Avedon’s Detroit Connection – Donyale Luna

Donyale Luna at the entrance to Avedon Fashion at the Detroit Institute of Arts

To some readers out there, the connection between high fashion and the gritty Motor City may seem like an oxymoron. But back in 1965, the idea was not so unlikely when Richard Avedon worked with a beautiful young model from Detroit  named Donyale Luna. As a tribute to this unique Detroiter, her image graces the banner at the entrance to our special exhibition galleries where she stands over 15 feet tall.

Avedon first began using African American models as the subjects for his fashion sessions in the early 1960s.  Donyale Luna had dramatic looks and a six-foot tall slender figure that suited bold and sometimes outrageous designs characteristic of the 1960s. Avedon photographed her for Harper’s Bazaar in 1965 and for Vogue magazine in 1966.  The Vogue sessions featured gladiator-inspired metal mini dresses of designer Paco Rabanne, and although Luna’s image (seen above) is considered to be one of the most iconic photographs of his career, it was actually never published in Vogue.

Fortunately, the Avedon Foundation has allowed one of very few rare vintage exhibition prints to travel with the show. It appears in the exhibition with other photographs of Penelope Tree and Jean Shrimpton – Luna’s model-girl contemporaries well known to the world of 1960s high fashion.

Luna was born Peggy Freeman in Detroit in 1945.  According to Duke University’s Richard Powell she was an aspiring actress active in Detroit theater circles in the early 1960s before moving to New York City to pursue modeling and acting. After working with Avedon, she scored assignments with other high profile photographers including David Bailey who shot her for a cover of British Vogue back in the 1960s. Luna also appeared in a small number of films – perhaps most notably in Italian director Federico Fellini’s Satriycon in 1970.  She passed away in Rome, Italy, well before her time, in 1979.

Avedon Fashion Photographs coming to a Detroit neighborhood near you

The installation and opening events for Avedon Fashion Photographs have kept all my  blogging efforts to a minimum over the last several weeks. And even though I feel like I’ve been underground and just now coming up for air, there seems to be no escape from Richard Avedon outside the DIA’s gallery walls. Driving around town I am greeted daily by the our billboards. They bring a little elegance and charm to our local skylines.

And it’s all good. Not just good- it’s great. This is a stunning exhibition. It was brought to perfection by James Martin, managing director at the Avedon Foundation in New York City. James and I worked tirelessly on site with DIA staff to get this exhibition of around 180 photographs as well as dozens of vintage fashion magazines installed earlier this month.

James Martin of the Avedon Foundation

Working with Avedon during the final years of his career (Avedon passed away in 2004), James has a second sense about the amazing eye and legacy of this brilliant and prolific photographer.

The DIA’s been having fun with the exhibition online too. On our Flickr “Fashion by the Decade” page, post your own fashionable photos of friends, family members, or maybe yourself, if you have the courage. You may even win some free tickets to the exhibition or to our annual November gala called “To the Nines.”

Don’t be shy. Just remember what Richard Avedon said, “Fashion is one of the richest expressions of human desires, ambitions, needs, frailty, insecurity, security. What we wear is an indication of our sense of ourselves. It’s a gift.

A Few Last Details Before DIA Photo Exhibition Opens

 After checking in on the installation for Photography – The First 100 Years today, our museum technicians have just a few more tiny details to tweak before the show opens tomorrow. All photographs are hung and the signage and labels are just about installed. Lighting is getting checked and rechecked, since several of the photographs are over 100 years old and require very low light levels.  On the average a photograph should only get about three to six months of exposure to light and then ”rest” in darkened storage for three to five years before going back on view in the galleries. This would explain why your favorite photographs aren’t always up on the walls.

The DIA rotates exhibitions of photographs and other works on paper to preserve them from light which can fade photographic prints and cause paper to decay over time. DIA paper conservator Chris Foster will be keeping a close eye on our more fragile older objects over the course of this exhibition to make sure the there are no changes in their appearance.

