Private Collections: Exhibitions from 21

Private Collections: Exhibitions from 21 September 2012 to 6 January 2013
Howard Greenberg, Collection
Freaks, The Monstrous Parade
Luciano Rigolini, Concept Car
Press Kit
Private Collections
Press Kit
Contents
Exhibitions from 21 September 2012 to 6 January 2013
• Howard Greenberg, Collection
• Freaks, The Monstrous Parade
• Luciano Rigolini, Concept Car
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5
6
Upcoming Exhibitions
• At the Musée de l’Elysée
7
The Musée de l’Elysée
8
Press Images
9
Practical Information
11
Press Contact
Agata Ubysz
+41 ( 0 ) 21 316 99 27
[email protected]
Cover: Dorothea Lange, Migrant Mother, Nipomo, California, 1936 © Library of Congress. Courtesy of Howard Greenberg Collection
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Private Collections
Press Kit
The Musée de l’Elysée presents different approaches to
collecting photography by means of three original exhibitions.
Howard Greenberg, Collection
From 21 September 2012 to 6 January 2013
Howard Greenberg has been a gallery owner for over thirty years
and is considered today one of the pillars of the New York
photography scene. While his position as a dealer is well
established, little was known of his passion for collecting,
presently revealed to the public for the first time. The primary
reason to explain why it took so long to discover this collection is
because building such a collection demands time. Only in time can
the maturity of a collection be measured; the time necessary to
smooth trends, confirm the rarity of a print, and in the end, validate
the pertinence of a vision.
In an era of immediacy, when new collectors exhibit unachieved
projects or create their own foundation, great original collections
are rare. Howard Greenberg’s is certainly one of the few still to be
discovered.
The quality of a collection does not rely on the sole accumulation
of master pieces but can best be assessed through a dialectical
movement: a collection is the collector’s oeuvre, a set of images
operating a transformation in the perception not only of the
photographs, but also of photography. This renewed perception is
two-fold in the Greenberg collection; through the surprising
combination of two approaches, the experimental practice of
photography that questions the medium as such, bringing it to the
limits of abstraction on one hand, and on the other, a documentary
practice, carried out through its recording function of the real. This
apparently irreconcilable duality takes on a particular signification
in the Greenberg collection, an investigation of the possibilities
offered by photography, a quest for photography itself, questioning
what it is.
Howard Greenberg and his collection have largely contributed to
the writing of a chapter of history. While contributing to the recognition of long neglected figures of the New York post-war photography scene, filling a gap, as gallery owner, Howard Greenberg, the
collector, ensured the preservation of a coherent body by building
over that period a unique collection of major photographs.
Dorothea Lange, Migratory Cotton Picker, Eloy, Arizona, 1940 © Library of Congress. Courtesy of Howard Greenberg Collection
Walker Evans, Negro Church, South Carolina, 1936 © Library of Congress. Courtesy of Howard Greenberg Collection
Ruth Orkin, American Girl in Italy, 1951 © Ruth Orkin. Courtesy of Howard Greenberg Collection
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Private Collections
Press Kit
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This collection of over 500 photographs was patiently built over the
last thirty years and stands out for the high quality of its prints.
A set of some 120 works are exhibited for the first time at the
Musée de l’Elysée, revealing different aspects of Howard Greenberg’s interests, from the modernist aesthetics of the 20s and
30s, with works by Edward Steichen, Edward Weston or the Czech
School, to contemporary photographers such as Minor White,
Harry Callahan and Robert Frank. Humanist photography is
particularly well represented, including among others, Lewis Hine
and Henri Cartier-Bresson. An important section is dedicated to
the Farm Security Administration’s photographers, such as Walker Evans or Dorothea Lange, witnesses to the Great Depression
years of the 30s. Above all, the collection demonstrates the great
influence of New York in the history of 20th century photography
with the images of Berenice Abbott, Weegee, Leon Levinstein or
Lee Friedlander conveying its architecture and urban lifestyle.
Commending its work and prominent position, and wishing to make
his private collection available to a large audience,
Howard Greenberg selected the Musée de l’Elysée to host his
collection.
The Musée de l’Elysée and the Fondation Henri Cartier-Bresson
jointly produce this exhibition which, after Lausanne, will
subsequently be presented in Paris.
Catalogue
The catalogue, published by Steidl, (224 pp., 145 plates) includes a
conversation between Howard Greenberg and Sam Stourdzé.
This publication is made possible thanks to the support of the
Friends of the Musée de l’Elysée.
Curators
Sam Stourdzé and Anne Lacoste, Musée de l’Elysée
and Agnès Sire, Fondation Henri Cartier-Bresson
Press Conference
Thursday 20 September 2012 at 10am
Opening
Thursday 20 September 2012 at 6pm
Henri Cartier-Bresson, Madrid, 1933 © Henri Cartier-Bresson/Magnum Photos. Courtesy of Fondation HCB and Howard Greenberg Collection
Leon Levinstein, Fifth Avenue, ca 1959 © Howard Greenberg Gallery. Courtesy of Howard Greenberg Collection
Private Collections
Freaks, The Monstrous Parade
Photographs from Enrico Praloran Collection
From 21 September 2012 to 6 January 2013
American director Tod Browning (1880-1962) has a particular
attraction for the uncanny. Freaks, his cult movie shot in 1932,
is inspired by a short story written by Clarence Aaron « Tod »
Robbins. Set in a circus, the performers are disabled actors.
