{"id":771,"date":"2024-04-09T04:27:11","date_gmt":"2024-04-09T07:27:11","guid":{"rendered":"https:\/\/foto.art.br\/site\/?p=771"},"modified":"2024-04-14T07:13:34","modified_gmt":"2024-04-14T10:13:34","slug":"nineteenth-century-photography-now","status":"publish","type":"post","link":"https:\/\/foto.art.br\/site\/2024\/04\/09\/nineteenth-century-photography-now\/","title":{"rendered":"Nineteenth-Century Photography Now"},"content":{"rendered":"\n
\"\"
Imagem: Caule de folhas delicadas de um umbel\u00edfero, provavelmente de 1843 a 1846, William Henry Fox Talbot. Negativo de desenho fotog\u00eanico. Museu Getty; Caule de folhas delicadas de um umbel\u00edfero, por volta de 1843\u20131846, 2009, Hiroshi Sugimoto. Impress\u00e3o em gelatina prata. Museu Getty, presente do artista. \u00a9 Hiroshi Sugimoto<\/figcaption><\/figure>\n\n\n\n

\u00c0 primeira vista, as fotografias tiradas no s\u00e9culo XIX podem parecer rel\u00edquias desbotadas de uma \u00e9poca cada vez mais distante e esquecida, mas persistem em inspirar, desafiar e ressoar nos artistas de hoje.<\/p>\n\n\n\n

Nineteenth-Century Photography Now, em exibi\u00e7\u00e3o de 9 de abril a 7 de julho de 2024 no Getty Center, oferece novas perspectivas sobre a fotografia antiga, olhando atrav\u00e9s das lentes de artistas contempor\u00e2neos que respondem diretamente a seus temas hist\u00f3ricos e assuntos.<\/p>\n\n\n\n

\u201cEsta exposi\u00e7\u00e3o oferece uma oportunidade de conectar os visitantes com algumas das primeiras fotografias da cole\u00e7\u00e3o do Museu, agora com quase dois s\u00e9culos de idade, atrav\u00e9s das respostas de criadores contempor\u00e2neos\u201d, afirma Timothy Potts, Maria Hummer-Tuttle e Robert Tuttle Diretor do J. Museu Paul Getty. \u201cA capacidade reveladora da fotografia antiga de capturar imagens do mundo que nos rodeia ainda ressoa nos profissionais de hoje, e as pontes entre a fotografia do passado e do presente s\u00e3o t\u00e3o ativas e relevantes como sempre foram.\u201d<\/p>\n\n\n\n

Organizada em torno de cinco temas, que remontam aos prim\u00f3rdios do meio, Identidade, Tempo, Esp\u00edrito, Paisagem e Circula\u00e7\u00e3o, esta exposi\u00e7\u00e3o explora fotografias do s\u00e9culo XIX atrav\u00e9s do trabalho de 21 artistas contempor\u00e2neos. Refletindo a inventividade dos primeiros profissionais, bem como os aspectos hist\u00f3ricos mais perturbadores da sua \u00e9poca, estes interc\u00e2mbios entre as primeiras d\u00e9cadas do meio e as mais recentes convidam-nos a reimaginar a fotografia do s\u00e9culo XIX enquanto exploramos as suas complexidades.<\/p>\n\n\n\n

No seu trabalho, os artistas Daido Moriyama, Hanako Murakami e Carrie Mae Weems relembram a inven\u00e7\u00e3o da fotografia para transmitir uma ideia de como esta descoberta revolucion\u00e1ria mudou a percep\u00e7\u00e3o das pessoas.<\/p>\n\n\n\n

Como ainda acontece hoje, os temas mais populares para a c\u00e2mera no s\u00e9culo XIX eram as pessoas. Nas galerias focadas em Identidade, Paul Mpagi Sepuya e Myra Greene respondem \u00e0 complexa hist\u00f3ria do retrato fotogr\u00e1fico enquanto Laura Larson, Stephanie Solinas e Fiona Tan investigam as pseudoci\u00eancias do s\u00e9culo XIX e como elas refor\u00e7aram os estere\u00f3tipos e os sistemas de identifica\u00e7\u00e3o que nos impactam hoje. .<\/p>\n\n\n\n