Anna Atkins, Photographs of British Algae, Cyanotype Impressions, 1843-44

The oldest  photographic object in the DIA’s collection and in the exhibition is a book of cyanotypes by Anna Atkins. Cyanotypes can fade quickly if exposed to high or constant light levels. Over the course of the exhibition, the book will be opened to several different pages to further limit light exposure and give our audience a sense of the range of patterns and imagery found in this very rare piece – thought to be the first photographically-illustrated book by one of the earliest female photographers in history. Visitors can experience the process of cyanotype firsthand in our new education studio. The workshops are free for children and adults – for more information check out the DIA’s education studio blog.

The First 100 Years of Photography – Exhibition to Open Sept. 2@the DIA

Julia Margaret Cameron, Enid from Idylls of the King, 1874

On September 2 the DIA opens a new exhibition, Photography – The First 100 Years: A Survey from the DIA’s Collection. Taking a look at the early years of photography and its development as a new art form, the DIA presents a survey of 90 works from its collection. Included are a number of notable rare works from the 19th century as well as iconic imagery from the 1920s and 1930s. Photographs by Julia Margaret Cameron, Edward Weston, Walker Evans, Margaret Bourke White, Dorothea Lange in addition to 50 other pioneers and great innovators of the medium are on view in the exhibition which runs through January 3, 2010.

Unknown Photographer, Soldier and Companion, 1861-65, tintype.

One of the highlights from this exhibition is a tintype portrait of an African American couple from the 1860s. The process, a photographic image made on metal, appeared in the 1850s.  The DIA was fortunate enough to acquire it back in 2001, when it went on the auction block with other items from the collection of Jackie Napoleon Wilson, a Detroiter who developed an important and rare collection of 19th-century portraits of African Americans over the years. The exhibition moves onward from the 19th century with sections devoted to the pictorialist, modernist and social documentary eras. Photography – The First 100 Years kicks off a new and exciting season of photography exhibitions this fall 2009 and into spring 2010 at the DIA – here’s the round-up:

Avedon Fashion Photographs 1944-2000- opening October 18, 2009 through January 17, 2010. The DIA will host the first large-scale fashion retrospective since Richard Avedon’s death in 2004. Organized by the International Center for Photography, New York, the exhibition includes 181 images – many are well-known photographs – in addition to magazines and other interesting ephemera that illustrates the long and legendary career of one of America’s most successful and interesting photographers.

Detroit Experiences: Robert Frank Photographs 1955 opening March 3 through July 4, 2010. This exhibition includes over 60 black-and white photographs taken by Robert Frank in Detroit. Made during his travels through the U.S. photographing for his book The Americans, Frank observed Detroiters as they lived and worked at mid century in the U.S. In this rare body of work, many of which will be on view for the first time at the DIA, Frank documented the day-to-day lives of Americans as he tried to mingle with assembly line workers at the Rouge Factory, took in a movie at the Gratiot Drive-In, and experienced public life on Belle Isle and in the streets of Detroit. All were part of the Detroit experience as Frank perceived it over fifty years ago.

A Few Recent Acquistions – All About Detroit – Then and Now

Untitled (six boys and boy with bicycle in background, neg#22), around 1910, by Wendell Hotter (1889-1955), Gift of Brad and Ellen Iverson

As summer comes to a close, I thought to share with readers a number of recent acquisitions that are notable because of their interesting ties to Detroit. The first, comes out of the tradition of vernacular photography. Back in June, Brad and Ellen Iverson gifted a number of prints to the museum that Brad had made from old negatives dating to the early 20th century. Vernacular photography is a growing area for collectors, and several museums including the National Gallery of Art have organized exhibitions around some of the work that falls into this category. You’ve probably seen these pictures in those old remnants from the pre-digital era – the forgotten family photo album. Or maybe you’ve stumbled across boxes of pictures in local flea markets or even garage sales.  If you take the time to forage through them, these photos will stop you for a second or even longer – maybe its a curious composition, an unusual pose, or something else unique or peculiar that you can’t quite put your finger on.

Untitled (Herbert Hotter and Girlfriends, Detroit, Michigan), about 1910. Gift of Brad and Ellen Iverson

 

Over the years, Brad researched the work and discovered Detroiter Wendell Hotter was responsible for taking the photographs seen here. Hotter dabbled in photography over the years making portraits of friends and family, as well as businesses and a few local landmarks around the city. The photographs date from around 1910 to 1930 and are evidence of some faraway personal slice of history and the people and places that existed over a century ago.

