{"id":73478,"date":"2019-06-18T00:01:26","date_gmt":"2019-06-17T22:01:26","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=73478"},"modified":"2019-06-03T19:56:41","modified_gmt":"2019-06-03T17:56:41","slug":"berenice-abbott-retratos-la-modernidad","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/berenice-abbott-retratos-la-modernidad\/","title":{"rendered":"[:es]Berenice Abbott. Retratos de la modernidad[:gl]Berenice Abbott. Retratos da modernidade[:en]Berenice Abbott. Portraits of Modernity[:]"},"content":{"rendered":"

[:es]<\/p>\n

Berenice Abbott. Pionera, moderna, audaz<\/em>\u00a0propone un exhaustivo recorrido por la trayectoria de la\u00a0fot\u00f3grafa estadounidense\u00a0<\/strong>(Springfield, Ohio, 1898 \u2013 Monson, Maine, 1991). Su obra, una de las m\u00e1s cautivadoras de la fotograf\u00eda norteamericana de la primera mitad del siglo XX, hizo de puente entre la\u00a0vanguardia del viejo continente<\/strong>\u00a0y la creciente\u00a0escena art\u00edstica de la costa este de Estados Unidos<\/strong>\u00a0de los a\u00f1os 1920 y 1930.<\/p>\n

La obra de\u00a0Abbott<\/strong>\u00a0es un reflejo de su gran habilidad para identificar y retratar los cambios de su entorno. En conjunto, sus fotograf\u00edas constituyen un excepcional\u00a0retrato de la modernidad del nuevo siglo<\/strong>, idea sobre la que pivota la presente muestra.<\/p>\n

La exposici\u00f3n, estructurada en tres secciones tem\u00e1ticas, recorre su carrera a trav\u00e9s de casi\u00a0doscientas fotograf\u00edas de \u00e9poca<\/strong>. Entre ellas, en di\u00e1logo con las de la fot\u00f3grafa norteamericana, se exponen once fotograf\u00edas de Eug\u00e8ne Atget positivadas por la propia Abbott a finales de la d\u00e9cada de los 1950.<\/p>\n

\"Berenice
West Street, 1932 International Center of Photography Purchase, with funds provided by the National Endowment for the Arts and the Lois and Bruce Zenkel Purchase Fund, 1983 (388.1983) \u00a9 Getty Images\/Berenice Abbott<\/span><\/figcaption><\/figure>\n

Modernidad<\/strong>. La idea de modernidad invade todo el trabajo de Abbott, desde sus retratos de los artistas e intelectuales m\u00e1s vanguardistas del momento, pasando por sus asombrosas vistas de la ciudad de Nueva York, hasta sus fotograf\u00edas de tema cient\u00edfico en las que retrata los resultados de diversos fen\u00f3menos y experimentos. Es tambi\u00e9n un\u00a0reflejo de la modernidad<\/strong>\u00a0de la propia Abbott, de su car\u00e1cter vanguardista y audaz.<\/p>\n

Par\u00eds<\/strong>. Apenas tres a\u00f1os despu\u00e9s de trasladarse a Nueva York, Abbott viaja a Europa y se instala en Par\u00eds, donde empieza a trabajar en el estudio de Man Ray y entra en contacto con la\u00a0fotograf\u00eda<\/strong>. A trav\u00e9s de Man Ray conoce a Eug\u00e8ne Atget, cuya obra le despierta una gran admiraci\u00f3n. Durante varias d\u00e9cadas se dedicar\u00e1 a promocionarla y a alentar su coleccionismo en los Estados Unidos, convirti\u00e9ndose en figura clave para la fortuna cr\u00edtica e historiogr\u00e1fica del fot\u00f3grafo.<\/p>\n

Nueva York<\/strong>. En 1929 Abbott regresa a Nueva York y se embarca en la producci\u00f3n de su mayor corpus de trabajo: la\u00a0documentaci\u00f3n fotogr\u00e1fica del crecimiento de esta ciudad<\/strong>. Desarrolla este proyecto de forma independiente hasta que, en 1935, logra financiarlo con ayuda estatal. Las im\u00e1genes, publicadas bajo el t\u00edtulo de\u00a0Changing New York<\/em>\u00a0en 1939, son reflejo de la genial habilidad de la fot\u00f3grafa en percibir las posibilidades infinitas que ofrece Nueva York para plasmar la modernidad de los nuevos tiempos.<\/p>\n

