FAMILIAR STRANGERS: Almost Lost

Familiar Strangers Found Photography Show- Matthews Gallery Blog

Editor’s Note: No original photographs were harmed in the making of this blog

The messages were all the same. “Why do found photographs hold allure for you?” we wrote to members of Flickr’s robust vernacular photography community. “What is it about anonymous photographers and their subjects that makes collecting these artworks special or important?” 

As we explained in our last blog post, we’ve been wearing many different hats as we prepare for the May 16 opening of FAMILIAR STRANGERS: Vernacular Photography. Judging by the diverse answers we received from this query, it seems longtime found photography fans follow a similar process.

“At the time they were taken, they meant something to the photographer,” writes Gary Moyer, who runs a Flickr Group called Found Photos. “It’s a shame to think they can’t live on in this digital age.” But although part of Moyer’s mission is to bring this ephemera to the virtual realm, he’s also charmed by the objects themselves. “The photos are real, something to hold in your hand,” he concludes. 

For John Van Noate, administrator of several vernacular photography groups, it’s more about the immediacy of the image. “They provide a slice of life unfiltered, unmediated,” he writes. “Life in the raw, so to speak.”

Dave Bass‘ interest in vernacular photography started with a childhood fascination for taking snapshots. “I still recall the anxiety felt when retrieving a processed roll from the drugstore and opening the package to discover my treasures,” he recalls. Hunting down “orphan” photos seemed like a natural extension of his passion, and over years of collecting he’s learned a lot about human nature from the pictures he’s found.

I truly believe that such photographs are authentic cultural artifacts that portray who we as humans were, who we have become, and where we will likely go,” Bass writes. He uses Flickr group Vernacular Photo to connect with like-minded folks across the world. 

All of these intrepid collectors’ answers did have one thing in common: a sense of loss, and a desire to subvert it. As Moyer puts it, “Each [photograph] represents a moment that is gone forever.” In a way, these collections preserve memories that would otherwise have vanished long ago. 

On that hopeful note, we leave you with an excerpt from Paul Jackson‘s correspondence. The UK resident runs the Flickr group Found Photographs, and has a lot to say about vernacular photos and the power of the online community to uncover their secrets. It’s enough to make you believe that nothing is lost forever. Attend our FAMILIAR STRANGERS exhibition, opening May 16 from 5-7 pm, to untangle more mysteries!

Familiar Strangers Found Photography Show- Matthews Gallery Blog

From Paul Jackson:

I went to art school here in the UK in the 1970s and my interest in vernacular photographs stems from then. In those days you could often buy old postcards and snapshots in charity shops for virtually nothing. Often just arranged in old shoe boxes. You can rarely do that now as these things have become very collectable.

I think it is a shame when dealers break up old photograph albums as all the clues that would help place these images in context get wiped away. You may be interested in some subsidiary groups we run on Flickr. One is called “What’s That Picture” where we invite people to post pre-1945 images that they want help identifying. Sometimes this is a tall order but the Flickr community acts a bit like a hive mind and we have had some astonishing successes. A lot of these can be found in another group “The Astonishing Power of Flickr“. Here many images that have been successfully identified have been posted and some other extraordinary events such as people recognising themselves or other serendipitous events have occurred. 

You ask what the allure is for me. Well, there is something awfully poignant about old snap shots/vernacular photographs. The lives of strangers’ births deaths marriages, love, hearth and home..all life is there and with the knowledge that all that life has probably by now slipped away. These things end up in sales almost always through a death and the death of someone who either has no remaining family, or a family that cannot or will not preserve these fragile family histories. It is a very sobering thought.

I am at a period in my life when I am beginning to realise that even my own family photographs and the ones of my parents and grandparents are going to be vulnerable to be “lost” when I die and it does make you dwell on the ephemeral nature of life, the impermanence of the structures we build around ourselves and how easily it can fade away.

One of my favourite quotes is the famous one in Blade Runner when Roy Batty the replicant is dying:

“I’ve… seen things you people wouldn’t believe… Attack ships on fire off the shoulder of Orion. I watched c-beams glitter in the dark near the Tannhäuser Gate. All those. moments will be lost in time, like tears in rain. Time… to die…”

Looking at so many old and found photographs I often think that “I’ve seen things you people wouldn’t believe” the person behind the camera has seen these things, lived that life..you know, we can sometimes almost taste it.

 

Familiar Strangers Found Photography Show- Matthews Gallery Show

The 10 Artists Who Changed Art History Forever, Pt. 2

To top off our list of art history’s most influential players (click here for part 1), we had to make some tough decisions. Would Monet still be known today if not for a fateful trip to the seashore with Boudin? Who had a greater influence on abstract expressionism: Pollock or De Kooning? Browse our choices and let us know if you agree or disagree in comments below or on Facebook, Twitter and Pinterest.

Eugene Boudin, click the image to read the Matthews Gallery blog
Trouville, Eugene Boudin

 6. Eugene Boudin (1824-1898)

French painter Eugene Boudin grew up riding across the English Channel on his father’s steamboat between his home village of Honfleur and the city of Le Havre. Boudin’s mother put an end to the voyages when the young boy nearly drowned, and the family moved to Le Havre to open a picture frame shop. Perhaps it was these early years at sea—and that terrifying dip in the tumbling waves—that drove Boudin to create the small but dynamic compositions that would directly inspire Impressionism.

As a young man Boudin opened his own framing shop and showed work by artists such as Constant Troyon and Jean-Francois Millet. At 22 he started painting full-time, capturing coastal scenes with an impeccable eye for light and a keen interest in the social interactions of beach-goers. He was greatly influenced by the 16th century Dutch masters, and was one of the first French painters to work in the outdoors.