The movie caused a scandal when it was released and Freaks was
soon censored, reedited, shortened, sometimes removed from
theaters, and in cases banned in some countries. Not until the
60s, when it was presented at the Cannes Festival, was the movie
acclaimed to the point of becoming a reference for artists such as
Diane Arbus or David Lynch.
The Musée de l’Elysée presents a selection of some fifty vintage
black and white silver prints, gathered by Enrico Praloran,
a collector based in Zurich. This unique set is the opportunity for
an encounter with the movie’s strange protagonists, Johny Eck,
the Half Boy, Daisy and Violet Hilton, the Siamese sisters, Martha
Morris, the “Armless Marvel”, or the Bearded Lady and the Human
Skeleton. They all are artists for real, coming from the Barnum
Circus.
The plot is transcribed in images through stills from the movie’s
major scenes, completed by set or shooting photographs, taking
us behind the scenes, including on the footsteps of Tod Browning
himself.
The catalogue, published by IDPURE (approximately 96 pp.,
50 plates, essay by Tom Cull), was made possible thanks to the
support from the Friends of the Musée de l’Elysée.
Curators
Sam Stourdzé and Anne Lacoste, Musée de l’Elysée
Film Screening, Saturday, 22 September 2012
The Unknown (1927) a film by Tod Browning with musical
accompaniment by Rodolphe Burger
During the Nuit des musées, the Musée de l’Elysée in collaboration
with Cinémathèque suisse presents Tod Browning’s film,
The Unknown (1927), with accompaniment by musicians Rodolphe
Burger and Alberto Malo.
Still Photography, Freaks, 1932. Courtesy of Praloran Collection, Zurich
Still Photography, Freaks, 1932. Courtesy of Praloran Collection, Zurich
Press Kit
5/11
Private Collections
Press Kit
Luciano Rigolini, Concept Car
From 21 September 2012 to 6 January 2013
“Scientists recurred to photography in order to fix reality, to reproduce objectivity; but what really thrills me is its poetic dimension.”
Luciano Rigolini
Born in Ticino in 1950, the artist Luciano Rigolini’s interest for
vernacular photography questions this particular mode of
representation of the real. He carefully collects neutral images
of objects or urban furniture, removed of any human presence
or trace, such as the photographs made for sales or industrial
documentation catalogues. Rigolini is not any ordinary collector.
He takes hold of the images collected, then transforms them into
images-objects, exploring new narrative forms.
With Concept Car, Luciano Rigolini deals with the theme of the
car. Collected, found on Internet, presented as such or thoroughly
retouched and greatly enlarged, Luciano Rigolini’s photographs
reveal an aesthetic approach filled with sculptural, pictorial, and
metaphorical qualities, while suggesting a reflection about our
ability to see and perceive.
When carried into this new context, Rigolini’s images lose their
documentary purpose in favor of a more conceptual aesthetic.
He thus pretends that “isolating the object from its context by
making it virtual, the image is no longer the proof of anything, it is
no longer the representation of something and becomes a picture.”
Concept Car is an exhibition presenting four series, including
Surrogates: 125 photographs, collected from the Internet, depicting spare parts of vintage cars. Surrogates will be simultaneously
shown at the Centre culturel suisse in Paris and at the Musée de
l’Elysée. The catalogue, copublished by the Musée de l’Elysée and
the Centre culturel suisse, was made possible thanks to the support from the Friends of the Musée de l’Elysée.
Curators
Sam Stourdzé and Anne Lacoste, Musée de l’Elysée
Industrial Document, 1978. Courtesy Luciano Rigolini. Collection Musée de l’Elysée, Lausanne
Luciano Rigolini, Doors, 2010
From the series Surrogates, GMC Sierra Windshield, Wiper Arms, 1986. Courtesy of Luciano Rigolini
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Private Collections
Press Kit
Forthcoming Exhibitions
at the Musée de l’Elysée
Gilles Caron, The Conflict Within
From 30 January to 12 May 2013
Gilles Caron embodies the ideal of the heroic reporter. Whilst
proclaiming the presence of a developing crisis within his
profession, the side effects on a human scale of his heroic
engagements are clearly expressed though his images.
The Conflict Within of Caron is also one of an entire generation :
what is the purpose of his action ? Furthermore, do his images
provide a valid testimony of the truths they aim to unveil ?
For Caron, the war is in front of the camera as well as within himself.
The exhibition The Conflict Within will feature over 250 images and
unpublished archival documents from the Gilles Caron Foundation,
the Musée de l’Elysée, and from private and institutional
collections. Through these archival documents a selection of negatives, contact sheets, and historical clippings
- the exhibition helps us rediscover one of the most important
photojournalists of the mid-twentieth century.
