In a broader cultural context, a photo album demonstrates the impulse of modernity to document and archive fragments of everyday life. The photo album is widespread among amateur and professional photographers, and it was probably one of the most common formats for displaying and viewing photography in 19th and 20thcenturies. It is a unique and one-of-a-kind visual object and a medium in itself, which tends to collect and include not only photographic images but also written testimonies, drawings, pasted newspaper clippings etc.
Image: Roberts Johansons, Photo Album (21 cardboard pages and 63 pasted photos), mid-20th century, cardboard, fabric, brass details, tracing paper, gelatin silver prints, 17.7 x 28.5 x 2.6 cm. Collection of the Latvian Museum of Photography
The photo album necessitates in-depth research and contextualisation. Unlike the analysis of single examples of photographic images, when researching photo albums it is important to establish what the purpose of creating the object is, what the principles of selecting the photographs are, and ask whether it is an individual or collective process, private or public. The relationship between the medium of photography and the culture of memory is inevitable. Photo albums are like “time capsules” where collected photos, written testimonials, and other attributes interact and convey the narrative of the album’s creator. Furthermore, photo albums, as deliberate repositories of memories, bring together a subjective arrangement of moments from the past into a single volume that can be perused.
The exhibition The Photo Album – A Subjective Narrative explores private photo albums made by Latvian photographers of the first half of the 20th century. Each album provides an insight into each photographer’s area of creative practice, which has remained largely unknown to the public, as well as into their use of the photographic medium. As professional photographers, Vilis Rīdzenieks (1884 – 1962), Alfrēds Polis (1894 – 1975), and Roberts Johansons (1877 – 1959) fervently utilised photo albums to collect, systematise, and cherish something they were interested in, a hobby or a passion, in parallel to their commercial commissions and artistic practice. For example, Rīdzenieks showed his love for dogs in his photo album, while Polis, through creating a private visual story reflects on his love for his wife Helen, travel, and the modern lifestyle of the 1920s and 1930s. Johansons, on the other hand, collected portraits of Latvian and international athletes and strongmen in several photo albums. These albums are like isolated islands that have existed in separation and may not have been extensively explored in the history of art due to their hybrid status. The aim of the exhibition is to contextualise the albums and to show their inextricable connection to the creative and professional practice of photographers, as well as their private lives.
Participants: Roberts Johansons (1877-1959, LV), Alfrēds Polis (1894-1975, LV), Vilis Rīdzenieks (1884-1962, LV)
Curator: Baiba Tetere (LV)
Galerii nimi: Latvian Museum of Photography
Address: Mārstaļu iela 8, Central District, Riga, Latvia
Opening hours: Wed 10:00 - 17:00 Thu 12:00 - 19 :00 Fri-Sun 10:00 - 17:00
Open: 13.05.2022 — 11.09.2022
Address: Mārstaļu iela 8, Central District, Riga, Latvia
Opening hours: Wed 10:00 - 17:00 Thu 12:00 - 19 :00 Fri-Sun 10:00 - 17:00
Open: 13.05.2022 — 11.09.2022