A richly illustrated exploration of the imagination in photography featuring the work of over sixty international artists.
Photography and reality are inextricably linked but, whether one is being photographed, making a photograph, or looking at a photograph, photography is an act of the imagination. In nine original essays, art historians and cultural theorists break with photographic tradition to explore the crucial role of the imagination in photography from nineteenth-century studio portraiture to twenty-first-century digital innovations.
Drawing on the twenty-nine exhibitions of Le Mois de la Photo à Montréal 2005, Image & Imagination features the work of sixty contemporary artists from Canada, Australia, the United States, France, England, Haiti, and Japan.
Essayists include Geoffrey Batchen (City University of New York), Catherine Bédard (Canadian Cultural Centre, Paris), Fae Brauer (University of New South Wales), Francine Dagenais (McGill University), Martyn Jolly (Australian National University), Petra Halkes (Concordia University), Martha Langford (Concordia University), Kirsty Robertson (Queen's University), and Ian Walker (University of Wales College).
Born in 1948 in Vienna, Helnwein’s career spans more than three decades. He lives and works in Los Angeles and has a home base in Ireland as well. His art ranges from the macabre to the sublime. Figures, dead or alive, predominate in large groups and smaller encounters. There are many singular figures and portraits of celebrities and others, as well as self portraits. There are also land- and cityscapes, magazine and CD covers, installations and set designs. One theme returns often: "The Child," which was also the title of Helnwein’s first major museum solo show in in North America (San Francisco Fine Arts Museum, 2004). Photographing and painting children, sometimes adored, more often traumatized or injured, threatened or witnessing violence, the artist appears possessed by the suffering that childhood’s particular vulnerability can engender.
Petra Halkes, Concordia University
COMIC HELNWEIN COMIC HELNWEIN
McGill-Queen's University Press
Petra Halkes, Gottfried Helnwein’s American Prayer: A Fable in Pixels and Paint.
Disney artist Carl Barks (1901-2000) created one of Walt Disney's most famous characters, Scrooge McDuck. Barks also produced more than 500 comic book stories. His work is ranked among the most widely circulated, best-loved, and most influential of all comic book art. Although the images he created are known virtually everywhere, Barks was an isolated storyteller, living in the desert of California and preferring to labor without public fanfare during most of his career. The influence of Barks's work on such filmmakers as George Lucas and Steven Spielberg and on such artists as Gottfried Helnwein has extended Barks's significance far beyond the boundaries of comics.
CARL BARKS: CONVERSATIONS
Donald Ault, University Press of Mississippi
Helnwein talks with Carl Barks For me, the real highpoint of Conversations is the 1992 interview with Gottfried Helnwein, the Austrian-born creative genius whom Donald Ault has justly called "One of the greatest conceptual artists of the past hundred years." His interview engages Barks in a spirit of imagination and play, and Barks responds to it: What if there were a real Duckworld? What would its layout be? If anyone can take this idea into the 21st century in current available media, it's Helnwein, whose surreal Duck portraits reveal a dark undercurrent probably always present to one degree or other in Barks's own work—Helnwein's ducks are surreal, haunting, yet strangely funny at the same time. A parody of the dark side of the comic, the work reminds one of Chris von Allsburg, WeeGee, Jim Jarmusch, David Lynch, others. And this is just where the influence is most obvious, in paintings of Donald Duck.
Carl Barks: Conversations
reviewed by Kevin McGowin
Carl Barks: Conversations, Donald Ault, Ed.
University Press of Mississippi (2003) 238 pages
Helnwein talks with Carl Barks Oregon, June 11, 1992
Cover by Gottfried Helnwein
Cover: Mouse I, 2001
by Gottfried Helnwein
Collection San Francisco Museum of Modern Art
other Gottfried Helnwein sites:
museums mixed media works on paper marilyn manson
essays press bibliography exhibitions
carl barks barks exhibitions blogs & forums links
Catalogue: "Wer ist Carl Barks".
With an interview of Carl Barks by Gottfried Helnwein on July 11, 1992, Oregon.
Also with texts by Roy Disney, Gottfried Helnwein, Carsten Laqua, Andreas Platthaus und Ulrich Schroeder.
Hardcover, 296 pages, Neff Verlag, 1993.
Sueddeutsche Zeitung, Magazin, 16.10.1992
"Mit Donald war es wirklich Lustig"
Gottfried Helnwein besuchte den Vater von Entenhausen.
Das Magazin, Tages-Anzeiger und Berner Zeitung, 11.12.1992
"Ich bin kein Duckmaeuser!"
Duck-Verehrer Gottfried Helnwein hat den 91Jaehrigen interviewt.
