Marie-Noëlle de La Poype
Sculpture #13, 2015
Posts Tagged ‘ exhibition ’
Ellen Carey, Self-Portrait, 1984, unique Polaroid 20 x 24
Heterogeneous, elusive, painful, fantastical, still too close, as light-hearted as they were serious, the Eighties were full of contrasts and paradoxes. With films and photographs from its collections, the Centre Pompidou cast a fresh eye on this decade in an exhibition featuring over 20 artists and some 60 works in a completely new circuit.
From Florence Paradeis to Jean-Paul Goude, and from Karen Knorr to Présence Panchounette by way of Martin Parr and Pierre and Gilles, the works selected mostly express criticism of culture and society through various strategies, such as irony, realistic or imaginative staging, pastiche, subverted sets and odes to artifice. The history of Eighties photography somewhat eludes comprehension even today.
While neo-documentary forms (such as “The Düsseldorf School”, the photographic project of DATAR, the Interdepartmental Delegation for Territorial Development and Regional Attractiveness) were positively received by critics overall, the same was not true of “manufactured”, staged or possibly “Baroque” photography, which represented much of the work produced in the Eighties. Beyond the sometimes too all-inclusive concept of post-modernism, the Eighties saw the emergence of new issues that were both poetic and political. Hybridisation, humour, irony, eroticism and nostalgia are all possible keys to interpreting the art of this period, particularly its photography.
Mainly dedicated to the Western and American scene of the 1980s, well-represented in the Centre Pompidou’s collection, this exhibition reflects the geopolitical and economic order of a time when the ideological divisions between North and South, East and West, capitalist democracies and centralised totalitarian regimes were being swept aside by the new global economy. With a mix of famous works and others awaiting rediscovery, the exhibition draws us into the aesthetics and sometimes popular iconography typical of this period and geography.
In France, the Eighties were crucial for photography in terms of art and heritage. Several major photography museums and collections sprang up or developed under a new impulse. At the same time, a new generation of “painter-photographers” appeared, who were keen to do away with the barrier between photography and painting and rebelled against the language of the previous generation. This new photography, often highly “pictorialist” in Western countries, developed forms that were closely connected with technical advances in this area: the availability of good-quality colour photography, the possibilities provided by large formats and the instantaneousness of Polaroid. The meeting between these new production methods and the search for different forms and themes in classic photography created another paradox: works that were openly anti-documentary proved to be such an accurate reflection of the reality they came from that in the end they were its best representation.
The exhibition of the Centre Pompidou brings together for the first time the works of Bazile Bustamante, Agnès Bonnot, David Buckland, Ellen Carey, Clegg & Guttmann, Tom Drahos, Jean-Paul Goude, Hergo, Karen Knorr, Elizabeth Lennard, Joachim Mogarra, Patrick Nagatani, Paul de Nooijer, Alice Odilon, Florence Paradeis, Martin Parr, Pierre et Gilles, Présence Panchounette, Alix Cléo Roubaud, Sandy Skoglund, Unglee, Boyd Webb, Mark Wilcox.
M+B congratulates Ellen Carey on her participation in the exhibition on 1980s photography at the Centre Pompidou, Paris. For press inquiries, please contact Jeanie Choi at M+B. For all other inquiries, please contact Jonlin Wung or Sonny Ruscha Granade.
Source: On View
It was daunting to walk into an oceanic gallery space streaming with over a hundred photography art books facing up, until I pulled up a stool and opened Black Threads from Meng Chiao (TIS Books, Brooklyn, NY, 2015), a collaboration by the photographer, Justine Kurland, and the poet, John Yau, then one other, Cuny Janssen: Yoshino (snoeck, Cologne, GR), right up to being told the gallery was about to close for the evening. I am bound to return at least once before the exhibition closes on February 17, 2016. – Donna Fleischer
Black Threads from Meng Chiao
Size 5.75 in x 8 in
Softbound French Fold
Silk Screen Dust Jacket
20 tritone plates
The widest pages, or leaves*, of the staggered, multi-wide book, Yoshino, are those of full-color photographs bleeding off all four sides. These approximate 18 inches of an arm’s length from gutter to foredge, and so may be turned only slowly. Other narrower ones are almost see-through, frosted overlays of various widths with one-sided, dense, generously leaded, black texts of prose and haibun by Bashō (Travel Record of Weatherbeaten Skeleton), Saigyō, and others:
This simple abode
where I don’t even use
all of the clear, clean water
between the rocks.
All in all inspired this poem:
trees’ leaves flap
i turn slowly as if
only just arrived
with so sudden a wind.
– Donna Fleischer
Kitagawa Utamaro, Utamakura (Poem of the Pillow), 1788
All poems and texts on this site are copyright of the author(s) and should not be used or reproduced in any form without consent, yet ~
keeping in mind the words of the poet Pierre Joris, ". . . I make the arrogant claim that the poet is possibly the last, in Robert Kelly’s words, ‘scientist of the whole… to whom all data whatsoever are of use.’ . . . The prerogative of the poet is to steal directly whatever is of use, without needing to theoretically kowtow via analysis, explicatio, critical cloning or proof of pc allegiance."