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L'univers Étrange De Ralph Eugene Meatyard L’univers étrange de Ralph Eugene Meatyard Fantômes de l’écrit chez Ralph Eugene Meatyard .................................................................................... 4 Ralph Eugene Meatyard ....................................................................................................................................................... 25 L’univers étrange de Ralph Eugene Meatyard ......................................................................................................... 10 RALPH EUGENE MEATYARD .................................................................................................................................................. 11 Ralph Eugene Meatyard: The Man Behind the Masks ......................................................................................................... 13 Les suds profonds de l'Amérique .......................................................................................................................................... 15 RALPH EUGENE MEATYARD .................................................................................................................................................. 16 Ralph Eugene Meatyard Sets the Stage ................................................................................................................................ 20 Dolls And Masks by Ralph Eugene Meatyard (26 photos) .................................................................................................... 22 RALPH EUGENE MEATYARD: THE FAMILY ALBUM OF LUCYBELLE CRATER AT DC MOORE GALLERY .................................. 23 J’ai découvert Ralph Eugen Meatyard il y a quelques années lors d’une exposition au Pavillon populaire de Montpellier. Elle était consacrée à 3 photographes du Sud américain. Depuis, je ne cesse de repenser à l’étrangeté de ses images. J’avais d’abord vu cette œuvre à travers le mot clef « Sud profond » que je découvrais en 1976 à Jackson Mississipi. J’avais été frappé par ce que je pensais être la cohérence entre ces masques, ces bicoques délabrées, cette unicité de visages de blancs avec ce que j’avais perçu de la misère symbolique de ce peuple blanc triste et déclassé de la bible belt et du sud, à peine capable de se hisser à la hauteur des petits héros faulknériens. En fait, je pense que c’est un contresens car REM est un homme différent et paradoxal. Vous trouverez dans le dossier un texte piqué sur internet qui développe de manière un peu intellectuelle le rapport qu’il entretient avec l’univers du sens et des signes. Il est notable que dans son œuvre, la graphie, la photo … graphie, les visages et les masques, le net et le flou, l’immobilité de bougé, les enfants, les masques et les poupées construisent un univers d’une grande richesse. Cette richesse ne s’offre pas facilement, il faut un effort pour le regardeur. Pas d’effet de « galerie » ni de « blingbling paris-photien ». Ceux qui ont vus les tirages de REM, sont frappés de voir cet alignement de petits cadres carrés 20x20 environ. Pas d’esbrouffe, c’est au regardeur de trouver son sens. Oui, paradoxal REM l’est. Il suffit de noter qu’il est né à « Normal » Illinois. Allez voir sur streetview, et vous plongerez dans le néant visuel de ce prétendu « normal » que seul un puissant imaginaire personnel peut y faire survivre un artiste. Pensez que c’est dans un tel univers qu’est né l’œuvre de REM. Quelle créativité ! Paradoxal bien sûr, cet univers qui paraît tellement triste est en fait un jeu qui met en scène sa famille et ses amis … il le fait avec un soupçon de joie, qu’on trouve dès qu’on l’a cherchée. Paradoxal encore, cet opticien de formation qui a fait des recherches sur le flou « no-focus », le son dans les vibrations de l’image, la rémanence de la lumière à la surface de l’eau, la surexposition dans les clair obscurs. Je vous laisse découvrir les images de REM, et sa bio. Sachez qu’il est un des photographes majeurs de la scène américaine des années 60-70. Très reconnu de son vivant aux USA, c’est un maître. Provincial, certes, mais aussi admiré à New York. Il a marqué une génération de photographes. Très impliqué dans la vie de la communauté des photographes, tant au niveau de clubs photo que de cursus universitaires. J’imagine une belle personne, et aurais bien aimé être une petite souris dans ses maisons délabrées pour assister aux séances de prises de vue. J’imagine qu’elles étaient gaies. Il est mort à 47 ans en 1972 d’un cancer. 1925. Naissance, le 15 mai à Normal (Illinois), de Ralph Eugene Meatyard, premier fils de Ralph Maynard et de Ruth Lucile Meatyard. Leur second fils, Jerry, enseignera les arts plastiques. 