\u00bfDocumento?<\/strong>\u00a0Las fotograf\u00edas que crea Abbott son mucho m\u00e1s que documento. Aunque su intenci\u00f3n es huir de las supuestas artificiosidades del arte, el resultado visual es tan rico y diverso que dificulta categorizarlas bajo el adjetivo \u201cdocumental\u201d. Sus retratos y\u00a0las im\u00e1genes de tema cient\u00edfico que desarrolla desde fines de los 1950 en colaboraci\u00f3n con el Instituto de Tecnolog\u00eda de Massachusetts, son ejemplos, presentes en la muestra, caracter\u00edsticos de esta dualidad.<\/p>\n

La exposici\u00f3n ha sido producida por Fundaci\u00f3n MAPFRE<\/a><\/strong>\u00a0y comisariada por Estrella de Diego, catedr\u00e1tica de Arte Contempor\u00e1neo de la Universidad Complutense de Madrid y miembro de la Real Academia de Bellas Artes de San Fernando. Para su realizaci\u00f3n hemos contado con fondos procedentes de algunas de las m\u00e1s importantes colecciones estadounidenses:\u00a0The New York Public Library<\/em>,\u00a0The George Eastman Museum<\/em>\u00a0(Rochester, Nueva York),\u00a0The Howard Greenberg Gallery<\/em>\u00a0(Nueva York),\u00a0The International Center of Photography<\/em>(Nueva York),\u00a0the MIT Museum<\/em>\u00a0(Cambridge, Massachusetts) y\u00a0The Museum of the City of New York<\/em>.<\/p>\n

[:gl]<\/p>\n

Berenice Abbott. Pioneira, moderna, audaz<\/em> prop\u00f3n un exhaustivo percorrido pola traxectoria da fot\u00f3grafa estadounidense<\/strong> ( Springfield, Ohio, 1898 \u2013 Monson, Maine, 1991). A s\u00faa obra, unha das m\u00e1is cativadoras da fotograf\u00eda norteamericana da primeira metade do s\u00e9culo XX, fixo de ponte entre a vangarda do vello continente<\/strong> e a crecente escena art\u00edstica da costa este de Estados Unidos<\/strong> dos anos 1920 e 1930.<\/p>\n

A obra de Abbott<\/strong> \u00e9 un reflexo da s\u00faa gran habilidade para identificar e retratar os cambios da s\u00faa contorna. En conxunto, as s\u00faas fotograf\u00edas constit\u00faen un excepcional retrato da modernidade<\/strong> do novo s\u00e9culo<\/strong>, idea sobre a que pivota a presente mostra.<\/p>\n

A exposici\u00f3n, estruturada en tres secciones tem\u00e1ticas, percorre a s\u00faa carreira a trav\u00e9s de case duascentas fotograf\u00edas de \u00e9poca<\/strong>. Entre elas, en di\u00e1logo coas da fot\u00f3grafa norteamericana, exp\u00f3\u00f1ense once fotografas de Eug\u00e8ne Atget positivadas pola propia Abbott a finais da d\u00e9cada dos 1950.<\/p>\n

\"Berenice
West Street, 1932 International Center of Photography Purchase, with funds provided by the National Endowment for the Arts and the Lois and Bruce Zenkel Purchase Fund, 1983 (388.1983) \u00a9 Getty Images\/Berenice Abbott<\/span><\/figcaption><\/figure>\n

Par\u00eds<\/strong>. Apenas tres a\u00f1os despu\u00e9s de trasladarse a Nueva York, Abbott viaja a Europa y se instala en Par\u00eds, donde empieza a trabajar en el estudio de Man Ray y entra en contacto con la\u00a0fotograf\u00eda<\/strong>. A trav\u00e9s de Man Ray conoce a Eug\u00e8ne Atget, cuya obra le despierta una gran admiraci\u00f3n. Durante varias d\u00e9cadas se dedicar\u00e1 a promocionarla y a alentar su coleccionismo en los Estados Unidos, convirti\u00e9ndose en figura clave para la fortuna cr\u00edtica e historiogr\u00e1fica del fot\u00f3grafo.<\/p>\n

Modernidade.<\/strong> A idea de modernidade invade todo o traballo de Abbott, desde os seus retratos dos artistas e intelectuais m\u00e1is vangardistas do momento, pasando polas s\u00faas asombrosas vistas da cidade de Nova York, ata as s\u00faas fotograf\u00edas de tema cient\u00edfico nas que retrata os resultados de diversos fen\u00f3menos e experimentos. \u00c9 tam\u00e9n un reflexo da modernidade<\/strong> da propia Abbott, do seu car\u00e1cter vangardista e audaz.<\/p>\n

