LOS ANGELES, CA.-
The J. Paul Getty Museum
presents In Focus: The Sky
, a thematically-installed exhibition of permanent collection photographs, on view at the Getty Center from July 26 December 4, 2011. The sky has fascinated and challenged photographers since the invention of the medium, said Anne Lyden, associate curator, Department of Photographs, the J. Paul Getty Museum, and curator of the exhibition. This exhibition showcases a wide range of approaches to capturing the many moods and effects of the skythings we usually take for granted.
The selection of 22 artworks provides visitors with an opportunity to explore the Getty Museum's world-renowned photographs collection through the pictorial subject of the sky, with the works loosely organized under four different themes: urban skies, clouds, dark skies, and colorful skies. The exhibition features photographs by artists such as: Ansel Adams, John Divola, André Kertész, Joel Meyerowitz, Alfred Stieglitz, and Carleton Watkins, among others. The Gettys collection includes exemplary objects that demonstrate both technological and aesthetic innovations in photography. Among the different processes highlighted are daguerreotypes, albumen silver prints, palladium prints, platinum prints, and more contemporary inkjet prints.
One of the most well-known works in the exhibition is Ansel Adams Moonrise, Hernandez, New Mexico, (negative made November 1, 1941; printed December 16, 1948). Traveling by car through New Mexico, Adams was inspired by light from the setting sun illuminating crosses in the graveyard at the side of the road. By carefully considering the composition, visualizing the printed image before creating the photograph, understanding the required exposure needed in response to the available light, and exerting a certain degree of control in the printing process so that detail and shadows were retained, Adams succeeded in capturing the fleeting moment when the sun was setting and the bright moon appeared in the darkening sky.
The summer sky of Cape Cod features in Meyerowitz's photograph Fence, Truro, negative 1976; printed 1992. Having recently acquired a large view camera, Meyerowitz spent two summers recording the structures and light of the coastal area that ultimately resulted in the 1978 book, Cape Light. Noting the shifting shadows as they played across the picket fence, his use of color aptly describes the very subject of light itself. Included in the exhibition is a selection from John Divolas Zuma Beach series. In the fall of 1977, after discovering an abandoned lifeguard headquarters at Zuma Beach, California, Divola began visiting the site mornings and evenings to photograph. Bringing paints, using flash, and depending on the Pacific Ocean and the ever-changing sky for a dramatic backdrop, he created spontaneous scenes in this seaside theater.
Also on view is a small group of three photographs by Alfred Stieglitz. From 1922 to 1934, Stieglitz photographed clouds and created a series of abstract configurations which reflected the fluctuation of his subjective state. By simply titling each piece Equivalent, he invited an open reading of the images and their content.