Exhibition dates: 30th September 2012 – 31st December 2012
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Alfred Stieglitz / Georgia O’Keeffe
Paul Strand / Rebecca Strand
Emmet Gowin / Edith Gowin
Harry Callahan / Eleanor and Barbara Callahan
Robert Mapplethorpe / Patti Smith
Nicholas Nixon / The Brown Sisters
Andy Warhol / Serial Photography / Photo Booth Portraits
Mario Testino / Kate Moss
Baron Adolf de Meyer / Baroness Olga de Meyer
Edward Weston / Charis Weston
Lee Friedlander / Maria Friedlander
Paul Caponigro / The woods of Connecticut
Bernd and Hilla Becher / grids
Gerhard Richter / Overpainted Photographs
Masahisa Fukase / wife and family
Seiichi Furuya / Christine Furuya-Gößler
Sally Mann / children and husband
William Wegman / dogs
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Australia?
Nobody that I can think of…
Notice how all the artists are men except one.
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Many thankx to the National Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
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Emmet Gowin
Edith, Danville, Virginia
1971
Gelatin silver print
20.2 x 25.2 cm (7 15/16 x 9 15/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund
© Emmet and Edith Gowin, Courtesy Pace/MacGill Gallery, New York
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Emmet Gowin
Edith, Danville, Virginia
1963
Gelatin silver print, printed 1980s
19.7 x 12.7 cm (7 3/4 x 5 in.)
National Gallery of Art, Washington, Charina Endowment Fund
© Emmet and Edith Gowin, Courtesy Pace/MacGill Gallery, New York
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Emmet Gowin
Edith and Moth Flight
2002
Digital ink jet print
19 x 19 cm (7 1/2 x 7 1/2 in.)
National Gallery of Art, Washington, Charina Endowment Fund
© Emmet and Edith Gowin, Courtesy Pace/MacGill Gallery, New York
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Francesca Woodman
House #3, Providence, Rhode Island
1976
Gelatin silver print
16.1 x 16.3 cm (6 5/16 x 6 7/16 in.)
National Gallery of Art, Washington, Gift of the Heather and Tony Podesta Collection
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Francesca Woodman
Untitled, Providence, Rhode Island
1975-1978
Gelatin silver print
10.5 x 10.5 cm (4 1/8 x 4 1/8 in.)
National Gallery of Art, Washington, National Gallery of Art, Washington, Gift of the Collectors
Committee and R. K. Mellon Family Foundation
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Ann Hamilton
body object series #13, toothpick suit/chair
1984
Gelatin silver print, printed 1993
11 x 11 cm (4 5/16 x 4 5/16 in.)
National Gallery of Art, Washington,Gift of Heather and Tony Podesta Collection
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Ann Hamilton
body object series #14, megaphone
1986
Gelatin silver print, printed 1993
11 x 11 cm (4 5/16 x 4 5/16 in.)
National Gallery of Art, Washington,Gift of Heather and Tony Podesta Collection
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“The National Gallery of Art explores how the practice of making multiple portraits of the same subjects produced some of the most revealing and provocative photographs of our time in The Serial Portrait: Photography and Identity in the Last One Hundred Years, on view in the West Building’s Ground Floor photography galleries from September 30 through December 31, 2012. Arranged both chronologically and thematically, the exhibition features 153 works by 20 artists who photographed the same subjects – friends, family, and themselves – numerous times over days, months, or years to create compelling portrait studies that investigate the many facets of personal and social identity.
“The Gallery’s photography collection essentially began with the donation of Alfred Stieglitz’s ‘key set,’ so it is fitting that this exhibition opens with portraits by Stieglitz, who understood that a person’s character was best captured through a series of photographs taken over time,” said Earl A. Powell III, director, National Gallery of Art. “Although the exhibition is drawn largely from the Gallery’s significant collection of photographs, we are grateful to the lenders who have allowed us to present more fully the serial form of portraiture that Stieglitz championed.”
Since the introduction of photography in 1839, portraiture has been one of the most widely practiced forms of the medium. Starting in the early 20th century, however, some photographers began to question whether one image alone could adequately capture the complexity of an individual. As Alfred Stieglitz, the era’s leading champion of American fine art photography, argued: “to demand the [single] portrait that will be a complete portrait of any person is as futile as to demand that a motion picture will be condensed into a single still.”
Along with Stieglitz, some of the 20th century’s most prominent photographers – Paul Strand, Harry Callahan, and Emmet Gowin – used the camera serially to transcend the limits of a single image. Each of these photographers made numerous studies of their lovers that sought to redefine the expressive possibilities of portraiture while probing the affective bonds of love and desire. By employing the camera’s capacity to record fluctuating states of being and mark the passage of time, other photographers such as Nicholas Nixon and Milton Rogovin have documented individuals – in families or communities – over four decades. Capturing subtle and dramatic shifts in appearance, demeanor, and situation, these series are poignant and elegiac memorials that remind us of our own mortality.
Other photographers have made serial self-portraits that explore the malleability of personal identity and the possibility of reinvention afforded by the camera. By photographing themselves as shadows, blurs, or partial reflections, Ilse Bing, Lee Friedlander, and Francesca Woodman have created inventive but elusive images that hint at the instability of self-representation. Conceptual artists of the 1970s and 1980s such as Vito Acconci, Blythe Bohnen, and Ann Hamilton have explicitly combined performance and self-portraiture to stage continual self-transformations. The exhibition concludes with work from the last 15 years by artists such as Nikki S. Lee and Gillian Wearing, who take the performance of self to its limits by adopting masquerades to delve into the ways identity is inferred from external appearance.”