A fotografia e o tempo est\u00e3o inextricavelmente ligados desde que os primeiros inventores lutaram para fixar permanentemente um momento fugaz numa folha de papel. Esta se\u00e7\u00e3o inclui trabalhos de Lisa Oppenheim e Liz Deschenes explorando as inova\u00e7\u00f5es t\u00e9cnicas dos fot\u00f3grafos do s\u00e9culo XIX e as maneiras pelas quais o meio afeta nossa percep\u00e7\u00e3o do tempo.<\/p>\n\n\n\n

O g\u00eanero da fotografia do Esp\u00edrito surgiu da obsess\u00e3o vitoriana pela morte na Europa e na Am\u00e9rica do Norte. Os fot\u00f3grafos exploraram a capacidade de manipular imagens fotogr\u00e1ficas, empregando exposi\u00e7\u00f5es m\u00faltiplas e fotografia encenada para criar cenas de outro mundo ou para convocar entes queridos de volta dos mortos. Nesta se\u00e7\u00e3o, Khadija Saye e Lieko Shiga respondem \u00e0s possibilidades que a fotografia espiritual oferece na representa\u00e7\u00e3o do invis\u00edvel.<\/p>\n\n\n\n

Os fot\u00f3grafos do s\u00e9culo XIX n\u00e3o mediram esfor\u00e7os para fazer imagens de paisagens remotas. Pesquisas patrocinadas pelo governo e programas expedicion\u00e1rios empregaram a c\u00e2mera para justificar a expans\u00e3o e registrar os conflitos militares resultantes. Mark Ruwedel, Michelle Stuart e An-My L\u00ea revisitam algumas dessas mesmas paisagens hist\u00f3ricas e oferecem novas que aproximam o passado do nosso presente.<\/p>\n\n\n\n

Em meados do s\u00e9culo XIX, milhares de fotografias circulavam em todo o mundo, resultado da capacidade dos fot\u00f3grafos de reproduzir a mesma imagem v\u00e1rias vezes. Imagens de eventos hist\u00f3ricos, destinos tur\u00edsticos e expedi\u00e7\u00f5es antropol\u00f3gicas fizeram o mundo parecer mais acess\u00edvel, mas com o tempo e a dist\u00e2ncia, eles se desconectaram de seus contextos originais. Nesta se\u00e7\u00e3o, aparecem fotografias antigas ao lado de projetos que tornam presentes essas aus\u00eancias hist\u00f3ricas. Wendy Red Star, Stephanie Syjuco, Ken Gonzales-Day e Andrea Chung recuperam o que foi perdido, destacando os efeitos residuais da fotografia do s\u00e9culo XIX no nosso conhecimento atual das culturas e hist\u00f3rias globais.<\/p>\n\n\n\n

\u201cAtrav\u00e9s das obras destes artistas contempor\u00e2neos vision\u00e1rios, a fotografia do s\u00e9culo XIX n\u00e3o est\u00e1 desbotada e morta, mas muito viva, um material ativo que nos permite repensar o meio e a nossa rela\u00e7\u00e3o com ele\u201d, diz Karen Hellman, curadora da exposi\u00e7\u00e3o.<\/p>\n\n\n\n

Nineteenth-Century Photography Now tem curadoria de Karen Hellman, ex-curadora associada do Departamento de Fotografias. Carolyn Peter, curadora assistente do Departamento de Fotografias do Museu J. Paul Getty, atuou como curadora organizadora com a assist\u00eancia de Claire L\u2019Heureux, ex-estagi\u00e1ria de p\u00f3s-gradua\u00e7\u00e3o do Departamento de Fotografias e Antares Wells, assistente de curadoria.<\/p>\n\n\n\n