Another recent gift that relates to our local cultural history, more so from the underground and certainly eclectic, was created by the collaborative team The Upholsterers (Brian Muldoon and Jack White), who, in addition to their forays into upholstering and fine art editions, have pretty well-known reputations around town and elsewhere as musicians (Brian is a drummer with The Muldoons; Jack plays with The White Stripes and more recently has been on tour with a new muscial project The Dead Weather).

The Upholsterers Makers of High Grade Suites, 2000. Gift of Michelle Andonian

Made around 2000, Brian and Jack put together about 500 official editions that include multiple pieces: business cards, a fabric sample along with a three-panel story board of Brian and Jack refurbishing a vintage chair.  But the whole piece really fronts as an elaborate jacket for an old-school 45rpm vinyl disk with rare recordings by the duo. Incidentally, photographs on the cover and the inside story board were taken by Steve Shaw an old college photo buddy of mine who also happens to be a fellow DIA staffer and guitarist for The Fondas.

Past summers have seen other Detroit-related material finding its way into the collection. Last year, local photo guru Bill Rauhauser presented the museum with a large and coveted gift of his most memorable work. The photographs document the city from 1950 through the 1980s. And in 2006 collector James Duffy, well known for his support of many Detroit artists, bestowed over 400 black-and-white photographs to the DIA. Duffy took the pictures around 1976 to document old storefronts and businesses mostly on Detroit’s eastside. It’s likely you will see these treasures in upcoming exhibitions at the DIA and in future posts.

DIA’s Bulletin Looks at Portraiture from Delacroix to Mapplethorpe

Published annually, the DIA’s Bulletin was released last week (copies are available in the museum shop) with articles devoted entirely to the topic of portraiture. The focus of the 2009 issue came as a suggestion from George Keyes, our recently retired chief curator and former curator of European paintings at the DIA, who also brought a successful survey of Van Gogh’s portraiture to the DIA several years back.

Looking to “probe the elusive nature of portraiture, highlight its ability to engage and intrigue, and heighten general interest in this genre” – the nine contributing authors have presented their research on variety of DIA works from as early as the 15th century as well as the “virtuoso carving” found in British portrait sculptures, Delacroix’s Portrait of Doctor Francois-Marie Desmaisons, and the self-portraits of Lovis Corinth.

A Young Woman, 1460s-70s, by an associate of Desiderio da Settignano. Gift of Mrs. Edsel B. Ford in memory of her husband.

 

Throwing my own hat into the ring, so-to-speak, I included a short article about Robert Mapplethorpe’s portrait of Sam Wagstaff from 1979. By the late 1970s, Wagstaff and Mapplethorpe had carved a unique and perhaps unprecedented place for themselves in the world of art and photography. Mapplethorpe was gaining recognition for his portraits of artists, collectors, writers and musicians. Wagstaff had become a serious collector of photographs. Prior to this, Wagstaff had a somewhat brief but memorable connection to the Detroit art community and the DIA where he served as a curator of modern and contemporary art from 1969 to 1971. He had little to do with photography at the time, but his interest in the medium was sparked after seeing the work of Enrico Natali in 1969. While on staff at the DIA, he also received an letter of introduction from a relatively unknown New York-artist named Robert Mapplethorpe.

The recent documentary film Black, White + Gray A Portrait of Sam Wagstaff and Robert Mapplethorpe investigated the lives of the two men, but the details of Wagstaff’s early foray into photograph collecting are not well known. While moving files and office records during our recent renovation, I discovered Wagstaff’s correspondence with our retired curator of prints, drawings, and photographs Ellen Sharp. Further research filled in some of the blanks, particularly from his papers from our library archives (unearthed with the kind assistance of DIA librarian Maria Ketcham) as well as from the Smithsonian, where the Wagstaff papers are currently held (and now digitized online) in the collections of the Archives of American Art. These sources were invaluable in uncovering the late collector’s visionary passion for photography when the rest of the art world was not all that interested in the medium.

