Posts Tagged ‘Dorothea Lange’

Photography | Margaret Bourke-White in Berlin

Friday, January 18th, 2013

Margaret Bourke-White: Photographs 1930 – 1945
Martin Gropius Bau
Berlin, Germany
18th January – 14th April, 2013

The cover photo of the first ever issue of Life magazine (November, 1936) was by Margaret Bourke-White (1904-1971). In the 1920s, like other women photographers, writers, artists and editors who broke into the male-dominated professional world, lighting the way for women’s liberation – Lee Miller, Gertrude Stein, Dorothea Lange, Georgia O’Keeffe, and Imogen Cunningham, among others – Bourke-White had been ahead of her time.

She wanted to be the ‘eyes of the age’, and had ‘an unquenchable desire to be present when history is being made’, as she put it. She had the knack of being in the right place at the right time and, aggressive and relentless in her pursuit of pictures, she was prepared to go far further than most to achieve her goal.

One of the first photojournalists, her career began in 1927 in Cleveland, USA, where she photographed the city’s steel mills. She travelled to the USSR when the first five-year plan was being implemented – becoming the first Western photographer to document post-revolution Soviet industry. Bourke-White documented the drought of 1934 in the USA, the German invasion of the Soviet Union in 1941, and the Allied bombing of Germany – she became the first woman to go on a bombing mission, in 1943, at a time when women were not allowed in combat zones, gaining herself international celebrity status. Present at the liberation of the Buchenwald concentration camp and the Leipzig-Mockau forced labour camp, her photograph The Living Dead of Buchenwald went round the world. Soon after she was in India recording the release of Mahatma Ghandi from prison, in 1946, and then in South Africa documenting the effects of labour exploitation during the 1950s.

The focus of the Martin Gropius Bau Margaret Bourke-White: Photographs 1930 – 1945 exhibition is on the pictures the photographer took in the 1930s and 40s in the former Soviet Union, former Czechoslovakia, Germany, the UK and Italy and consists of 154 photographs, letters and periodicals. Some of her word-picture sequences for the photo magazines Fortune and Life are on view as well as extracts from her correspondence with the likes of Winston Churchill and Georgia O’Keeffe.

Images from top
Russian worker on the turbine shell of the Dnejprostroj-hydro-electric power plant Soviet Union, Saporishya (today, Ukraine), ca 1930
Masters by Getty Images
©Time & Life/Getty Images

The Reverend Spiegelhoff from Milwaukee and American GIs at the mass in the Cologne cathedral, April 1945
Syracuse University Library Collection, New York
©Time & Life/Getty Images

Russian film director Sergej Eisenstein being shaved on the terrace of Bourke-White’s studio in the Chysler Building, NYC, 1932
Syracuse University Library Collection, New York
©2012 Estate of Margaret Bourke-White/Licensed by VAGA, New York, NY, USA

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Exhibition | Ralph Gibson’s Selective Eye

Friday, June 15th, 2012
Ralph Gibson
Camera Work, Berlin, Germany
16th June – 4th August, 2012

American photographer, Ralph Gibson’s Leda, 1974, is simply one of the most erotic pictures I’ve ever seen. But is it a game? Is it meant to be humourous? Or is it for real? The ambiguity itself is tantalising. As with many of his pictures, nothing is explained; the viewer is left to draw whatever conclusion he/she chooses. Leda was the very first Gibson image I was shown when I was introduced to his extraordinary work in the late 90s by a female photographer friend, who was already a big fan. And I could see why: glimpses of a mysterious and secret world, many of Gibson’s pictures appear to exude a close understanding of female sensuality and sexuality.

British editorial art director/curator, David King’s maxim has been described as: ‘If you can crop any more off a picture then you haven’t cropped it enough.’ Not refuting the accuracy of the description, King later clarified his doctrine by explaining that, obviously, if it’s a fantastic picture then you leave it alone, but most photographs are enhanced by cropping. As a magazine art director, myself – often praised for the skill of my cropping, reviled on the odd occasion (by sensitive photographers) for its insensitivity – I was immediately struck by the impact of Gibson’s images that are the product of his highly selective eye and absolute economy of crop. Could anyone, other than perhaps fashion and beauty photographer, Hiro, who throughout the 1960s to 1990s produced many closely-cropped, elegant images for magazines such as Harper’s Bazaar and French Vogue – have come close to the graphically succinct statement of Gibson’s Mary Jane, 1980?

Born in 1939 in Los Angeles, California, Gibson, whose work is in the collections of over 150 international museums and galleries, assisted American documentary photography icons Dorothea Lange – and later – Robert Frank before embarking on his own freelance career as a photographer in the late 1960s. He crops, as they did, as Henri Cartier Bresson, as Eugene Richards does and as most other great photographers do or have done – in camera. Like Cartier-Bresson, Gibson uses only Leica cameras and, among a long list of other, major commendations, won the Leica Medal of Excellence Award in 1988.

Gibson’s early close-ups – Umbrella and Car, 1954 – of sections of cars are reminiscent of Paul Strand’s (1890–1976) early, modernist-inspired photography – Wire Wheel, New York, 1917 – that hover on the edge of the abstract. But, whereas Strand’s images, in line with prevailing modernist preoccupations of the time, remain objective studies, Gibson’s are enigmatic, hinting at a story – something beyond the picture area that the viewer must invent, imagine for himself. In this way they come closer to the surrealist photographs of André Kertész and Man Ray. Often his female nudes – Untitled, 2008 – subjected to strong natural light, are reduced to a series of light, sensual, softly-toned areas crossed by heavy geometrical shadows. At the brink of abstraction – Torso Palms, 1973 – they hold back, and it’s at that point the viewer is forced to stop and think: is it me, or does the shape of the breasts really resemble the underside of a phallus?

Images from top
Leda, 1974 © Ralph Gibson
Christine, 1974 © Ralph Gibson
Umbrella and Car, 1954 © Ralph Gibson
Untitled, 2012 © Ralph Gibson

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