Gelatin silver print, photogram, Image: 13.9 x 10.9 cm (5 1/2 x 4 5/16 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.). John L. Severance Fund 1989.396
Only after Roszak’s death did knowledge of a small but important group of photograms created by the sculptor in the 1930s become widespread. He created these unique prints without the aid of a camera- there are no negatives. He instead placed objects directly onto photographic paper and exposed them to light. Using this technique he was able to achieve a remarkable tonal range, from velvety black to right white. Other than wire mesh and sheets of torn paper, the individual objects integrated into this compelling, ambiguous work are difficult to identify. The composition and mood of the photographs, with their emphasis on geometry and abstraction, are similar to Roszak’s constructions of this period.
CMA, Feb. 6 - April 15, 1990: "Year in Review 1989," CMA Bulletin, 77 (Feb. 1990), p. 68, no. 52. Musée des Beaux-Arts de Bordeaux (October 5-December 31, 2001); Musée des Beaux-Arts de Rennes (January 17-March 31, 2002); Musée Fabre, Montpellier (April 10-June 25, 2002). "Made in U.S.A., l'art américain, 1908-1943, entre nationalisme et internationalisme," exh. cat. repr. p. 225.MOCA Cleveland (6/9/2006 - 8/20/2006): "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", no. 72, p. 119, repr. p. 59.
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