A programa\u00e7\u00e3o relacionada inclui Quem ou o que est\u00e1 faltando na fotografia do s\u00e9culo XIX?, uma discuss\u00e3o com os artistas Laura Larson, Wendy Red Star e Paul Mpagi Sepuya em uma conversa sobre suas pr\u00e1ticas art\u00edsticas e como eles est\u00e3o se envolvendo e criticando a fotografia do s\u00e9culo XIX. s\u00e9culo, e Art Break: A natureza prec\u00e1ria da fotografia, da sociedade e da vida, 6 de junho, 12h. O artista Phil Chang conversa com a curadora Carolyn Peter sobre sua s\u00e9rie \u201cUnfixed\u201d em exibi\u00e7\u00e3o na Nineteenth-Century Photography Now e como uma crise econ\u00f4mica e uma pandemia o inspiraram a criar fotografias que desaparecer\u00e3o intencionalmente para expressar a fragilidade dos sistemas sociais e da vida.<\/p>\n\n\n\n

(com google translator)<\/p>\n\n\n\n

<\/h2>\n\n\n\n
\"\"\/<\/figure>\n\n\n\n

Herbaria<\/em>\u00a0(detail), 2021, from the series\u00a0Pileups<\/em>, Stephanie Syjuco. Hand-assembled pigmented inkjet prints on Hahnem\u00fchle Baryta. Getty Museum. \u00a9 Stephanie Syjuco<\/p>\n\n\n\n

Introduction<\/h2>\n\n\n\n
\"Kuroda<\/a>
Kuroda Yasaburo, 50 Years Old<\/em>, January 6, 1882, Maker unknown. Ambrotype. Getty Museum, Gift of Virginia Heckert in memory of Gordon Baldwin; Undertone #10<\/em>, 2017-18, Myra Greene. Ambrotype. Getty Museum. \u00a9 Myra Greene<\/figcaption><\/figure>\n\n\n\n

The earliest photographs\u2014often associated with small, faded, sepia-toned images\u2014may seem to belong to a bygone era, but many of the conventions established during photography\u2019s earliest years persist today. Organized around five themes dating back to the medium\u2019s beginnings, this exhibition explores nineteenth-century photographs through the work of twenty-one contemporary artists. Reflecting the inventiveness of early practitioners as well as the more disturbing historical aspects of their era, these interchanges between the first decades of the medium and the most recent invite us to reimagine nineteenth-century photography while exploring its complexities.<\/p>\n\n\n\n

\"Cathedral<\/a>
Cathedral Spires \u2013 Yo Semite<\/em>, 1861, Carleton Watkins. Albumen silver print. Getty Museum; At daylight the miserable man was carried to an oak\u2026<\/em>, negative 2002; print 2021, from the series Searching for California\u2019s Hang Trees<\/em>, Ken Gonzales-Day. Pigment print. Getty Museum. \u00a9 Ken Gonzales-Day<\/figcaption><\/figure>\n\n\n\n

Identity<\/h2>\n\n\n\n
\"Pickpockets<\/a>
Pickpockets at the Universal Exposition of 1889<\/em>, 1889, Various makers. Album with albumen silver prints. Getty Research Institute; Marie Thiriot<\/em>, 2021, from the series Pickpockets<\/em>, Fiona Tan. HD video installation, stereo, flat-screen monitor. Courtesy of the artist and Frith Street Gallery, London. \u00a9 Fiona Tan. Photograph by Ben Westoby<\/figcaption><\/figure>\n\n\n\n

As is still the case today, the most popular subjects for the camera in the nineteenth century were people. Early commercial portrait photographers set up studios and established standards for posing and props, serving clients who eagerly shared these prized images with family and friends. Other portraits of the time, however, such as the mug shot and studies of female \u201chysterics,\u201d reinforced questionable forms of objectification. Paul Mpagi Sepuya and Myra Greene respond to the complex history of photographic portraiture. Fiona Tan, Laura Larson, and St\u00e9phanie Solinas investigate the nineteenth century pseudosciences that relied on the perceived accuracy of the new medium.<\/p>\n\n\n\n