I was fortunate to find an old photograph from the Willis Gallery, ca. 1974, where Brad Iverson snapped a quick picture of Wagstaff talking to arts reporter Joy Colby – Mapplethorpe is seated in the background. Wagstaff had his own Polaroid work up in the exhibition called Art Images along with photographs by Mapplethorpe, Judy Linn, Iverson and about seven other artists.

Joy Hakanson Colby interviewing Sam Wagstaff with Mapplethorpe at left in the background, Willis Gallery, Detroit, 1974. Photo: Brad Iverson

Many thanks go out as well to Susanne Hilberry, Brad Iverson, and Anne Marie MacDonald for sharing their reminiscences about this fascinating man and a very interesting era in the history of Detroit and it very special local arts scene of the 1970s.

Summer Slow Down? Never a Dull Moment for Photography@DIA

Detroit area high school students view their work at the DIA, May 2009

In the weeks leading up to summer, you might think that my desk would see a little bit less action – a few less phone calls and maybe a day with one less email. But the success of our current exhibition Of Life and Loss has kept me and many DIA staffers and volunteers busy with tours and special programs. In late May, I was fortunate to spend some time with the young minds responsible for the works on view just outside the photo gallery. I spoke with a group of Roeper and Dearborn High School photography students and discussed the exhibition with recent guest blogger Michelle Stamler, a dedicated instructor of photography at Roeper. In early May as well, the Detroit-area chapter of the National Council of Jewish Women toured the exhibition with me and more groups will visit later in June with the Jewish Federation. Our veteran docent and photo collector Barbara Goldsmith will be on hand to enrich their experience as well. Of Life and Loss has been a quiet yet powerful exhibition with its images speaking volumes to our audience. It has drawn many visitors to the DIA. The exhibition will be on view through July 12, 2009.

More summer news came recently in an email from Detroit-area photographer Bill Schwab regarding his upcoming Photostock 2009.   Bill has fostered the workshops and programs at Photostock for the last four years and envisions the event growing upcoming years. It’s great to see Michigan on the map with a weekend dedicated to the medium. So if you are heading north at the end of June and find yourself near Petoskey, there is an interesting evening lined up with photographer Shelby Lee Adams in conjunction with Photostock.

And the Richard Avedon exhibition continues to occupy everyone’s minds here at the DIA. Even though the DIA will take a brief break from special exhibitions in the upcoming months, DIA staff continues to work on programs and the research & installation of upcoming exhibitions. Although the public sees a seamless transition from one exhibition to the next, the planning and execution of our exhibition schedule often takes many months and sometimes even years.

I have been working for the past several weeks with architect and exhibition designer Frank Arvan to create an exciting presentation of Avedon Fashion Photographs this fall. Frank has been responsible for the design of several DIA exhibitions including Monet to Dali and American Chronicles: The Art of Norman Rockwell. We have plotted out the exhibition carefully with special attention given to Avedon’s work laid as it has developed decade by decade and with highlights that include a “Paris by Night” section as well as a gallery devoted to Avedon’s vintage engraver’s prints made from 1955-58.  It is just the start of a busy summer for photography@the DIA – I’ll be blogging soon on upcoming acquistions and other programs and events in the near future.

Photography@DIA – Future Programs & Exhibitions in 2009

Many thanks to Michelle Stamler for posting recently on her involvement with Roeper High School photo students and the DIA. I am looking forward to their visit later this month at the DIA to view Of Life and Loss and talk about their work inspired by this exhibition. I did not expect such an overwhelming response to this exhibition. There is a constant stream of visitors in our galleries everyday.  And it seems that this very powerful group of photographs speak to a very diverse group of visitors on so many different levels with great emotional impact and resonance. I was fortunate to have exhibition curator Karen Sinsheimer deliver the most-illuminating lecture on Of Life and Loss this past Sunday to over 100 people in the DIA’s lecture hall.