Wer ist Carl Barks, Helnwein:
Bibliophile Werkschau des graphischen Werkes von Carl Barks
Gottfried Helnwein war derjenige, dem Europas Museen die erste umfangreiche Werkschau von Carl Barks verdanken. Neben einer Vielzahl von Skizzen und Vorzeichnungen für Ölgemälde lag der Schwerpunkt der Ausstellung in Reproduktionen von Panels aus dem Comicwerk von Carl Barks. Zeichnungen, die man möglicherweise aus dem Micky-Maus-Heft in colorierter Form und in der Größe einer Streichholzschachtel kannte, wurden für die Ausstellung in der Schwarz-Weiß-Urfassung auf Abmessungen von 3x4 Meter und größer gigantiert. Diese Ehrfurcht vor der Präzision des graphischen Werkes Carl Barks kann im Buch von Helnwein, welches eher ein Ausstellungskatalog denn eine Biografie ist, gut nachvollzogen werden. Barks pur, sattes Schwarz auf weißem Bilderdruckpapier, Fadenheftung. Alles fast zu bibliophil für das Geld. Wer es sich leisten kann, sollte deshalb neben der Softcover-Ausgabe noch eine der 999 Ex. der von Helnwein signierten Hardcover-Edition erwerben.
Wenn man das Glück hat, diese irgendwo noch käuflich erwerben zu können...
Those who have used the same or multiple forms of the image many times over many years include Lichtenstein, Helnwein, Oldenburg, Pensato, Ospina, and Chagoya. The facade of Disney and America in the guise of the Mouse is one of the things that Helnwein and others present to us. Claes Oldenburg took the facade to its literal extreme when he proposed a flat Mouse's image for a facade to Chicago's Museum of Contemporary Art, and produced a flat Mouse sculpture. Helnwein, Oldenburg and others are using the Mouse to make social and cultural comments about our society, in the broadest sense, but with humor.
Publisher: University Press of America (July 28, 2006)
CARL BARKS AND THE DISNEY COMIC BOOK: UNMASKING THE MYTH OF MODERNITY
University Press of Mississippi
The first full-length critical study of the comic artist who created Duckburg and Uncle Scrooge
For over twenty-five years, Disney artist Carl Barks (1901–2000) created some of the most brilliant and funny stories in comic books. Gifted and prolific, he was the author of over 500 tales in the most popular comic books of all time. Although he was never allowed to sign his name and worked in anonymity, Barks’s unique artistic style and storytelling were immediately evident to all his readers. Barks created the town of Duckburg, and a cast of characters that included Donald Duck’s fabulously wealthy Uncle Scrooge, the lucky loafer Gladstone Gander, the daffy inventor Gyro Gearloose, the rougish crooks the Beagle Boys, and the Italian sorceress Magica de Spell.
Carl Barks and the Disney Comic Book: Unmasking the Myth of Modernity is the first critical study of Barks’s work in English. From a cultural studies perspective, the author analyzes all phases of Barks’s career from his work in animation to his post-retirement years writing the Junior Woodchucks stories.
Andrae argues that Barks’s oeuvre presents a vision strikingly different from the Disney ethos. Barks’s central theme is a critique of modernity. His tales offer a mordant satire of Western imperialism and America’s obsession with wealth, success, consumerism, and technological mastery, offering one of the few communal, ecological visions in popular culture. Although a talented visual artist, Barks was also one of America’s greatest storytellers and, Andrae contends, lifted the comic book form to the level of great literature.
* Paperback: 272 pages
* Publisher: University Press of Mississippi (July 2006)
36 Seiten, Heft, farbig. BxH: 24,5x30,5cm. Cobra museum voor moderne kunst 2004.
Sprache: Niederländisch, Englisch
Katalog der Ausstellung 'Donald Duck 70 jaar jong!' in Amstelveen, 2004. Texte und Bilder zu Donald Duck, Kaj Stenvall, Gottfried Helnwein und Carl Barks. Beilage: faksimilierte Reprint-Ausgaben der Nummern 1 (1952) und 2500 des holländischen Magazins Donald Duck, een vrolijk Weekblad.
Donald Duck 70 jaar jong! (Catalog)
36 pages, Brochure, color. WxH: 24,5x30,5cm (9.6x12"). Cobra museum voor moderne kunst 2004.
Language: Dutch, English
Catalog for exhibition 'Donald Duck 70 years young!' in Amstelveen. Essays, interviews and pictures (Kaj Stenvall, Gottfried Helnwein, Carl Barks). Includes two comic book reprints of Dutch magazine Donald Duck, een vrolijk Weekblad (No. 1/1952 and No. 2500).
* Thom Roep: Donald Duck is al 70 jaar filmster! / Donald Duck has been a film star for 70 years!
* Margot Welle: Kaj Stenvall - Uniciteit door repetitie / A unique form of repitition
* Gottfried Helnwein: Herinneringen aan Duckstad / Memories of Duckburg
* 'Het was dolle pret met Donald' - Helnwein op bezoek bij Carl Barks in Grants Pass Oregon, 11 juli 1992 / 'It was lots of fun with Donald' - Helnwein visits Carl Barks in Grants Pass, Oregon, July 11, 1992