VERNACULAR IN PLACE: OLD AND NEW TOPOGRAPHIC PHOTOGRAPHY

On view in the Van Deren Coke Gallery
October 16, 2015 – December 12, 2015 & January 5, 2016 – March 12, 2016
with an opening reception, Friday, October 16, 6 – 8 pm

Curated by Miguel Gandert, Distinguished Professor of Communications and Journalism, and Chris Wilson, J. B. Jackson Chair of Cultural Landscape Studies

Starting in the 1600s, painters of romantic landscapes (and two centuries later, many photographers) composed picturesquely balanced views of nature, often punctuated by a small classical ruin or snippet of rural life. Yet from the invention of photography in France in 1839, and its quick embrace in the English-speaking world, Edouard Baldus, Francis Frith, and Carlton E. Watkins, among others, captured panoramas of the traditional and industrializing city. Others such as Eugene Atget, Walker Evans, and Henri Cartier-Bresson walked its streets reveling in the overlooked details of the everyday, vernacular landscape. The first half of Vernacular in Place samples the canon of landscape photography as taught and collected at UNM by historian Beaumont Newhall and founding director of the Art Museum, Van Deren Coke, in the 1960s and 70s—decades when UNM was arguably the leading international center of photo history and studio photography.

These decades also witnessed the civil rights, anti-colonial and environmental movements, the rise of an international youth counterculture and the grassroots mobilization against the Viet Nam War. Amid this combination of an emerging photo historical consciousness, and a broader anti-authoritarian spirit, a younger generation of photographers—many UNM students, alumni and faculty—reacted against the canon of landscape photography best embodied in those days by Ansel Adams, who consciously edited out signs of modern society. Lee Freidlander, Steve Fitch, and Thomas Barrow, as well as a group assembled in the New Topographics exhibition of 1977 including Lewis Baltz, Joe Deal, Frank Gohlke, and Nicholas Nixon, instead stepped back to include telephone poles and cobra-headed street lamps, and to turn their cameras on gas stations, industrial parks, and newly-built suburban houses at the desert’s edge. Their cool, deadpan, ironic, yet loving embrace of the contemporary vernacular landscape resonates in the work of landscape photographers down to this day.

In addition to the photographers already mentioned, the exhibition also includes works by Kenneth Winston Baird, Hilla and Bernd Becher, Sabine Delcour, Gus, Foster, Lynn Geesaman, Debora Hunter, William Henry Jackson, Danny Lyon, Joan Meyer, Beaumont Newhall, Bernard Plossu, Edward Ruscha, David Stephenson, Edward Weston and Steve Yates.

The exhibit has been developed in coordination with the PhotoPaysage/ LandscapeRepresentation conference, October 15-17, 2015, a French/American dialogue about the role of photography in changing conceptions of landscape and an additional exhibition, “Photographic Notes on the Road: J. B. Jackson, 1955-1989,” October 15 – November 9, School of Architecture and Planning Gallery.

<b>Sabine Delcour</b> (French, b.1968), <i>The Builders</i>, 2000, print 2015, Digital archival pigment print, 13.5 x 18 inches, Lent by the Artist

Sabine Delcour (French, b.1968), The Builders, 2000, print 2015, Digital archival pigment print, 13.5 x 18 inches, Lent by the Artist

<b>Walker Evans</b> (American, 1903-1975), <i>Bridges and Houses in Easton, Pennsylvania</i>, 1935, Printed by the Library of Congress, 1968, Gelatin silver print, 7-1/2 x 9-1/4 inches, Museum purchase, 68.109

Walker Evans (American, 1903-1975), Bridges and Houses in Easton, Pennsylvania, 1935, Printed by the Library of Congress, 1968, Gelatin silver print, 7-1/2 x 9-1/4 inches, Museum purchase, 68.109

<b>Édouard Baldus</b> (French, born Prussia, 1813–1889), <i>Untitled (View of Notre Dame from across the Seine)<i/>, 1860, Calotype, 12-7/8 x 17-1/2 inches, Gift of Eleanor and Van Deren Coke, 72.648

Édouard Baldus (French, born Prussia, 1813–1889), Untitled (View of Notre Dame from across the Seine), 1860, Calotype, 12-7/8 x 17-1/2 inches, Gift of Eleanor and Van Deren Coke, 72.648

Main Image:
Thomas Barrow (American, b. 1938), Dart from the series Cancellation, 1974, Toned gelatin silver print, 9-1/4 x 13-1/2 inches, Purchase with funds from the Charles E. Merrill Trust, University of New Mexico Art Museum, 74.257
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