Penny Picture Display, Savannah, 1936, by Walker Evans

The DIA is moving forward with our other photo exhibitions and programs for the year. This past week I have been busy working with interpretive educator Madeleine Winslow on an upcoming exhibition Photography-The First 100 Years. Although the exhibition does not open until September 2, 2009, plans for installation and development of interpretative materials for the gallery take place months and sometimes years in advance. Madeleine and I hope to get some feedback from our visitors in the gallery with a reader response table focused on the work of Walker Evans one of the featured artists in the exhibition. We plan to set up some online opportunities to hear your thoughts as well.

The exhibition Avedon Fashion Photographs 1944-2000 will also open at the DIA on October 18. 2009. I was fortunate to get an advance copy on the catalogue with essays by exhibition curators Carol Squiers and Vince Aletti. The authors have given their undivided and thorough attention to this very productive and influential period of the photographer’s career in fashion editorial work that appeared in Harper’s Bazaar, Vogue  and in later years for the Versace campaign beginning in 1980 and eventually as staff photographer for The New Yorker. The exhibition opened last week at the International Center for Photography, New York, and a sneak peak of some of Avedon’s fashion work can be found at the New Yorker Online - Here at the DIA, the exhibition will get four-star treatment in our special exhibition space with an elegant installation and some exciting programs and events to soon be announced.

Student Work Reflecting Memory and Loss

Early in September, I was contacted by Jennifer Williams from the DIA asking me if I was interested in participating in an exhibition that would include the work of my students. They would shot and print work that would explore the complicated ideas of memory and loss; a daunting prospect to students ranging in age from 14 to 18. If taken on, this project would be aligned to the exhibition called Of Life and Loss: The Polish Photographs of Roman Vishniac and Jeffrey Gusky that would open April 15, 2009. The guidelines set out at that time by Jennifer stated that “The project would use the photos in the exhibition as a catalyst to inspire students to explore themes of memory and place in their own work”. And while student work would not be inside the gallery with the work of Gusky and Vishniac, it would be given enormus respect when it was shown on a screen outside the exhibition.

The students were thrilled about the project from the onset long before they knew that inclusion in this show came in conjunction with a trip to the DIA to view the exhibition, discussion of images, general tour of the museum, and copies of the video and booklet of their work.

I can say without reservation that this project garnered more discussion of images, before and after they were shot and printed than any other assignment that I can remember. The students were engaged from the beginning but something palpable changed after we were visited by Linda Margolin and Jennifer Williams who showed the students the PowerPoint that I had seen in September. The intensity and power of the images and the discussion that followed took some of the students in a different direction; some asking if they could shoot again as they knew that only one image each would be submitted.

The students were humbled by the work they saw that day and felt honored to have their work juxtaposed to the images of Gusky and Vishniac. The fact that Jeffrey Gusky was an “amateur” photographer did little to mitigate their concerns that their work would be worthy of inclusion.

Over the next few months the issue that the students grappled with the most was how to tie their own “short” history, to the monumental history of war torn Poland and other ravaged Eastern European countries. I watched each student deconstruct this concept and reassemble it in their own visual vernacular. All the student interruptions were different and they all made the assignment their own.

Interrupting one’s own identity through the lens of a personal history is a powerful mandate and when explored fully can be a teaching tool that extends far beyond photography and the final image.

The students felt an additional connection to the exhibiting photographers as they all worked in the same medium — black and white film and darkroom printing.
We are now getting ready for our visit later this month. I feel that I can speak for all of us when I say that this will be a powerful and inspiring day.

Michelle Stamler

May 17th DIA Lecture – The Polish Photographs of Roman Vishniac and Jeffrey Gusky

Karen Sinsheimer, curator of photographs, Santa Barbara Museum of Art

Next Sunday, May 17, 2009@2PM, Karen Sinsheimer will be discussing work in the exhibition Of Life and Loss: The Polish Photographs of Roman Vishniac and Jeffrey Gusky. It will be Karen’s first visit to the Detroit area from California where she works as curator of photographs at the Santa Barbara Museum of Art. Karen spent two years developing the exhibition, working directly with Jeffrey Gusky, Mara Vishniac Kohn (Roman Vishniac’s daughter), and Maya Benton, director of the Vishniac archive at the International Center for Photography, New York. The lecture is open to the public and free with museum admission.