzling array of form and light with accompanying music. the effect is a little dizzy but it is a wonderful exposition of Bauhaus made through the medium of film.

 

Paul Klee was another artist who gave his students exercises described as “purposeful play” described by the curator as “experimentationn under particular constraints to explore inherent and functional and constructive possibilities without stated practical aims” which rather aptly describes the exercises I was asked to do as part of the OCA modules in Level 1 photography.I enjoyed these and became interested in Itten and his ideas but this exhibition has made me more aware of the Bauhaus and it’s influence and it is one I do not particularly like. The nausea I feel while looking at it is perhaps an intended effect by some of the work inspired by a teacher for whom vomiting was encouraged!!

 

Some of the technical terms used to describe photographic processes are a little hard to understand. One sees what looks like a photo-montage, a group of photographs that have been stuck together on a single sheet of paper described as a photomechanical production.

 

The penultimate room is devoted to photography. This developed towards the end of the Bauhaus and reveals an innovative approach different angles of view, close ups and different subjects, photographs that are not purely functional. The first head of photography was Walter Peterhans, son of the maker of Zeiss lenses, whose exercises for his students were to help them develop technically superior prints. He achieved this partly through lectures on mathematics yet also through exercises involving lighting, exposure and printing; for example, one of his students made a series of different exposures of a light bulb from one in which only the filament was visible through to a final one where the light bulb was visible as a glowing object. There were close ups of a mouth shown in a series all showing different expressions and a similar group of photographs of hands with wrists in some cases, arranged beside each other in provocative ways. Peterhans himself was a gifted photographer who made work that anticipates much that was to follow in the years to come.

 

After spending some five hours at The Barbican of which three and a half were spent inside the exhibition space, I made my way to The Tate Modern to meet a friend who is herself an artist and studied the Bauhaus; she helped me to see the school with a little more perspective. The Bauhaus were a little idealistic in their approach and their concern for the straight line and lack of ornamentation did not have a good effect on those who had to live in or alongside some of their constructions. Their altruistic ideas have since been questioned and yet the work they undertook, which has been so vastly influential, remains interesting. They perhaps mark the end of traditional art and the birth of modern art where form becomes function. Photography here however got off to a good start and although it is no longer contemporary, it’s traces can still be seen. Personally I do not care for the high contrast it tended to encourage and see this as due to a lack of understanding in how to use the materials.

 

 

Later, after this exhibition was over, I read something on a college forum in which a student wrote about how well the exhibition brought the characters of the Bauhaus to life. I replied with the following comment …

“Jennifer writes, ” It presents the people involved – not just Gropius – as very much key in it all, and works hard to give you a sense of several of them as real people, not just names now in art history books.”

I agree with what she says and I think this was a feature of the exhibition. However, I questioned the treatment of Johannes Itten as a religious eccentric; he did after all, write some of the best books of the last century about understanding colour. His emphasis was on not just understanding the theory of it all but also experiencing the effect of, for instance, different colours.

Itten we learn was a member of Mazdaznan which was a Hindu-Christian movement – incorrect, it comes from Zorastrianism which is Persian based rather than Indian. This might seem like a minor error on part of those putting the exhibition together but it is quite significant in real terms. Imagine calling a Muslim a Christian – it might start a riot! Hence, I feel the emphasis on Itten as some kind of religious fanatic to be a little biased.

Itten, one of the first to be employed at the Bauhaus, left after a few years and hence was probably villified for doing so. Anyone who reads his books, still in print unlike a lot of Bauhaus stuff, is going to find a better understanding of the Bauhaus than this exhibition gave although the exhibition in itself was a unique presentation of Bauhaus art and artifacts.”