{"id":91783,"date":"2016-12-16T14:57:12","date_gmt":"2016-12-16T19:57:12","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=91783"},"modified":"2021-12-15T01:01:23","modified_gmt":"2021-12-15T06:01:23","slug":"murray-moss-hiram-butler-gallery","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/murray-moss-hiram-butler-gallery\/","title":{"rendered":"Out of Context in Houston"},"content":{"rendered":"

Murray Moss visits his latest exhibition, “Inadmissible Evidence,” at Houston’s Hiram Butler.<\/p><\/div>\n

<\/p>\n

Since closing his eponymous New York design store in 2012, Murray Moss<\/a> has kept busy as a curator, collector and consultant to museum gift shops, which he is busy reinventing. Not long ago, his clients at the Museum of Fine Arts, Houston, introduced him to Joshua Pazda, the director of that city\u2019s Hiram Butler Gallery<\/a>, who expressed interest in one of Moss\u2019s collections: a group of several hundred photographs that were shaded, painted, cropped and otherwise altered in preparation for publication by newspapers and magazines. The result is a show of 39 of the images, on view at Hiram Butler through January 7, under the title \u201cInadmissible Evidence: Annotated Press Photographs from the Collection of Murray Moss.\u201d<\/p>\n

The images, in many cases, display the ingenuity of publications in the pre-digital age. \u201cIf they needed to show a guy, and they had a picture of him from twenty years ago, rather than reshoot him, they would simply paint in gray hair, or remove the hair entirely,\u201d says Moss. \u201cThey were very frugal. The images have been prepared, sometimes many times in multiple ways, for multiple uses.\u201d<\/p>\n

A quartet of photos in the show demonstrates how Moss left irregular gaps between images to signify missing information.<\/p><\/div>\n

\u201cThese are workhorse photos,\u201d Moss continues. \u201cThe normal criteria one would use to evaluate a photograph \u2014 including its condition \u2014 don\u2019t apply here. These are deliberately mutilated. The question isn\u2019t what it was, but what has it become. Does it have anything to offer us now?\u201d In many cases, Moss says, the answer is yes. \u201cThey\u2019re finished with their first life, and now we can appreciate them any way we wish. I look at them formalistically.\u201d<\/p>\n

Moss compares the photographs to works by Robert Rauschenberg<\/a>, who called his collages \u201ccombines.\u201d \u201cYou take a photograph and marry it with painting and printmaking<\/a> \u2014 it becomes another object,\u201d he says. Moss hung the pieces at Hiram Butler \u201cwith large empty spaces between them, as a reminder that something is missing.\u201d<\/p>\n

Moss shares his knowledge with a gallerygoer.<\/p><\/div>\n

What\u2019s missing is the context. As a result, people make assumptions. \u201cWhat I try to communicate with this exhibition is that information is subjective,\u201d Moss says. \u201cEach of us adds another layer of editing when we view these works. What do you want to see in it? What do you not want to see it? The viewer is a critical part of the artwork.\u201d<\/p>\n

But for all the meaning he attributes to the annotated photographs, Moss says, \u201cI\u2019m an object guy. I see these as being treated and mistreated and ending up as beautiful objects.\u201d<\/p>\n

\n

Murray Moss Shares the Stories behind Some Key Images in the Show<\/h2>\n

Kennedy Family Portrait<\/em>, 1960, by United Press International<\/a><\/p><\/div>\n

\u201cThat\u2019s our royal family,\u201d says Moss of the Kennedys. A magazine needed a photo of Jack and Caroline, which meant eliminating Jackie. \u201cBut the photo editors did it very respectfully, with the straightest line they could make freehand. They didn\u2019t just put an X through her face. They created an amazing composition.\u201d He adds: \u201cPeople had agendas, and press photos were used to fulfill those agendas. They were altered, mutilated. There\u2019s a kind of weird beauty and horror.\u201d<\/p>\n

\n

Spring Street Wall of East Cambridge Jail, with Path of Escaped Murderer<\/em>, 1932, by an unknown photographer<\/a><\/p><\/div>\n

