Now everyone is an insider!
In order to provide an open forum for ALL of the museum’s collection and activities, the Paper + People blog is being renamed SCMA Insider. With its expanded focus, SCMA Insider will act as a go-to place for sharing information on the diverse collections and many voices and visions that shape SCMA.
If you want to contribute to the blog, please contact the Brown Post-Baccalaureate Curatorial Fellow, Shanice Bailey, at email@example.com.
Wednesday, December 4, 2013
Student Picks is a SCMA program in which Smith students organize their own one-day art show using our collection of works on paper. This month’s student curator and guest blogger Meredith Shanoski '16 discusses her show “Interior, Exterior: Parisian Harmony vs. Discord” which will be on view THIS FRIDAY, December 6 from 12-4 PM in the Cunningham Center for the Study of Prints, Drawings, and Photographs. We hope to see you here!
René Magritte, Belgian (1898 - 1967). L’étoile de pierre, from Le Fidélité des Images, negative 1935; print 1976. Gelatin silver print. Purchased. Photography by Petegorsky/Gipe. SC 1977:13-8.
"Interior, Exterior: Parisian harmony versus discord, 1876-2009" explores tensions in the portrayal of French culture. Those tensions probe the spectrum between 19th century and current art, between photography and drawing, between the intimacy of interior scenes and the urban scape, between color and black and white.
Edouard Vuillard, French (1868 - 1940). Printed by Auguste Clot. Intérieur aux teintures roses II, 1899. Lithograph printed in pink, red, maroon, yellow, green, gray-green and blue on paper. Gift of Selma Erving, class of 1927. Photography by Petegorsky/Gipe. SC 1978:1-58a.
Edouard Boubat, French (1923 - ). Places des Vosges, Paris, 1979. Gelatin silver print. Gift of Lynn Hecht Schafran, class of 1962. Photography by Petegorsky/Gipe. SC 2000:38-6.
The images play off each other to establish these tensions, yet to build a unified body of images. In selecting the pieces, I looked to artists within the Smith collection that I was more familiar with like Vuillard, Bonnard, and Magritte, but also discovered others like Moyra Davey and Nan Goldin whose works bring a new perspective to the more classical artists included in the exhibition. This integration establishes the sense of past and present which I find poignant within French culture.
Moyra Davey, Canadian (1958 - ). Untitled from 16 Photographs from Paris, 2009. Folded digital c-print with paper and cellophane tape, postage, and ink. Purchased with the Dorothy C. Miller, class of 1925, Fund. Photography by Petegorsky/Gipe. SC 2010:19-12
Tuesday, November 26, 2013
Guest blogger Maggie Hoot is a Smith College student, class of 2016, with a major in Art History. She was a Student Assistant in the Cunningham Center for the Study of Prints, Drawings, and Photographs.
Canaletto, Italian (1697 - 1768). Le Preson V, n.d. Etching printed in black on paper. Purchased. Photography by Petegorsky/Gipe. SC 1952:74
At its height in the 18th-century, the European Grand Tour was considered a way for young British gentlemen to gain cultivation and refinement with the least amount of embarrassment to their families. Even though there was not an official itinerary, these travelers focused on major cities such as Paris and Rome and almost always concluded their tours in Italy. While Paris was renowned for its modern culture and high society, Italy was largely seen as regressive despite attempts to modernize and conform to the ideals of the Enlightenment; Italy was visited primarily for its acclaimed art and antiquities. Venice was one of the few cities in Italy that was up to British standards. It still retained some of the vitality associated with a commercial hub, though the economy had shifted primarily to tourism. These features made Venice a popular choice to finish the Grand Tour.
As Grand Tour travelers drove the Italian economy, they also influenced local art production. It was common for travelers to keep some kind of written log of their travels; however, the visual representation of their destinations was limited to what artists could create with brush or pen. In response, many Italian artists began producing works for commercial purchase. One such artist was Giovanni Antonio Canal, commonly known as Canaletto. Canaletto created contemporary land- and cityscapes, or vedute, which appealed to the travelers’ desire for reminders of their travels—the picture postcard of their day. Canaletto was and remains one of the most famous painters of vedute.
Canaletto, Italian (1697 - 1768). Landscape with Equestrian Statue, n.d. Etching printed in black on paper. Purchased. Photography by Petegorsky/Gipe. SC 1952:75
Canaletto was born and raised in Venice and began his artistic career there in 1719. Initially, he followed in his father’s footsteps as a theater scene painter, where he developed a detailed and deft hand that later became widely recognized as his signature style. In his vedute, Canaletto created extremely detailed, almost photographic depictions of scenes of Venice, the surrounding country, and even some imagined landscapes. Canaletto recreated the local architecture meticulously and included the whole range of Venetian life, beggars and lords, children and animals. He devoted most of his time to painting, but also produced many equally impressive and more affordable etchings. Even in his smallest etchings, Lilliputian figures are crafted with just as much detail as in his larger paintings.