\"The<\/a>
The Alaux Affair, Faubourg St. Honor\u00e9\u2013The Assassin<\/em>, 1902, attributed to Alphonse Bertillon. Gelatin silver print. Getty Museum; Untitled (M. Bertillon)\u2013Two Faces<\/em>, 2012, St\u00e9phanie Solinas. Photosculpture. Getty Museum, Gift of the artist. \u00a9 St\u00e9phanie Solinas<\/figcaption><\/figure>\n\n\n\n

Time<\/h2>\n\n\n\n
\"An<\/a>
An Effect of Sunlight\u2014Ocean No. 23<\/em>, 1857-58, Gustave Le Gray. Albumen silver print from glass negatives. Getty Museum; An Effect of Sunlight\u2014Ocean No. 23 (1857\/2019)<\/em>, 2019, Lisa Oppenheim. Gelatin silver print. Getty Museum. \u00a9 Lisa Oppenheim<\/figcaption><\/figure>\n\n\n\n

Photography and time have been inextricably linked ever since early inventors such as William Henry Fox Talbot struggled to permanently fix a fleeting moment on a sheet of paper. The development of the camera coincided with new discoveries about how we perceive an instant in time or an object in motion, and people praised photography for its ability to \u201cstop time\u201d and record what the unaided eye could not see. Lisa Oppenheim and Liz Deschenes respond to nineteenth century photographers\u2019 technical innovations and the ways in which the medium affects our perception of time. Phil Chang and Hiroshi Sugimoto address the fate of photographs across minutes or even centuries.<\/p>\n\n\n\n

\"Walking\/Running,<\/a>
Walking\/Running<\/em>, about 1890, published 1893, \u00c9tienne-Jules Marey and Michel Berthaud. Collotype. Getty Museum; FPS (120)<\/em>, 2018-21, Liz Deschenes. Gelatin silver photograms mounted on Dibond. Courtesy of the artist and Miguel Abreu Gallery, New York. \u00a9 Liz Deschenes. Image courtesy Fraenkel Gallery, San Francisco and Miguel Abreu Gallery, New York<\/figcaption><\/figure>\n\n\n\n

Spirit<\/h2>\n\n\n\n

The genre of spirit photography\u2014which used photographic tricks to insert ghostly figures among the living\u2014emerged during the nineteenth century from the Victorian obsession with death, s\u00e9ances, and mediums in Europe and North America and from the losses of the Civil War in the United States. Photographers exploited the ability to manipulate photographic images, employing multiple exposures and staged photography to create otherworldly scenes or to summon loved ones back from the dead. Khadija Saye and Lieko Shiga respond to the possibilities that spirit photography offers in rendering the unseen.<\/p>\n\n\n\n

\"Mrs.<\/a>
Mrs. Swan<\/em>, 1869\u201378, William H. Mumler. Albumen silver print. Getty Museum; Nak Bejjen [Cow\u2019s Horn]<\/em>, 2017-18, from the series in this space we breathe<\/em>, Khadija Saye. Silkscreen print. Getty Museum, Purchased with funds provided by the Photographs Council. \u00a9 Estate of Khadija Saye<\/figcaption><\/figure>\n\n\n\n

Landscape<\/h2>\n\n\n\n
\"Plateau<\/a>
Plateau of Sebastopol II<\/em>, 1855, Roger Fenton. Albumen silver print. Getty Museum; Security and Stabilization Operations, Iraqi Police<\/em>, 2003-4, from the series 29 Palms<\/em>, An-My L\u00ea. Gelatin silver print. Courtesy of the artist and Marian Goodman Gallery. \u00a9 An-My L\u00ea<\/figcaption><\/figure>\n\n\n\n