Par\u00eds<\/strong>. Apenas tres anos despois de trasladarse a Nova York, Abbott viaxa a Europa e inst\u00e1lase en Par\u00eds, onde empeza a traballar no estudo de Man Ray e entra en contacto coa fotograf\u00eda. A trav\u00e9s de Man Ray co\u00f1ece a Eug\u00e8ne Atget, cuxa obra esp\u00e9rtalle unha gran admiraci\u00f3n. Durante varias d\u00e9cadas dedicarase a promocionala e a alentar o seu coleccionismo nos Estados Unidos, convert\u00e9ndose en figura crave para a fortuna cr\u00edtica e historiogr\u00e1fica do fot\u00f3grafo.<\/p>\n

Nova York.<\/strong> En 1929 Abbott regresa a Nova York e emb\u00e1rcase na produci\u00f3n do seu maior corpus de traballo: a documentaci\u00f3n fotogr\u00e1fica do crecemento desta cidade<\/strong>. Desenvolve este proxecto de forma independente ata que, en 1935, logra financialo con axuda estatal. As imaxes, publicadas baixo o t\u00edtulo de Changing New York<\/em> en 1939, son reflexo da xenial habilidade da fot\u00f3grafa en percibir as posibilidades infinitas que ofrece Nova York para plasmar a modernidade dos novos tempos.<\/p>\n

Documento?<\/strong> As fotograf\u00edas que crea Abbott son moito m\u00e1is que documento. A\u00ednda que a s\u00faa intenci\u00f3n \u00e9 fuxir das supostas artificiosidades da arte, o resultado visual \u00e9 tan rico e diverso que dificulta categorizarlas baixo o adxectivo \u201cdocumental\u201d. Os seus retratos e as imaxes de tema cient\u00edfico que desenvolve desde fins dos 1950 en colaboraci\u00f3n co Instituto de Tecnolox\u00eda de Massachusetts, son exemplos, presentes na mostra, caracter\u00edsticos desta dualidade.<\/p>\n

A exposici\u00f3n foi producida por Fundaci\u00f3n MAPFRE<\/a><\/strong> e comisariada por Estrela de Diego, catedr\u00e1tica de Arte Contempor\u00e1nea da Universidade Complutense de Madrid e membro da Real Academia de Belas Artes de San Fernando. Para a s\u00faa realizaci\u00f3n contamos con fondos procedentes dalgunhas das m\u00e1is importantes colecci\u00f3ns estadounidenses:\u00a0The New York Public Library<\/em>,\u00a0The George Eastman Museum<\/em>\u00a0(Rochester, Nueva York),\u00a0The Howard Greenberg Gallery<\/em>\u00a0(Nueva York),\u00a0The International Center of Photography<\/em>(Nueva York),\u00a0the MIT Museum<\/em>\u00a0(Cambridge, Massachusetts) y\u00a0The Museum of the City of New York<\/em>.<\/p>\n

[:en]<\/p>\n

Berenice Abbott. Pioneer, modern, fearless<\/em>\u00a0provides a detailed look at the artistic journey of this\u00a0American photographer<\/strong>(Springfield, Ohio, 1898 \u2013 Monson, Maine, 1991). Her body of work, some of the most captivating North American photography of the first half of the 20th<\/sup>\u00a0century, acted as a bridge between the\u00a0avant-garde of the old continent<\/strong>\u00a0and the burgeoning\u00a0artistic scene of the East Coast of the United States<\/strong>\u00a0in the 1920s and 1930s.<\/p>\n

Abbott<\/strong>‘s work reflects her masterful ability to identify and depict the changes in her surroundings. Altogether, her photographs provide an exceptional\u00a0portrayal of the modernity of the new century<\/strong>, a central concept of this current exhibition.<\/p>\n

The exhibition is arranged into three thematic sections and covers her career by means of almost\u00a0two hundred vintage photographs<\/strong>. Among them, in dialogue with those of this American photographer, are eleven photographs by Eug\u00e8ne Atget, which Abbott herself printed at the end of the 1950s.<\/p>\n

\"Berenice
West Street, 1932 International Center of Photography Purchase, with funds provided by the National Endowment for the Arts and the Lois and Bruce Zenkel Purchase Fund, 1983 (388.1983) \u00a9 Getty Images\/Berenice Abbott<\/span><\/figcaption><\/figure>\n

Modernity<\/strong>. The concept of modernity infuses all of Abbott’s work, from her portraits of the most cutting-edge artists and intellectuals of the moment, through to the breathtaking views of New York, as well as her scientific-themed photographs in which she captures the results of diverse phenomena and experiments. It is also a\u00a0reflection of the modernity<\/strong>\u00a0of Abbott herself, of her ground-breaking and bold personality.<\/p>\n

