Showing posts with label 1970s. Show all posts
Showing posts with label 1970s. Show all posts

Wednesday, November 13, 2024

Figures of the 1970s

Robert Rauschenberg
Tanya (Tatyana Grosman)
1974
lithograph
Anton Ulrich Museum, Braunschweig

David Hockney
Reclining Figure
1975
etching
National Gallery of Victoria, Melbourne

Telemachos Kanthos
Four Captives
1976
woodcut
National Museum, Athens

Agnus Gastmans
Four Lawyers
1976
oil on panel
Museum Gouda

Salvador Dalí
Ten of Swords
(Assassination of Julius Caesar)
1971
gouache and collage on paper
Musée d'Art Classique de Mougins

Francis Bacon
Three Studies of the Male Back (George Dyer)
1970
oil on canvas
Kunsthaus Zürich

Ivor Abrahams
Figure with Path
(series, Oxford Gardens)
1977
screenprint
National Gallery of Victoria. Melbourne

Philip Pearlstein
Female Model on Platform Rocker
1977-78
oil on canvas
Brooklyn Museum

Joe Brainard
Nude with Tattoo
1974
oil on canvas
Metropolitan Museum of Art, New York

Georg Eisler
Station Waiting Room
1970
oil on canvas
Graphische Sammlung Albertina, Vienna

Wieland Förster
Torso of Falling Man
1974
sandstone
Gemäldegalerie, Dresden

Lucian Freud
Portrait of Ib
1977-78
oil on canvas
Cleveland Museum of Art, Ohio

Ralph Goings
Walt's Restaurant
1978-79
oil on canvas
Yale University Art Gallery

Jörg Immendorff
Untitled
1979
acrylic on canvas
Graphische Sammlung Albertina, Vienna

Theodoros Manolidis
The Cocktail
1973
oil on canvas
National Gallery, Athens

Serge Lutens
Parfums Christian Dior
1979
lithograph
(advertising poster)
Cooper Hewitt, Smithsonian Design Museum

Why should not old men be mad?
Some have known a likely lad
That had a sound fly fisher's wrist
Turn to a drunken journalist;
A girl that knew all Dante once
Live to bear children to a dunce;
A Helen of social welfare dream
Climb on a wagonette to scream.
Some think it matter of course that chance
Should starve good men and bad advance,
That if their neighbours figured plain,
As though upon a lighted screen,
No single story would they find
Of an unbroken happy mind,
A finish worthy of the start.
Young men know nothing of this sort,
Observant old men know it well;
And when they know what old books tell
And that no better can be had
Know why an old man should be mad.

– W.B. Yeats (1939)

Thursday, February 8, 2024

Visual Relics (1978-1980)

Ruffin Cooper
Sleeve (Statue of Liberty)
1979
C-print
Brooklyn Museum

Max Dupain
Grand Palais, Paris
1978
gelatin silver print
National Gallery of Victoria, Melbourne

Max Dupain
Les Invalides, Paris
1978
gelatin silver print
National Gallery of Victoria, Melbourne

Ellen Carey
Self Portrait
1978
gelatin silver print with added paint
Albright-Knox Art Gallery, Buffalo, New York

Ellen Carey
Self Portrait
1978
gelatin silver print with added paint
Albright-Knox Art Gallery, Buffalo, New York

Terence Higginson
Untitled
1979
C-print
Albright-Knox Art Gallery, Buffalo, New York

Jean McMann
La Roche aux Fées, Brittany
1979
gelatin silver print
National Gallery of Victoria, Melbourne

György Kepes
Flowering Forms #6
1979
gelatin silver print
Denver Art Museum

Irwin Silver
Subway Entrance, AT&T Building, New York
1979
gelatin silver print
Brooklyn Museum

Sidney and Abraham Waintrob
Isabel Bishop (printmaker and painter)
1979
gelatin silver print
Albright-Knox Art Gallery, Buffalo, New York

Cindy Sherman
Untitled
1979
C-print
Yale University Art Gallery

Cindy Sherman
Untitled
1980
C-print
Albright-Knox Art Gallery, Buffalo, New York

Martyn Rix
Untitled
ca. 1980
Fujicolor print
Yale University Art Gallery

Donald Ross
T-Shirts on Line, Berkeley, CA
1980
gelatin silver print
Yale University Art Gallery

Édouard Boubat
Hommage au Douanier Rousseau
1980
gelatin silver print
Yale University Art Gallery

Kenneth Snelson
Paris - Small Court with Blue Door
1980
C-print
Albright-Knox Art Gallery, Buffalo, New York

            "My father, it was your sad image,
so often come, that urged me to these thresholds.
My ships are moored on the Tyrrhenian.
O father, let me hold your right hand fast,
do not withdraw from my embrace." His face
was wet with weeping as he spoke. Three times
he tried to throw his arms around Anchises'
neck; and three times the Shade escaped from that
vain clasp – like light winds, or most like swift dreams.

