Emmet Gowin, Old Hanford City Sites and the Columbia River, Hanford Nuclear Reservation near
Richland, Washington, 1986. Promised gift of Dr. and Mrs. William G. Tsiaras. © Emmet and Edith Gowin, courtesy Pace/MacGill Gallery, New York. Museum of Art Rhode Island School of Design, Providence.
Rhode Island School of Design
21 de setembro de 2012, janeiro 13, 2013
Harry Callahan, Eleanor, Chicago, ca. 1952. Gift from Harry Callahan ca. 1953 Wayne Miller. © The Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York. Museum of Art Rhode Island School of Design, Providence.
América em Vistas: Fotografias de Paisagem 1865-Hoje, um amplo panorama das topografias de nosso país correlacionando narrativas que revelam as ambições de um país e falhas, belezas e perdas, a política e as histórias pessoais por meio de cerca de 150 fotografias que abrangem quase 150 anos abre sexta-feira, 21 de setembro 2012.
Lee Friedlander, Atlantic City, New Jersey, 1971. Museum purchase with funds from the National Endowment for the Arts. © Lee Friedlander, courtesy Fraenkel Gallery, San Francisco. Museum of Art Rhode Island School of Design, Providence.
America in View: Landscape Photography 1865 to Now, a broad panorama of our country’s topographies and correlating narratives that reveals a nation’s ambitions and failings, beauty and loss, politics and personal stories through about 150 photographs spanning nearly 150 years opens Friday, September 21, 2012.
Neal Rantoul, Near Pullman, Washington, 2009. Gift of the artist in honor of Joe Deal. © Neal Rantoul, Near Pullman, Washington, photograph courtesy of Panopticon Gallery, Boston, MA. Museum of Art Rhode Island School of Design, Providence.
"A paisagem inspirou e desafiou artistas desde os primeiros dias de nossa nação", diz a diretora do Museu John W. Smith. "As obras notáveis dessa exposição não só capturam evolução da relação da fotografia com a paisagem, mas também rastream a narrativa maior da América em si."
Justin Kimball, Deep Hole, New Hampshire, 2002. Gift of the artist in honor of Joe Deal. Photograph by Justin Kimball, from the series Where We Find Ourselves. Museum of Art Rhode Island School of Design, Providence.
Lewis Baltz, Model Home, Shadow Mountain, 1977, from the portfolio Nevada. Gift from the Collection of Joe Deal and Betsy Ruppa. © Lewis Baltz. Museum of Art Rhode Island School of Design, Providence.
Desde as primeiras imagens da mostra, fica claro como estilo guiado propósitadamente . Vistas por Carlton Watkins 1860 pictóricas e atmosféricas da paisagem sublime retratam o deserto como um lugar de renovação espiritual e um refúgio contra os problemas urbanos. Em contraste, Timothy O'Sullivan, empregando levantamentos geológicos do governo na década de 1870, fez imagens propositadamente de reposição e anti-pitorescas que aparentemente fornecem prova de territórios vazios que precisam ser estudados, garantidos, e assentados..
Thomas Barrow, f/t/s Cancellations (Brown) – Field Star, 1975. Gift from the Collection of Joel Deal and Betsy Ruppa. © Thomas Barrow. Museum of Art Rhode Island School of Design, Providence.
From the earliest images in the show, it is clear how purpose guided style. Carlton Watkins’ 1860s painterly and atmospheric views of the sublime landscape portray the wilderness as a place of spiritual renewal and a refuge from urban problems. In contrast, Timothy O’Sullivan, employed for the government’s geological surveys in the 1870s, made purposefully spare and anti-picturesque images that seemingly provide proof of empty territories needing to be studied, secured, and settled.
Joe Deal, Colton, California, 1978, from the portfolio The Fault Zone. Museum Purchase: Georgianna Sayles Aldrich Fund and Gift of James D. and Diane D. Burke.!© The Estate of Joe Deal, courtesy Robert Mann Gallery. Museum of Art Rhode Island School of Design, Providence.