Paris<\/strong>. Scarcely three years after moving to New York, Abbott travels to Europe and installs herself in Paris, where she begins to work in Man Ray’s studio and comes into contact with\u00a0photography<\/strong>. Through Man Ray she meets Eug\u00e8ne Atget, whose work she came to greatly admire. For several decades she dedicates herself to promoting his work and encouraging its collection in the United States, becoming a key figure in the critical reception and historiography of this photographer.<\/p>\n

New York<\/strong>. In 1929 Abbott returns to New York and embarks on the production of her biggest corpus of work: a\u00a0photographic documentation of this city’s expansion<\/strong>. She develops this project independently until she secures government funding in 1935. These pictures, published under the heading\u00a0Changing New York<\/em>\u00a0in 1939, are a testament to the photographer’s amazing ability to perceive the endless possibilities that New York offers in order to embody the modernity of the changing times.<\/p>\n

Documents?<\/strong>\u00a0The photographs Abbott takes are much more than documents. Although she wished to escape from the supposed artifice of art, the visual outcome is so rich and diverse that it is difficult to categorize it as merely \u00abdocumentary\u00bb work. Her portraits and scientific images from the end of the 1950s, in collaboration with the Massachusetts Institute of Technology, and which feature in this exhibition, are characteristic of this duality.<\/p>\n

The exhibition was produced by<\/strong> Fundaci\u00f3n MAPFRE<\/a><\/strong> and curated by Estrella de Diego, Professor of Contemporary Art at the Complutense University of Madrid and member of the Royal Academy of Fine Arts of San Fernando. For its realization we have had funds from some of the most important American collections: The New York Public Library<\/em>, The George Eastman Museum<\/em> (Rochester, New York), The Howard Greenberg Gallery<\/em> (New York), The International Center of Photography<\/em> (New York),\u00a0the MIT Museum\u00a0<\/em>(Cambridge, Massachusetts) and The Museum of the City of New York<\/em>.<\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Berenice Abbott. Pionera, moderna, audaz\u00a0propone un exhaustivo recorrido por la trayectoria de la\u00a0fot\u00f3grafa estadounidense\u00a0(Springfield, Ohio, 1898 \u2013 Monson, Maine, 1991). Su obra, una de las m\u00e1s cautivadoras de la fotograf\u00eda norteamericana de la primera mitad del siglo XX, hizo de puente entre la\u00a0vanguardia del viejo continente\u00a0y la creciente\u00a0escena art\u00edstica de la costa este de […]<\/p>\n","protected":false},"author":2,"featured_media":73479,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,1382],"tags":[3850,11936,11944,12449,155,11937,11947,3991,11939,8968,434,9223,10100,11149,14153,1787,556,12460,602,4156,3996,11945,11942,11835,9212,6452,3992,785,11938,11941,11943,4227,3993,878,11935,3994,7586,11948,989,11670,1171,3995,3997,11946,1241,11940,3998,2836,9045],"class_list":["post-73478","post","type-post","status-publish","format-standard","has-post-thumbnail","category-eventos","category-exposiciones","tag-aldo-rossi","tag-alona-pardo","tag-andreas-gursky","tag-arte","tag-arte-contemporaneo","tag-barbican-centre","tag-bas-princen","tag-berenice-abbott","tag-bernd-y-hilla-becher","tag-daniel-libeskind","tag-documental","tag-ed-ruscha","tag-elias-redstone","tag-estrella-de-diego","tag-eugene-atget","tag-europa","tag-exposicion","tag-fotografia","tag-francia","tag-fundacion-mapfre","tag-gaelle-morel","tag-guy-tillim","tag-helene-binet","tag-hiroshi-sugimoto","tag-iwan-baan","tag-julius-shulman","tag-kay-weaver","tag-le-corbusier","tag-lucien-herve","tag-luigi-ghirri","tag-luisa-lambri","tag-man-ray","tag-martha-wheelock","tag-modernidad","tag-monica-de-linos","tag-museo-del-jeu-de-paume","tag-museo-ico","tag-nadav-kander","tag-photoespana","tag-retrospectiva","tag-ryerson-image-centre-de-toronto","tag-sarah-m-miller","tag-simon-norfolk","tag-sociedad","tag-stephen-shore","tag-terri-weissman","tag-thomas-struth","tag-walker-evans"],"yoast_head":"\n[:es]Berenice Abbott. 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