– Aeneas finds the dead Anchises in Elysium, from Book VI of Virgil's Aeneid, translated by Allen Mandelbaum (1971)

Wednesday, February 7, 2024

Visual Relics (1975-1978)

Cindy Sherman
Untitled
1975
C-print
Brooklyn Museum

Ellen Carey
Light Portrait
1976
gelatin silver print
Albright-Knox Art Gallery, Buffalo, New York

Philip Melnick
Untitled
1976
gelatin silver print
Denver Art Museum

Harry Callahan
Ireland
1977
dye transfer print
Yale University Art Gallery

Vernon Fisher
Out On the Waterfront #1
1977
photograph on laminated paper with die-cut text
Indianapolis Museum of Art

Vernon Fisher
Out On the Waterfront #2
1977
photograph on laminated paper with die-cut text
Indianapolis Museum of Art

Vernon Fisher
Out On the Waterfront #3
1977
photograph on laminated paper with die-cut text
Indianapolis Museum of Art

Ruth Maddison
Man and Woman playing Badminton
ca. 1977
hand-colored gelatin silver print
National Gallery of Victoria, Melbourne

Les Walkling
Bethesda
1978
gelatin silver print
National Gallery of Victoria, Melbourne

Jed Fielding
Naples #499
1977
gelatin silver print
Denver Art Museum

Arthur Tress
Drill Fantasy
1977
gelatin silver print
Brooklyn Museum

Ruth Thorne-Thomsen
Brigitte, Illinois
1978
gelatin silver print
Denver Art Museum

Max Pam
Wind at Jespa (Himalayas)
1977
gelatin silver print
National Gallery of Victoria, Melbourne

Lucas Samaras
Still Life and Figure
1978
dye diffusion print
Denver Art Museum

Terence Higginson
Untitled
1978
C-print
Albright-Knox Art Gallery, Buffalo, New York

William Eggleston
Jamaica Botanical
1978
C-print
Albright-Knox Art Gallery, Buffalo, New York

Here starts the pathway to the waters of 
Tartarean Acheron. A whirlpool thick
with sludge, its giant eddy seething, vomits
all of its swirling sand into Cocytus.
Grim Charon is the squalid ferryman,
is guardian of these streams, these rivers; his
white hairs lie thick, disheveled on his chin;
his eyes are fires that stare, a filthy mantle
hangs down his shoulder by a knot. Alone,
he poles the boat and tends the sails and carries
the dead in his dark ship, old as he is;
but old age in a god is tough and green.

– Aeneas encounters Charon, from Book VI of Virgil's Aeneid, translated by Allen Mandelbaum (1971)

Tuesday, February 6, 2024

Visual Relics (1973-1975)

Rennie Ellis
Mick Jagger
1973
gelatin silver print
National Gallery of Victoria, Melbourne

Christine Godden
Elliot
1973
gelatin silver print
National Gallery of Victoria, Melbourne

Nathan Lerner
Eye 7
1973
gelatin silver print
Brooklyn Museum

William E. Crawford
Crown Street in New Haven
1973
platinum print
Yale University Art Gallery

Debora Hunter
Lighthouse Keeper's Daughter
1974
gelatin silver print
Yale University Art Gallery

Lucas Samaras
Photo-Transformation
1974
dye diffusion print
Denver Art Museum

Stephen Wickham
Vanity of Vanities (Self Portrait)
1974
gelatin silver print
National Gallery of Victoria, Melbourne

Laurie Wilson
Untitled
ca. 1975
C-print
National Gallery of Victoria, Melbourne

Ralph Steiner
Untitled
ca. 1975
gelatin silver print
Yale University Art Gallery

Jessica Raimi
Hector's Suicide
1975
gelatin silver print
Yale University Art Gallery

Carol Jerrems
Mark and Flappers
1975
gelatin silver print
National Gallery of Victoria, Melbourne

Ponch Hawkes
Helen at Falconer Street
ca. 1975
gelatin silver print
National Gallery of Victoria, Melbourne

Hollis Frampton and Marion Faller
Zucchini Squash Encountering Sawhorse
(series, Vegetable Locomotion)
1975
gelatin silver print
Albright-Knox Art Gallery, Buffalo, New York

Hollis Frampton and Marion Faller
Savoy Cabbage Flying
(series, Vegetable Locomotion)
1975
gelatin silver print
Albright-Knox Art Gallery, Buffalo, New York

Hollis Frampton and Marion Faller
Sunflower Reclining
(series, Vegetable Locomotion)
1975
gelatin silver print
Albright-Knox Art Gallery, Buffalo, New York

William Bailey
Still Life with Eggs, Candlestick and Bowl
1975
collotype
Albright-Knox Art Gallery, Buffalo, New York

Among them stands a giant shaded elm,
a tree with spreading boughs and aged arms;
they say that is the home of empty Dreams
that cling, below, to every leaf. And more,
so many monstrous shapes of savage beasts
are stabled there: Centaurs and double-bodied
Scyllas; the hundred-handed Briareus;
Chimaera armed with flames; Gorgons and Harpies;
And Geryon, the shade that wears three bodies.
And here Aeneas, shaken suddenly
by terror, grips his sword; he offers naked
steel and opposes those who come. Had not
his companion warned him they were only
thin lives that glide without a body in
the hollow semblance of a form, he would
in vain have torn the shadows with his blade.

– the Cumaean Sybil brings Aeneas to the Underworld, from Book VI of Virgil's Aeneid, translated by Allen Mandelbaum (1971)