Em seu ensaio de América em Vistas acompanha por catálogo, a fotógrafa Deborah Bright, presidente do Departamento de Belas Artes na Pratt Institute, sugere que algumas das mudanças históricas na consciência ambiental vistas nas fotografias "iluminam como as obras também refletem concepções cambiantes de paisagens como portadores de significado cultural. "Ansel Adams, cujas vistas dos meados do século 20 da majestade e vastidão da natureza representam ideais de muitas pessoas da fotografia de paisagem americana, omitido o impacto humano sobre a terra. Amplamente utilizados pelo Sierra Club, suas imagens deslumbrantes de território virgens incentivaram a conservação em face de uma sociedade cada vez mais industrializada.
Brett Weston, Untitled (Brooklyn Bridge), 1943. Gift of Dan Miller. © The Brett Weston Archive. Museum of Art Rhode Island School of Design, Providence.
In her essay for America on View’s accompanying catalogue, photographer Deborah Bright, chair of the Fine Art Department at Pratt Institute, suggests that some of the historical shifts in environmental consciousness seen in the photographs "illuminate how the works also reflect changing conceptions of landscapes as bearers of cultural meaning.” Ansel Adams, whose mid-20th-century views of nature’s majesty and vastness represent many people’s ideals of American landscape photography, omitted human impact on the land. Widely used by the Sierra Club, his stunning images of untouched wilderness encouraged conservation in the face of an increasingly industrial society.
Emmet Gowin, Alluvial Fan, Natural Drainage near Yuma Proving Ground and the California-Arizona Border, 1988. Promised gift of Dr. and Mrs. William G. Tsiaras. © Emmet and Edith Gowin, courtesy Pace/MacGill Gallery, New York. Museum of Art Rhode Island School of Design, Providence.
Na década de 1970, artistas como o falecido RISD reitor e professor de fotografia Joe Deal viu que o ambiente implicou tanto deserto e o terreno baldio ao lado. Suas imagens "Nova Topografia" descrevem casas recentemente construídas, parques industriais, e cultura de rodovias - exclusão Adams invertendo '. "" Paisagem "é provavelmente melhor compreendida como o conjunto de expectativas e crenças ... nós projetamos sobre o mundo", explica Brown University historiador de arte Douglas Nickel no catálogo. "Nem toda fotografia da terra é uma paisagem, e não necessariamente toda a paisagem representa a terra."
Joe Deal, Chatsworth, California, 1980, from the portfolio The Fault Zone. Museum Purchase: Georgianna Sayles Aldrich Fund and Gift of James D. and Diane D. Burke.!© The Estate of Joe Deal, courtesy Robert Mann Gallery. Museum of Art Rhode Island School of Design, Providence.
By the 1970s, artists including the late RISD provost and photography professor Joe Deal saw that the environment entailed both wilderness and the vacant lot next door. Their “New Topographics” imagery depicts recently constructed tract homes, industrial parks, and highway culture — inverting Adams’ exclusion. “'Landscape' is probably better understood as that set of expectations and beliefs … we project upon the world,” explains Brown University art historian Douglas Nickel in the catalogue. “Not every photograph of land is a landscape, and not every landscape necessarily features the land.”
Emmet Gowin, Aeration Pond, Toxic Water Treatment Facility, Pine Bluff, Arkansas, 1989. Mary B. Jackson Fund. © Emmet and Edith Gowin, courtesy Pace/MacGill Gallery, New York. Museum of Art Rhode Island School of Design, Providence.
Os últimos 20 anos revelam um retorno à vista romântica da paisagem, mesmo em seu estado de degradação, muitas vezes incluindo figuras para criar narrativas. Paisagens de Justine Kurland sob um viaduto mostra um impressionante lugar de fantasia e fuga. RISD aluno Justin Kimball explora fantasias de encontrar deserto em parques públicos, onde em vez encontramos outras pessoas que procuram o mesmo.
Ansel Adams, Half Dome, Blowing Snow, Yosemite National Park, California, ca. 1955 (printed 1970s). Museum purchase with funds from the National Endowment for the Arts. © 2012, The Ansel Adams Publishing Rights Trust. Museum of Art Rhode Island School of Design, Providence.
The past 20 years reveal a return to romantic views of the landscape, even in its degraded state, often including figures to create narratives. Justine Kurland’s landscape under an overpass shows a stunning place of fantasy and escape. RISD alumnus Justin Kimball explores fantasies of finding wilderness in public parks—where instead we find others seeking the same.
