There are few photography shows in which you’ll
find both an abstract photogram by
and a picture of
in drag. Los Angeles’ J. Paul Getty Museum
established its Department of Photographs in 1984. In commemoration of the
collection nearing its 30th anniversary, as well as a variety of major recent
acquisitions of contemporary photographs, comes “Convergences
,” an exhibition presenting a variety of highlights from the
collection, in which contemporary photographs are presented in conjunction with
their historical antecedents.
In a series of 14 groupings, the exhibition aims
to reveal the nuances of the Getty’s photography collection, showing points of
overlap between contemporary works that were recently acquired and the
collection’s older historical holdings. “The idea of convergences provides a
framework with which to think about how images made at different times and with
different aesthetic motivations can be in conversation with one another,” says
Virginia Heckert, the museum’s photographic curator. The following three
groupings highlight the diversity of the Getty’s collection, while exemplifying
the exhibition’s thesis.
Ralston Crawford, who was both a photographer
and a painter, depicted the sacred geometry of the industrial landscape.
“Convergences” pairs Crawford’s photograph of bridge girders with a
contemporary counterpart, James Welling’s New Abstraction #71 (2000),
which shows nothing inherently architectural but is, rather, a photogram,
produced by placing pieces of mat board directly onto high-sensitivity film.
Crawford’s piece is realistic, while Welling’s is a cameraless abstraction.
Despite being so different in process, the images are united by a common
In a convergence that is both visual and art
historical, Man Ray’s photographs of Marcel Duchamp’s spoofed Mona Lisa
(reading LHOOQ, which when pronounced in French and translated as “elle
a chaud au cul,” sounds like “She has a hot ass”), as well as his female
alter-ego Rrose Sélavy, are seen alongside Yasumasa Morimura’s staged
reproduction, in which the artist becomes the barmaid of Manet’s A Bar at
the Folies-Bergère (1882). Both artists, in this case, use photography to
channel their creative energy, riffing on iconic works and commenting on the
role that the female figure has played in art history.
Modern portrait pioneer August Sander’s
photograph of two country girls shares a clear stylistic similarity with
Loretta Lux’s depiction of twins. The missing link of influence here is Diane
Arbus, whose famous photo of twins standing side-by-side echoes Sander, who
once said, “Every person’s story is written plainly on his face, though not
everyone can read it.” The lineage continues to Loretta Lux, who appears to
draw influence from both Arbus and Sander, though her main focus is depicting
childhood rather than country life or urban fringe figures.
The art of photography varies in its technique
and execution, but all photographs are united under the fact that they depict
the same world, the same set of natural and artificial circumstances that make
up visual experience. “Convergences” reminds us of the constant historical dialogue
photographers engage in, as well as the way the medium unveils the beautiful
details so often overlooked in day-to-day life.
“Convergences” is on view at the J. Paul Getty
Museum, July 8th – Oct. 19th