Curators
Michel Poivert, Université Paris 1 Panthéon-Sorbonne
Jean-Christophe Blaser, Musée de l’Elysée
Gilles Caron, Battle of Dak To, Vietnam, November-December 1967 © Fondation Gilles Caron
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Private Collections
The Musée de l’Elysée
Mission
The Musée de l’Elysée is one of the world’s leading museums entirely dedicated to photography. Since its establishment in 1985,
it has improved public understanding of photography through
innovative exhibitions, key publications and engaging events.
Recognised as a centre of expertise in the field of conservation
and enhancement of visual heritage, it holds a unique collection
of more than 100,000 prints and preserves several photographic
archives, in particular those of Ella Maillart, Nicolas Bouvier and
Charlie Chaplin. By supporting young photographers, offering new
perspectives on the masters and confronting photography with
other art forms, the Musée de l’Elysée experiments with the image.
Based in Switzerland, it presents four major exhibitions in Lausanne
each year and an average of fifteen in prestigious museums and
festivals around the world. Regional by character and international
in scope, it seeks to constantly develop new and exciting ways to
interact with audiences and collaborate with other institutions.
Collection
The Collection of the Musée de l’Elysée comprises approximately
44,000 original historical, modern and contemporary photographs.
Over 60,000 original prints are additionally included in the
iconographic Collection-an historical ensemble of photographs
gathered since the middle of the 19th century and preserved at first
by the Lausanne library before being hosted by the Musée de
l’Elysée.
Education
The Musée de l’Elysée is deeply invested in educational programs
aimed at sharing our passion for photography and its fascinating
history with youth. A number of workshops and talks are scheduled
throughout the year for children of all ages to explore the world of
photography.
The introductory courses and workshops are designed for children
of 6-12 years. Additionally, the museum hosts regular conferences
on the subject of photography with guest artists and museum
collaborators.
Please find conference and workshop dates at
elysee.ch/mediation-culturelle
View of the Musée de l’Elysée @ Yves André
View of the library of the Musée de l’Elysée
Press Kit
8/11
Private Collections
Dossier de presse
The following images are available for the press
The use of these images is limited to the promotion
of the exhibition presented at the Musée de l’Elysée.
They must not be altered in any way and must mention
the whole caption as well as the copyright.
Press Contact
Dorothea Lange, Migrant Mother, Nipomo, California, 1936 © Library of Congress.
Courtesy of Howard Greenberg Collection
Henri Cartier-Bresson, Madrid, 1933 © Henri Cartier-Bresson/Magnum
Photos. Courtesy of Fondation HCB and Howard Greenberg Collection
Walker Evans, Negro Church, South Carolina, 1936 © Library of Congress.
Courtesy of Howard Greenberg Collection
Dorothea Lange, Migratory Cotton Picker, Eloy, Arizona, 1940 © Library of Congress.
Courtesy of Howard Greenberg Collection
Leon Levinstein, Fifth Avenue, c. 1959 © Howard Greenberg Gallery. Courtesy of
Howard Greenberg Collection
Ruth Orkin, American Girl in Italy, 1951 © Ruth Orkin. Courtesy of Howard Greenberg
Collection
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Agata Ubysz
+41 ( 0 ) 21 316 99 27
[email protected]
Private Collections
Dossier de presse
The following images are available for the press
The use of these images is limited to the promotion
of the exhibition presented at the Musée de l’Elysée.
They must not be altered in any way and must mention
the whole caption as well as the copyright.
Press Contact
Still Photography, Freaks, 1932. Courtesy of Praloran Collection, Zurich
Still Photography, Freaks, 1932. Courtesy of Praloran Collection, Zurich
Still Photography, Freaks, 1932. Courtesy of Praloran Collection, Zurich
Industrial Document, 1978. Courtesy of Luciano Rigolini. Collection Musée de l’Elysée, Lausanne
From the series Surrogates, GMC Sierra Windshield, Wiper Arms, 1986.
Courtesy of Luciano Rigolini
Luciano Rigolini, Doors, 2010
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Agata Ubysz
+41 ( 0 ) 21 316 99 27
[email protected]
Private Collections
Practical Information
Adress of the Musée de l’Elysée
18, avenue de l’Elysée
CH - 1014 Lausanne
T + 41 21 316 99 11
F + 41 21 316 99 12
www.elysee.ch
Opening hours
Tuesday - Sunday, 11am - 6pm
Closed Monday, except for bank holidays
Admission fee
Adults CHF 8.00
AVS CHF 6.00
Students / Apprentices / AC / AI CHF 4.00
Free entry for those under 16
Free entry on the first Saturday of the month
Beginning in March 2012, visitors to the Musée de l’Elysée receive
a new entrance ticket which offers them free admission to the
Musée cantonal des Beaux-Arts (MCBA) and the Musée de design
et d’arts appliqués contemporains (valid for three days). This new
ticket symbolizes the museums’ participation in Lausanne’s new
Plate-forme pôle muséal.
Press Kit
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