This photo, used to illustrate an article about a jailbreak, looks like a work by John Baldessari<\/a>. The black dots are places where the editors expected to drop in text, says Moss (who has the benefit of reading notations on the backs of the photos). \u201cThe editors would say, \u2018Let\u2019s just slap on squares or circles where it doesn\u2019t matter.\u2019 \u201d They also added a representation of the escape route made of little arrows.<\/p>\n

\n

PFC Nancy A. Abracham, Firing Pistol at Rifle and Pistol Range, Fort G. G. Meade, Maryland<\/em>, 1959, by William Mullaly<\/a><\/p><\/div>\n

\u201cThis is a really good example of taking something out of context,\u201d says Moss. \u201cThe concentration in her eye, the way she holds her lips, are based on the fact that she was aiming a weapon. But we\u2019re not telling that part of the story. People seeing the published photo wouldn\u2019t have known why she looked the way she did. It\u2019s a blatant deception.\u201d<\/p>\n

\n

Left: Miss Ethel Hoffman<\/em>, 1939, by Udel Brothers. Right: Mrs. Lila Lucas and Children, Left Penniless After Murder of Husband<\/em>, 1972, by Weyman Swagger<\/p><\/div>\n

\u201cThe whole point of that woman\u2019s day was clearly the dress,\u201d says Moss. \u201cHer serenity, her pride, her complexion, they\u2019re all about the dress. And they didn\u2019t show the dress.\u201d In the exhibition, Moss paired the woman\u2019s photo with an image of a mother and her children, with a Last Supper rug behind them. \u201cThe story on the back is that her husband had been murdered and she was destitute. She\u2019s barefoot, but her kids have shoes. But the editor didn\u2019t want us to see that.\u201d<\/p>\n

\n

Left: Chesapeake Bay Bridge Traffic<\/em>, 1982, by Walter McCardell. Right: Aubrey Smith; Ford\u2019s Theatre, \u201cSpring Again,\u201d<\/em> 1941, by an unknown photographer<\/p><\/div>\n

\u201cThat\u2019s an actor. They just stole his mouth, which is a very unattractive mouth. I don\u2019t know why. But his eyes are as powerful and as communicative as his mouth is,\u201d Moss says of the Aubrey Smith portrait on the right. For the show, he paired the photo with an image of a traffic jam, heavily cropped. \u201cSomebody decided this is as much as you need,\u201d Moss observes. \u201cNot too much, not too little.\u201d<\/p>\n

\n

About the author: Fred A. Bernstein studied architecture at Princeton University and writes about architecture and design for <\/em>Introspective and many other publications. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":91823,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[260],"tags":[10358663,7,10353233,10353223,10353263,10353273,10353283,10353203,10353293,10353193,10353303,10353243,10353253,104,10353213,15523563],"dibs-categories":[15565858,15565868],"dibs-designs":[],"dibs-styles":[],"dibs-creators":[],"dibs-sellers":[15566815],"class_list":["post-91783","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fine-art","tag-annotated","tag-art","tag-black-and-white","tag-black-and-white-photography","tag-collection","tag-fred-a-bernstein","tag-hiram-butler-gallery","tag-houston","tag-joshua-pazda","tag-murray-moss","tag-museum-of-fine-arts","tag-photo","tag-photographer","tag-photography","tag-photojournalism","tag-press-2","dibs-categories-dibs-a","dibs-categories-dibs-a_pho","dibs-sellers-dibs-hiram-butler-gallery"],"acf":{"subtitle":"New York design impresario Murray Moss has curated an exhibition of intriguing, annotated photographs at Houston's Hiram Butler Gallery, which leave viewers wondering what's the real story.","post_format":"article","show_date":true,"interstitial_banners":false,"show_related_items_footer_popup":false,"slideshows":false,"contributors":{"hide_byline":false,"columnist":[{"ID":361915,"post_author":"1","post_date":"2021-12-14 22:36:30","post_date_gmt":"2021-12-15 03:36:30","post_content":"","post_title":"Fred A. 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