Cig Harvey: Gardening At Night
watch video clips of ellen auerbach and ringl+pit, by juan mandelbaum
ELLEN Auerbach: Classic Works and collaborations in the wall street journal
Ellen Auerbach: Classic Works and Collaborations
By William Meyers
June 13, 2015
There are 10 Ringl + Pit prints in Mann’s exhibition of work by Ellen Auerbach (1906-2004). (“Ringl” was Grete Stern’s nickname, “Pit” was Auerbach’s.) Several of the pictures at Mann are also in the current MoMA exhibition, including “Pétrole Hahn” (1931), an ad for a hair preparation; the image features the head of a saccharine, big-eyed mannequin, but the hand holding the bottle is a real human hand. The effect is whimsical, and even a little silly, as well as sophisticated and modern. “Hat and Gloves” (1931), also in both shows, has the gloves placed in front of the dummy head wearing the knit cap in the same relationship they would be on a person.
Read the full article online here. The article appears next to William Meyers' review of the exhibition From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola, on view through October 4th at The Museum of Modern Art.
cig harvey and julie blackmon in the new york times
Why Can't Great Artists Be Mothers?
A group of rising artists rejects the all-or-nothing, children-versus-art
By Jacoba Urist
May 21, 2015
The art world is full of enduring stereotypes. There’s the myth of the starving artist. The crazy artist. The hermit artist. And then there’s the childless artist— a woman (yes, she’s usually female) so fervidly dedicated to her craft that there’s no room in her life for motherhood. Indeed, some of the greatest visual artists — Georgia O’Keefe, Frida Kahlo, and Lee Krasner — had no children. Kids and their constant battery of needs, the argument goes, are incompatible with true creativity. Art is supposed to be an all-consuming enterprise — and now modern parenting is too.
Continue reading the article here.
Ellen Auerbach: Classic Works and COllaborations in the NEW YORKER
The New Yorker
August 3, 2015
This valuable addendum to MOMA's current exhibition “From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola” centers on Stern’s partner in the avant-garde photography studio known as ringl + pit. Their Bauhaus-style collaborations, most produced as advertisements in the thirties, are the most arresting images here, juxtaposing models and mannequins, balancing sensuality and restraint. Following a split with Stern, Auerbach’s work became more varied, including portraits of Bertolt Brecht and Willem de Kooning, sensational shots of the dancer Renate Schottelius in midair, and a lovely group of muted color pictures from Mexico—reliquaries, paper roses, an outdoor market—made in collaboration with Eliot Porter. Through Aug. 14.