Hybrid Images: The Photography of Sculpture, 1860 to 1990

September 6 - December 23, 2012
Ripin Gallery

Since the invention of photography in the 1830s, sculpture has been a popular subject for the camera. As this exhibition explores, however, the relationship between the two media is not as straightforward as it might seem. The camera has often been used to animate, transform, and re-invent sculpture resulting in photographs that are not neutral documents. Drawn from the collections of the AMAM, the exhibition includes works spanning over a century, by Robert MacPherson, Eugène Atget, Clarence Kennedy, Richard Long, Eleanor Antin, Laurie Simmons, and Gabriel Orozco. This exhibit coincides with Professor Sarah Hamill’s fall art history seminar, “Sculpture and Photography,” providing students an opportunity for extensive research on photographs from the museum’s collection.

Several artists’ books and magazines from the Artists’ Books Collection, Clarence Ward Art Library, are also on view. These books have been digitized as part of the Five Colleges of Ohio Next Generation Library grant, funded by the Andrew W. Mellon Foundation, a student-directed project to make these books accessible for pedagogical use to the broader community. A link is available on the Clarence Ward Art Library’s website.

This exhibition was curated by Sarah Hamill, Assistant Professor of Modern and Contemporary Art, with assistance from John Michael Morein (OC ’13).

Click here to explore an online exhibition catalog published by students in Professor Sarah Hamill’s seminar on sculpture and photography (ARTS 431). Eight photographs from the exhibition are featured and explored for what they say about the intersections between the two media of sculpture and photography.

Eugène Atget (French, 1857 – 1927)
Statues, St. Cloud, ca. 1920
Vintage gold-toned albumen print
Young-Hunter Art Museum Acquisition Fund, 1996.3