Boudin moved to Paris on a scholarship when he was 23 and soon met the teenage Claude Monet. Monet was working as a caricaturist on the streets of Paris, but Boudin convinced him to travel to Normandy and paint en plein air. In 1874 Boudin showed work in the first Impressionist exhibition alongside Monet’s pivotal Impression, Sunrise, which was painted in Le Havre and inspired the name of the new movement. Without Boudin’s encouragement, Monet may never have moved past charcoal.

Pissarro, click the image to read the Matthews Gallery blog
Two Women Chatting by the Sea”, Camille Pissarro

 7. Camille Pissarro (1830-1903) 

Picasso and Matisse called Paul Cezanne “the father of us all”, but there’s always a mentor behind a master. Cezanne was heavily influenced by Danish-French Impressionist and Neo-Impressionist painter Camille Pissarro. “He was a father for me,” Cezanne said. “A man to consult and a little like the good Lord.”

Pissarro grew up on the island of St. Thomas in the Danish West Indies and attended a boarding school near Paris. In school he studied the French masters and excelled at drawing and painting. He moved to Paris in 1855 to apprentice with Anton Melbye and Jean-Baptiste-Camille Corot. While Corot worked on his paintings in the studio, Pissarro insisted on painting en plein air and often finished works in one sitting.

The artist was criticized for his technique, which often exposed the rougher, less picturesque side of the French landscape, but his quick, intuitive methods attracted a small group of artists who would soon be known as the Impressionists. Pissarro became their patriarch, and was the only artist to participate in all eight Impressionist exhibitions. However, it was his switch to Neo-Impressionism at 54 and his great influence on Post Impressionism that landed him on this list. Pissarro’s impulse to look deeper into the landscape and trace every rough edge would inspire Seurat, van Gogh, Gauguin and Cezanne in their revolutionary explorations of perspective that would fracture (and eventually completely dissolve) the classical picture plane.

Pablo Picasso, click the image to read the Matthews Gallery blog
Dora Maar au Chat, Pablo Picasso

 8. Pablo Picasso (1881-1973) 

Pablo Picasso is arguably the most famous—and prolific—artist of the 20th century. He created roughly 13,500 paintings and hundreds of thousands more prints, engravings, illustrations and sculptures over the course of his 75-year career. Though he’s famous for co-developing Cubism, it was his explorations into all corners of the plastic arts that made him so influential. No matter the medium or style, Picasso had a hand in radically changing it all.

The artist was born in Malaga, Spain. His father was a professor of art who began formally training his son from a very young age. By 16, Picasso had gained entrance to the prestigious Royal Academy of San Fernando. In the early 1900s he moved to Paris, where he met art collector Gertrude Stein and many of the most famous artists of the time. He started working with Georges Braque in 1909, and the close friends developed a style that pushed Cezanne’s explorations of multiple perspectives to new extremes.

Cubism encouraged artists to analyze objects and break them into thousands of pieces, and similarly shattered the art world into myriad Modernist movements from Futurism to Constructivism.

Pollock, click the image to read the Matthews Gallery blog
No. 5, 1948, Jackson Pollock

9. Jackson Pollock (1912- 1956) 

Jackson Pollock was called “Jack the Dripper” and “The Worst Living Artist in America” by the media, and a large slice of the public saw him as a reclusive drunkard who dealt the killing blow to order and sense in art. Sometimes when you’re drumming up an art revolution, things have to get messy.

Pollock grew up the youngest of five brothers in Arizona and California. He and his brother Charles moved to New York City in 1930, where he studied at the Art Students League and worked for the WPA Federal Art Project. In 1936 he took an experimental workshop on liquid paint that would later influence his famous drip paintings. Under the watchful eyes of collector Peggy Guggenheim, art critic Clement Greenberg and his wife Lee Krasner, who he married in 1947, Pollock would become the figurehead of the Abstract Expressionist movement and radically change the world’s definition of art.

Greenberg saw Abstract Expressionism as the final step in painting’s inevitable reduction to its most essential elements. There was an unmatched purity to Pollock’s atmospheric, gravity free color fields that only the eye could traverse. “Jackson was the greatest painter this country has produced,” Greenberg mused. Whether you agree with the critic or not, Pollock undoubtedly subverted figurative painting in an unprecedented way, and changed art history in the process.

Andy Warhol, click here to read the Matthews Gallery blog
Marilyn Monroe, Andy Warhol

10. Andy Warhol (1928-1987) 

Andy Warhol was born in Pittsburgh, Pennsylvania to Austro-Hungarian immigrants. In third grade he developed Sydenham’s Cholera, a disorder of the nervous system that left him bedridden for months at a time. Isolated from his peers, the shy child became a voracious student of pop culture. Just a few years later he would build his own towering pedestal using the very figures and symbols that he pinned on his bedroom walls.

Warhol graduated from high school in 1945 and attended the Carnegie Institute of Technology for commercial art. In 1949 he moved to New York City, where he worked in the publishing and advertising industries and got his Bachelor of Fine Arts degree in pictorial design. In the 1950’s RCA records hired Warhol as a designer, where he pioneered innovations in various image-making techniques, most notably in screen printing. At the same time he was using similar processes—and subject matter—in his fine art, which he showed in galleries around New York. It was an approach to art that offended many critics at the time, who accused Warhol of succumbing to the homogenizing forces of consumerism.

This was Warhol’s true impact on art history: to show contemporary artists that they couldn’t avoid or ignore the foundational social changes affected by the mass media. Whether he was exploring identity, vanity, sexuality, fame or nothing at all, Warhol was molding the mercurial landscapes of Modern and Postmodern art.

Don’t forget to read part 1 of this series, and connect with us on FacebookTwitter and Pinterest to let us know who you would choose!