Canaletto, Italian (1697 - 1768). Mestre, n.d. Etching printed in black on paper. Purchased. Photography by Petegorsky/Gipe. SC 1959:31
Just as the prevalence of the Grand Tour influenced Canaletto’s art, likewise, his art shaped British views toward Italy. In the second half of the eighteenth century, Canaletto’s works were so numerous and widespread that the British built strong pre-, and often mis- conceptions of Venice based on his works before they ever arrived at its canals. His work was so popular in England that other artists began creating works that imitated Canaletto’s style and often erroneously carried his name. Today, even though Canaletto produced an extensive number of works over nearly 50 years, there are more "Canalettos" than can be claimed by a single man.
Canaletto, Italian (1697 - 1768). Porch with Lantern, ca. 1741. Etching printed in black on white laid paper. Gift of Mrs. E. Byrne Hackett (Isabel La Monte, class of 1913). Photography by Petegorsky/Gipe. SC 1979:26-1
Thursday, November 21, 2013
Martin Parr, British (1952 - ). Untitled [Turkey and Lamp] from the Food series, 1995. C-print on Kodak Professional paper. Gift of Janet Borden, class of 1973. Photography by Petegorsky/Gipe. SC 2002:28
“If you go to the supermarket and buy a package of food and look at the photo on the front, the food never looks like that inside, does it? That is a fundamental lie we are sold every day.”
-- Martin Parr [source]
The advent of digital cameras has made it easier for anyone to become a photographer, and one particularly ubiquitous subject for popular photography is food. It’s not uncommon to snap pictures of your dinner and post it to Facebook, and the photo-sharing site Instagram is famous for the mouth-watering pictures that users share. Some even go so far as to call such appealing presentation of meals ‘food porn.’
In the mid-1990s, long before everyone had a food blog, Martin Parr shot British Foods,a series of meals, side-dishes and sweets with a decidedly different vibe.
Martin Parr, British (1952 - ). Untitled (British Food), from the Food series, 1995. C-print on Kodak Professional paper. Gift of Janet Borden, class of 1973. Photography by Petegorsky/Gipe. SC 2005:50
Parr’s first exposure to photography came through his grandfather, a hobbyist who gave him his first camera. Inspired by early pioneers of color photography such as William Eggleston and Joel Meyerowitz, Parr became known for the bright colors in his works, an effect he creates by using flash in the daylight, and by using amateur film.
Martin Parr, British (1952 - ). Untitled [Lemon Meringue Pie] from the Food series, 1995. C-print on Kodak Professional paper. Gift of Cristina Enriquez-Bocobo, class of 1985, and Cody J. Smith. Photography by Petegorsky/Gipe. SC 2004:11-3
At times, Martin Parr’s British Food seems to recall the photographic vocabulary of high-end cookbooks, a result of his close-cropped images, saturated colors and careful presentation. A cheery red-and-white gingham tablecloth, or a decorative plate with images of leaves, wouldn’t be out of place in Martha Stewart Living.
Unlike professional food photographers, though, Martin Parr is not trying to make his food look appealing. His photographs lack the glamour of a magazine spread, where every element is planned to make you desire a bite. There’s no glamour here; His bread is simple, plain, white and untoasted. The butter on top is not smooth and creamy, but a thin off-white spread.
Martin Parr, British (1952 - ). Untitled (frosted cookie) from the Food Series, 1995. C-print on Kodak Professional paper. Gift of Janet Borden, class of 1973. Photography by Petegorsky/Gipe. SC 2006:69
On the whole, in fact, the images are decidedly unappetizing. Under Parr’s camera lens, the gooey icing on a cookie becomes a viscous white blob encasing stale, discolored sprinkles. His halved lemon is a leftover piece of decaying produce wrapped in plastic. Mushy peas, a British staple, are an unctuous mass of chunky green sludge.
Martin Parr, British (1952 - ). Untitled [Lemons] from the Food series, 1995. C-print on Kodak Professional paper. Gift of Cristina Enriquez-Bocobo, class of 1985, and Cody J. Smith. Photography by Petegorsky/Gipe. SC 2004:11-1
Martin Parr, British (1952 - ). Untitled [Mushy Peas] from the Food series, 1995. C-print on Kodak Professional paper. Gift of Cristina Enriquez-Bocobo, class of 1985, and Cody J. Smith. Photography by Petegorsky/Gipe. SC 2004:11-2
British cuisine is famously derided, and Parr’s photographs do it no justice. Parr believes that his photographs illustrate visual truths in the world around us, stripped of false pretensions. As he puts it, “Part of the role of photography is to exaggerate, and that is an aspect that I have to puncture. I do that by showing the world as I really find it.”
It’s disingenuous to call Martin Parr’s photographs unfiltered or unexaggerated reality. A negative portrayal is not always a truer depiction of the world around us, and I can honestly say that my peas have never looked as bad as Parr makes them look.
That said, I have pulled a brown lemon out of my fridge before. A carved turkey looks like what it is, a dead bird carcass on the table. When we snap photographs of our meals to share online, we don’t share these imperfect images, in part because we’re creating our own fantasy of ourselves enjoying the life seen in magazines. It has become another way to create an online persona of ourselves as happier, fitter and more exciting than we really are. Martin Parr takes this glossy magazine perfection and punctures it, and thus reminds us that our food, along with ourselves, is not always so glamorous.