1943. Diplôme de la University High School école spéciale de l'université de l'Illinois située à Normal. bien que la famille Meatyard vive désormais à Bloomington. Meatyard fait du théâtre amateur pendant ses études secondaires, fréquente le club d'échecs, la fanfare et l'orchestre de l'école. Manifeste son excentrique originalité en jouant de l'accordéon dans ces deux formations. S'inscrit à un cycle préparatoire aux études dentaires organisé par la Marine au Williams College. Son amour du théâtre surpassant son intérêt pour les études, il est exclu. 1944. Affecté par la Marine à l'hôpital de Camp Perry (Virginie), sert occasionnellement d'interprète aux prisonniers de guerre allemands. 1946. Retour à la vie civile. Mariage avec Madelyn Oriean McKinney. Apprentissage chez un opticien de Chicago. Obtient son diplôme d'opticien. Travaille brièvement à la Gailey Eye Clinic de Bloomington (Illinois). 1950. S'inscrit pour un semestre à l'Illinois Wesleyan University avec une bourse d'ancien combattant : introduction à la philosophie, à l'économie et à l'histoire. Naissance d'un premier fils, Michael. Abandonne ses études pour s'installer à Lexington (Kentucky) et travailler chez le grand fabricant d'optique Tinder-Krauss-Tinder. Achète un Bolsey 35 mm pour photographier son fils. 1950-1954. Les photos de cette période témoignent du goût de Meatyard pour l'expérimentation. Outre la fixation d'événements particuliers, ces premières œuvres dénotent un intérêt pour des thèmes comme la décomposition, les poupées, les surimpressions, les figures floues et le brouillage des repères perceptifs. 1954. Commence à étudier sérieusement la photographie. S'inscrit au Lexington Camera Club, particulièrement adonné à la photo d'art. Van Deren Coke, futur historien d'art. conservateur et photographe fait partie du club et Meatyard devient son élève. S'inscrit aussi à la Photographie Society of America (PSA), institution moins orientée vers la photo d'art mais grâce à laquelle il figure pour la première fois, en 1954, dans des expositions collectives d'envergure nationale. Participe à l'exposition Focus on Lexington and Fayette County organisée par Coke à la galerie de l'université du Kentucky. Cette manifestation met l'accent sur l'exploration des possibilités que recèle l'univers familier, thème dont Meatyard s'empare et qu'il va élaborer à travers son œuvre. 1955. Naissance d'un deuxième enfant, Christopher. Meatyard achète un Rolleiflex 6x6. Travaille avec Van Deren Coke à une série ayant pour thème les habitants de Georgetown Street, quartier noir de Lexington, projet qui aboutit à une exposition commune. 1956. Avec Ansel Adams, Minor White, Aaron Siskind, Harry Callahan, Ruth Bernhard et Edward Weston, participe à l'exposition Creative Photography organisée par Coke. Pendant l'été, suit avec Coke l'atelier fameux de Henry Holmes Smith à l'université d'Indiana, avec des intervenants tels qu'Aaron Siskind ou Minor White. Coke quitte Lexington pour entreprendre un diplôme d'histoire de l'art à l'université d'Indiana. Meatyard joue un rôle de premier plan au Lexington Camera Club. Anime un atelier fondé sur ce qu'il a appris dans l'Indiana et, à l'instar de Coke, donne des cours particuliers aux membres les plus doués et les plus motivés. 1957. Quitte la PSA. Se rend à New York pour le vernissage d'une exposition commune avec Van Deren Coke dans la galerie de Roy DeCarava "A Photographer's Gallery". Critiques favorables du New York Times et de Village Voice. De retour à Lexington, Meatyard pousse plus loin l'expérimentation picturale. Peint sur verre des tableaux expressionnistes abstraits et les photographie sous divers éclairages. L’hiver, dispose des oiseaux morts et des objets dans des plateaux remplis d'eau, coule de la peinture qui s'y répand en volutes et photographie le tout en train de prendre en glace. Entreprend d'autres peintures, dont il photographie parfois (mais pas toujours) l'aboutissement. Commence la série Light on Water, qu'il poursuivra tout au long de sa carrière. 1958. Les premiers mois de l'année, tient un journal où il consigne ses expériences picturales en cours, ses pensées sur la photographie, les progrès de ses élèves et le cheminement de sa quête artistique. Plus tard dans l'année, suspend brusquement toute activité photographique pendant trois mois, ébranlé par le défi à la photo qu'il perçoit dans les tableaux-collages géométriques, abstraits, de Frederic Thursz. Dresse le bilan de son œuvre photographique, invente le No-focus pour répondre à ce défi et se remet au travail. Applique la technique du No-focus à la série des Brindilles zen. 1959. Naissance d'un troisième enfant. Melissa. Première exposition individuelle à Tulane University (Nouvelle-Orléans). Un portfolio et un article consacré à Meatyard paraissent dans Aperture. Participe à l'exposition Sense of Abstraction organisée par Nathan Lyons au Moma de New York. 1961. Rencontre
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