Tuesday, October 29, 2019

Camera Views (1852-2002)

Maxime Du Camp
Plate 106 from album - Egypte, Nubie, Palestine et Syrie
published 1852
salted paper print
Art Institute of Chicago

Auguste Salzmann
Jerusalem, Valley of Josaphat, Tomb of St James
1854
salted paper print
Art Institute of Chicago

Harry Callahan
Chicago
1950
gelatin silver print
Art Institute of Chicago

Brassaï
Fenêtre - Style Colonial à Ouro Preto (Brésil)
1959
gelatin silver print
Art Institute of Chicago

Duane Michals
Office
1964
gelatin silver print
Art Institute of Chicago

Benjamin Pantier

Together in this grave lie Benjamin Pantier, attorney at law,
And Nig, his dog, constant companion, solace and friend.
Down the gray road, friends, children, men and women,
Passing one by one out of life, left me till I was alone
With Nig for partner, bed-fellow, comrade in drink.
In the morning of life I knew aspiration and saw glory.
Then she, who survives me, snared my soul
With a snare which bled me to death,
Till I, once strong of will, lay broken, indifferent,
Living with Nig in a room back of a dingy office.
Under my jaw-bone is snuggled the bony nose of Nig –
Our story is lost in silence. Go by, mad world!

– Edgar Lee Masters (1915)

Joel Snyder
Burr Oak, Lisle, Illinois
1971
platinum print
Art Institute of Chicago

Joel Meyerowitz
Hartwig House, Truro, Cape Cod
1976
C-print
Art Institute of Chicago

Bob Thall
Vicinity of Federal Street and Van Buren Street, view north
1978
gelatin silver print
Art Institute of Chicago

Flying Deeper into the Century

Flying deeper into the century
is exhilarating, the faces of loved ones eaten out
slowly, the panhandles of flesh warding off
the air, the smiling plots. We are lucky to be mature,
in our prime, seeing more treaties, watching
TV get computerized. Death has no dominion.
It lives off the land. The glow over the hill, from
the test sites, at night, the whole block of neighbours
dying of cancer over the next thirty years. We are
suing the government for a drop of blood; flying deeper
into the century, love,
the lies are old lies with more imagination;
the future is a canoe. The three bears are ravenous, not content
with porridge. Flying deeper into the century,
my hands are prayers, hooks, streamers.
I cannot love grass, cameos or lungs.
The end of the century is a bedspread up to the eyes.
I want to be there, making ends meet.
I will not love you, with such malice at large.
Flying deeper into the century is beautiful, like
coming up for the third time, life flashing before us.
The major publishing event is the last poem of
all time. I am a lonely bastard. My brothers and sisters have
had sexual relations, and I am left with their mongrel sons
writing memoirs about the dead in Cambodia.
Flying deeper, I do not remember what I cared for, out
of respect. Oh Time, oh Newsweek, oh Ladies' Home Journal,
oh the last frontier, I am deeply touched.
The sun, an ignoramus, comes up.
I have this conversation with it. Glumly, glumly, deeper
I fly into the century, every feather of each wing
absolution, if only I were less than human, not angry
like a beaten thing.

– Pier Giorgio Di Cicco (1982)

Don A. DuBroff
Notre Dame Church, Chicago
1983
C-print
Art Institute of Chicago

Joel Sternfeld
The Claudian Aqueduct, Rome
1989
C-print
Art Institute of Chicago

Thomas Struth
Jianghan Lu, Wuhan
1995
C-print
Art Institute of Chicago

Terry Evans
Abandoned Farm, Central North Dakota
1997
C-print
Art Institute of Chicago

Jeff Wall
The Flooded Grave
1998-2000
transparency in lightbox
Art Institute of Chicago

Wolfgang Tillmans
Faltenwurf, Bourne Estate
2002
C-print
Art Institute of Chicago