Nineteenth-century photographers went to great lengths to make images of remote landscapes, which required traveling with large format cameras, glass plates, and chemicals. Ideological forces drove many of these journeys, with the ultimate goal of imperial expansion through industrial development and war. Government sponsored surveys and expeditionary programs employed the camera to justify the expansion and to record the resulting military conflicts. Mark Ruwedel, Michelle Stuart, and An-My L\u00ea re-envision some of these same historical landscapes and offer up new ones that bring the past closer to our present.<\/p>\n\n\n\n

\"Desert<\/a>
Desert Sand Hills Near Sink of Carson, Nevada<\/em>, 1867, Timothy O\u2019Sullivan. Albumen silver print. Getty Museum; Timeless Land<\/em>, 2021, Michelle Stuart. Ambrotypes. Getty Museum, Purchased with funds provided by the Photographs Council. \u00a9 Michelle Stuart<\/figcaption><\/figure>\n\n\n\n

Circulation<\/h2>\n\n\n\n
\"Manulit\u00f3,<\/a>
Manulit\u00f3, Chief of the Navajos<\/em>, 1874, Charles M. Bell. Albumen silver print. Getty Museum; Peelatchiwaaxp\u00e1ash \/ Medicine Crow (Raven)<\/em>, 2014, from the series Crow Peace Delegation<\/em>, Wendy Red Star. Inkjet print. Nasher Museum of Art at Duke University, Museum purchase with funds provided by Jennifer McCracken New and Jason G. New. \u00a9 Wendy Red Star. Image courtesy of the Nasher Museum of Art<\/figcaption><\/figure>\n\n\n\n

By the middle of the nineteenth century, thousands of photographs were in circulation worldwide, the result of photographers\u2019 ability to reproduce the same image multiple times. Pictures of historical events, tourist destinations, and anthropological expeditions made the world seem more accessible, but with time and distance, they became disconnected from their original contexts. Many eventually ended up in archives (including at Getty). Early photographs appear next to projects that make these historical absences present. Wendy Red Star, Stephanie Syjuco, Ken Gonzales-Day, and Andrea Chung recover what has been lost, calling out the residual effects of the nineteenth-century photograph on our present knowledge of global cultures and histories.<\/p>\n\n\n\n

\"Ceylon\/Fern,<\/a>
Ceylon\/Fern<\/em>, about 1854, Anna Atkins, possibly with Anne Dixon. Cyanotype. Getty Museum; Untitled<\/em>, 2016, from the series Anthropocene<\/em>, Andrea Chung. Cyanotypes. Getty Museum. \u00a9 Andrea Chung<\/figcaption><\/figure>\n\n\n\n

https:\/\/www.getty.edu\/art\/exhibitions\/19_century_now\/explore.html<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c0 primeira vista, as fotografias tiradas no s\u00e9culo XIX podem parecer rel\u00edquias desbotadas de uma \u00e9poca cada vez mais distante e esquecida, mas persistem em inspirar, desafiar e ressoar nos artistas de hoje. Nineteenth-Century Photography Now, em exibi\u00e7\u00e3o de 9 de abril a 7 de julho de 2024 no Getty Center, oferece novas perspectivas sobre […]<\/p>\n","protected":false},"author":1,"featured_media":774,"comment_status":"closed","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-771","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/foto.art.br\/site\/wp-json\/wp\/v2\/posts\/771","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/foto.art.br\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/foto.art.br\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/foto.art.br\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/foto.art.br\/site\/wp-json\/wp\/v2\/comments?post=771"}],"version-history":[{"count":0,"href":"https:\/\/foto.art.br\/site\/wp-json\/wp\/v2\/posts\/771\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/foto.art.br\/site\/wp-json\/wp\/v2\/media\/774"}],"wp:attachment":[{"href":"https:\/\/foto.art.br\/site\/wp-json\/wp\/v2\/media?parent=771"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/foto.art.br\/site\/wp-json\/wp\/v2\/categories?post=771"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/foto.art.br\/site\/wp-json\/wp\/v2\/tags?post=771"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}