Michael Cevoli, Cottage Street Mill with Houses, Franklin, MA, 2008. Gift of the artist in honor of Joe Deal. Photo: Michael Cevoli. Museum of Art Rhode Island School of Design, Providence.
América em Vistas foi inspirada por uma generosa doação de fotografias de Deal e de sua viúva, Betsy Ruppa. Jan Howard, curador do Museu de gravuras, desenhos + Fotografias, diz, "este dom, e outras contribuições em honra de Joe, o Museu dá uma nova força em fotografia de paisagem final do século 20, celebrado nesta exposição."
Terry Evans, Terraced Plowing with a Grass Waterway, 1991. Gift of Jan Howard and Dennis Teepe in honor of Joe Deal. © Terry Evans. Museum of Art Rhode Island School of Design, Providence.
America in View was inspired by a generous gift of photographs from Deal and his widow, Betsy Ruppa. Jan Howard, the Museum’s curator of Prints, Drawings + Photographs, says, “This gift, and other contributions in Joe’s honor, gives the Museum a new strength in late 20th-century landscape photography, celebrated in this exhibition.”
Laura Gilpin, Footprints in the Sand, 1931. Museum purchase with funds from the National Endowment for the Arts Museum of American Art, Fort Worth, Texas. © 1979 Amon Carter Museum of American Art, Fort Worth, Texas. Museum of Art Rhode Island School of Design, Providence.
Laura McPhee, Smoke from a Wildfire Ignited by Sparks from a Burn Barrel, Champion Creek, Custer County, Idaho, 2005. Gift of the artist and Carroll and Sons (Boston, MA) in honor of Joe Deal. © Laura McPhee. Museum of Art Rhode Island School of Design, Providence.
Laura McPhee, Judy Tracking Radio-Collared Wolves From Her Yard, Summer Range, H-Hook Ranch, Custer County, Idaho, 2004. Purchased with funds donated by Donald Stanon and Helen M. Danforth Acquisition Fund. © Laura McPhee. Museum of Art Rhode Island School of Design, Providence.
Laura Gilpin, Footprints in the Sand, 1931. Museum purchase with funds from the National Endowment for the Arts Museum of American Art, Fort Worth, Texas. © 1979 Amon Carter Museum of American Art, Fort Worth, Texas. Museum of Art Rhode Island School of Design, Providence.
Sage Sohier, British Red Coat Re-enactor, Battle of Concord and Lexington, MA, 2002. Helen M. Danforth Acquisition Fund. Sage Sohier © 2002. Museum of Art Rhode Island School of Design, Providence.
Carleton E. Watkins, Cape Horn, Columbia River, 1867. Helen M. Danforth Acquisition Fund. Museum of Art Rhode Island School of Design, Providence.
Frank Gohlke, Near Crawley, Texas, 1978. Gift from the Collection of Joe Deal and Betsy Ruppa. © Frank Gohlke 1978. Museum of Art Rhode Island School of Design, Providence.
Clarence Hudson White, Morning, 1905, v. 23, July 1908. Walter H. Kimball Fund. Museum of Art Rhode Island School of Design, Providence.
American, Providence Panorama from Grosvenor or Bannigan Building, ca. 1900. Mary B. Jackson Fund. Museum of Art Rhode Island School of Design, Providence.
Art Sinsabaugh, Chicago Landscape #24, 1964. Gift of Aaron Siskind. © Katherine Anne Sinsabaugh & Elisabeth Sinsabaugh de la Cova. Museum of Art Rhode Island School of Design, Providence.
Gary Metz, Untitled, 1973. Museum purchase: gift of Mr. and Mrs. Julius Bloom Photographic Fund and bequest of Lyra Brown Nickerson, by exchange. © Gary Metz Estate. Museum of Art Rhode Island School of Design, Providence.
Millee Tibbs, Self-Portrait in the Fog, 2009. Gift of the artist in honor of Joe Deal. © Millee Tibbs. Museum of Art Rhode Island School of Design, Providence.
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América em Vista:
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21 de setembro de 2012, janeiro 13, 2013
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