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Photography Into Sculpture": Peter Bunnell, Robert Heinecken and Experimental Forms of Photography Circa 1970

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Photography Into Sculpture "Photography into Sculpture": Peter Bunnell, Robert Heinecken and Experimental Forms of Photography Circa 1970 Item Type text; Electronic Dissertation Authors Statzer, Mary Kathryn Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 15:34:23 Link to Item http://hdl.handle.net/10150/556851 “PHOTOGRAPHY INTO SCULPTURE”: PETER BUNNELL, ROBERT HEINECKEN AND EXPERIMENTAL FORMS OF PHOTOGRAPHY CIRCA 1970 by Mary Kathryn Statzer __________________________ Copyright © Mary Kathryn Statzer 2015 A Dissertation Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN HISTORY AND THEORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 2015 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Mary Statzer, titled Photography into Sculpture: Peter Bunnell, Robert Heinecken and Experimental Forms of Photography circa 1970 and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. _______________________________________________________________________Date: April 1, 2015 Sarah Moore _______________________________________________________________________Date: April 1, 2015 Kate Palmer Albers _______________________________________________________________________Date: April 1, 2015 Larry Busbea Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: April 1, 2015 Dissertation Director: Sarah Moore 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Mary Kathryn Statzer 4 ACKNOWLEDGMENTS There are many people to thank for the help and support that enabled me to complete my graduate studies and this dissertation. The staff of the Center for Creative Photography’s Laura Volkerding Study Center has been indispensible to my work. Leslie Squyres, David Benjamin, Krista Niles and James Uhrig made it all happen. University of Arizona librarian Paula Wolfe was especially supportive early on, putting in my hands small catalogues and journals from the 1960s and 70s that fed my growing interests. I am grateful to the staff of the Museum of Modern Art and its Archives as well as Drew Sawyer, the Beaumont and Nancy Newhall Curatorial Fellow, who facilitated my research there. Thanks also go to Eva Respini at MoMA who included me in their Heinecken Scholars Day in 2013, which shaped my thoughts about Robert Heinecken. My heartfelt appreciation goes out to my committee: Sarah Moore, Kate Palmer Albers, and Larry Busbea. Britt Salvesen, Douglas Nickel and William Jenkins were also committee members over the years. A special note of appreciation goes to Kate, Britt, and Doug for reading early drafts and offering astute comments that advanced my ideas. So many good friends and capable colleagues made this long process possible and bearable. Thank you to Emily Morgan, Sherry Harlacher, Deborah Sussman, Becky Senf, Shana Lopes, and Judy Zuber, who were always willing to listen, encourage, and advise. Particular thanks go to Erin O’Toole, who helped me to keep the big picture in mind and acted as my writing coach and editor on numerous occasions; Daphne Srinivasan, who listened to ideas whether half baked or fully formed, and made my countless research trips to Tucson fun and relaxing; Philip Martin, whose enthusiasm for the material and insight resulted in thought provoking conversations; and Beverly Adams, who offered invaluable critiques of my work and would never let me think of quitting. I am grateful to all of you for keeping me going and seeing me through to the end. Peter Bunnell was a constant source of inspiration, not only his exhibition, Photography into Sculpture, which is at the core of my work, but also the prime example he provides as a photo historian. I also thank him for graciously sitting through interviews, reading early drafts of my texts, and providing me with the crucial mantra: “Don’t forget that there is a dissertation in there. Whatever you do, finish it.” The artists were also patient and generous during the interview process. Our conversations were delightful and gave my work momentum when I needed it most. I want to thank my family, whose support never wavered and who were always happy to celebrate small victories along the way: my mom and dad, Lynn and Neil Statzer; my sister Misty McGlynn and her family Tim, Andy, and Kate; Zach Kadish; Maria Dawson; as well as Wendy, Tom, Aiden and Noah Grace. I never would have started or finished this endeavor without the unerring love and encouragement of my husband Gene Kadish, to whom this dissertation is dedicated. 5 TABLE OF CONTENTS PAGE ABSTRACT ................................................................................................................6 INTRODUCTION TO PART I ...................................................................................8 I: CASE STUDY: PHOTOGRAPHY INTO SCULPTURE .....................................22 II: PETER BUNNELL’S PHOTOGRAPHY AS PRINTMAKING AND PHOTOGRAPHY INTO SCULPTURE: PHOTOGRAPHY AND MEDIUM SPECIFICITY AT MOMA CIRCA 1970 ..................................................................42 III: ROBERT HEINECKEN 1962-1970 ...................................................................83 INTRODUCTION TO PART II ..............................................................................130 ANNOTATED INTERVIEW WITH PETER BUNNELL .....................................135 APPENDIX A – SUPPLEMENTARY DATA – INTERVIEWS WITH THE ARTISTS ....................................................................161 CONCLUSION.........................................................................................................290 REFERENCES .........................................................................................................291 6 ABSTRACT Despite present day attitudes and practices in which combinations of photography and other mediums of art are readily accepted, this was rarely the case during the 1960s and 1970s. The pioneering 1970 Museum of Modern Art exhibition Photography into Sculpture, which is the focus of this dissertation, is a compelling exception. Organized by Peter Bunnell, the exhibition highlighted work by twenty-three artists that mixed photographic imagery with three-dimensional forms. The resulting objects often dislocated “straight” photography’s reliance on the image and optical description as its primary source of meaning, characteristics presumed to be fundamental and fixed by many at the time. Bunnell argued that the physicality of the works in Photography into Sculpture made the medium visible and available for critique. This dissertation establishes the archival record and an oral history for the exhibition. It also finds that Bunnell prepared this unorthodox exhibition with John Szarkowski’s endorsement, therefore contradicting enduring views that Szarkowski’s photography program at the Modern promoted a monolithic ideology that did not include experimental modes. Peter Bunnell and Robert Heinecken are the principal figures in Photography into Sculpture. Bunnell, as curator and historian, and Heinecken, as artist and professor of photography at University of California, Los Angeles, were both committed to the idea that the photograph was not only an image but also an object. In public statements they argued that the attention placed on straight photography by many critics and educators discouraged experimentation and excluded an emerging generation of photographers eager to challenge lingering modernist traditions that emphasized the integrity of the 7 image and conventions of display. Both men and their contemporary Nathan Lyons worked from within photography’s established institutions and organizations – including the Museum of Modern Art, George Eastman House, and The Society for Photographic Education – to advocate for alternatives. This dissertation demonstrates that the revolutionary ideas of Bunnell and Heinecken were part of a long rebellion against photographic modernism. 8 INTRODUCTION TO PART I Prior to beginning my current research, Ed Ruscha’s photography books Twentysix Gasoline Stations and Every Building on the Sunset Strip were a primary interest of mine. I was attracted to the rebellious nature of these objects. Ruscha’s photo books took aim at traditional barriers between mediums as well as high and low forms, and
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