Press release from the National Gallery of Art website
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Lee Friedlander
Haverstraw, New York
1966
Gelatin silver print
21.7 x 32.7 cm (8 9/16 x 12 7/8 in.)
National Gallery of Art, Washington, Trellis Fund
© Lee Friedlander, courtesy Fraenkel Gallery
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Lee Friedlander
Westport, Connecticut
1968
Gelatin silver print
19.8 x 12.3 cm (7 13/16 x 4 13/16 in.)
National Gallery of Art, Washington, Trellis Fund
© Lee Friedlander, courtesy Fraenkel Gallery
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Ilse Bing
Self-Portrait with Leica
1931
Gelatin silver print, printed c. 1988
26.7 x 29.7 cm (10 1/2 x 11 11/16 in.)
National Gallery of Art, Washington, Gift of Ilse Bing Wolff
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Gillian Wearing
Me as Mapplethorpe
2009
Gelatin silver print (based upon Robert Mapplethorpe work: Self Portrait, 1988. © Robert Mapplethorpe Foundation)
149.86 x 121.92 cm (59 x 48 in.)
Private Collection
Courtesy the artist; Tanya Bonakdar Gallery, New York; Maureen Paley, London, Regen Projects, Los Angeles
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Paul Strand
Rebecca
1922
Platinum print
24.4 x 19.4 cm (9 5/8 x 7 5/8 in.)
National Gallery of Art, Washington, Southwestern Bell Corporation Paul Strand Collection
© Aperture Foundation Inc., Paul Strand Archive
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Paul Strand
Rebecca, New Mexico
1932
Platinum print
14.9 x 11.8 cm (5 7/8 x 4 5/8 in.)
National Gallery of Art, Washington, Southwestern Bell Corporation Paul Strand Collection
© Aperture Foundation Inc., Paul Strand Archive
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Alfred Stieglitz
Georgia O’Keeffe
probably 1918
Platinum print
18.4 x 23.1 cm (7 1/4 x 9 1/8 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection
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Alfred Stieglitz
Georgia O’Keeffe – Hands and Thimble
1919
Palladium print
24 x 19.4 cm (9 7/16 x 7 5/8 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection
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Alfred Stieglitz
Georgia O’Keeffe
1930
Gelatin silver print
23.9 x 19.1 cm (9 7/16 x 7 1/2 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection
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Nicholas Nixon
The Brown Sisters
1975
Gelatin silver print
20.2 x 25.2 cm (7 15/16 x 9 15/16 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund
© Nicholas Nixon, courtesy Fraenkel Gallery, San Francisco and Pace/MacGill Gallery, New York
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Nicholas Nixon (American, born in 1947)
The Brown Sisters
1978
Photograph, gelatin silver print
Promised gift of James and Margie Krebs
© Nicholas Nixon, courtesy Museum of Fine Arts, Boston
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For more images from this series please see my posting ‘Nicholas Nixon: Family Album’
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National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington
Opening hours:
Monday – Saturday 10:00 a.m. – 5:00 p.m.
Sunday 11:00 a.m. – 6:00 p.m
National Gallery of Art website
Filed under: American, american photographers, beauty, black and white photography, colour photography, digital photography, documentary photography, English artist, exhibition, gallery website, Gerhard Richter, intimacy, landscape, light, memory, photographic series, photography, portrait, psychological, reality, Sally Mann, space, time Tagged: Alfred Stieglitz, Alfred Stieglitz Georgia O'Keeffe, Alfred Stieglitz Georgia O'Keeffe - Hands and Thimble, Alfred Stieglitz Georgia O'Keeffe 1918, Alfred Stieglitz Georgia O'Keeffe 1930, Ann Hamilton, Ann Hamilton body object series #13, Ann Hamilton body object series #14, Bernd and Hilla Becher, body object series, body object series #13, body object series #14, Danville, Edith and Moth Flight, Emmet Gowin, Emmet Gowin Edith, Emmet Gowin Edith 1963, Emmet Gowin Edith 1971, Emmet Gowin Edith and Moth Flight, Francesca Woodman, Francesca Woodman House #3, Francesca Woodman Untitled Providence Rhode Island, Georgia O'Keeffe, Georgia O'Keeffe - Hands and Thimble, Gillian Wearing, Gillian Wearing Me as Mapplethorpe, Haverstraw New York, identity, Ilse Bing, Ilse Bing Self portrait with Leica, Lee Friedlander, Lee Friedlander Haverstraw New York, Lee Friedlander Westport Connecticut, national gallery of art, Nicholas Nixon, Nicholas Nixon The Brown Sisters, Nixon The Brown Sisters, Nixon The Brown Sisters 1975, Nixon The Brown Sisters 1978, Paul Strand Rebecca, Paul Strand Rebecca 1922, Paul Strand Rebecca 1932, Paul Strand Rebecca New Mexico, photography, Photography and Identity, Photography and Identity in the Last One Hundred Years, Robert Mapplethorpe Self Portrait 1988, sally mann children, Self portrait with Leica, self-portrait, self-portraiture, serial photography, serial portrait, serial portraits, The Brown Sisters 1975, The Brown Sisters 1978, the portrait, The Serial Portrait, The Serial Portrait: Photography and Identity in the Last One Hundred Years, Virginia, william wegman dogs
