6what Did the Art of Joseph Stella and Reginald Marsh Depict?

Exhibition dates: 20th November 2015 – 13th March 2016

Curator of Coney Island exhibition: Dr Robin Jaffee Frank

Samuel S. Carr (American, 1837-1908)
Beach Scene
c. 1879
Oil on canvas
12 ten 20 in. (thirty.5 x 50.8cm)
Smith Higher Museum of Art, Northampton, Massachusetts; Bequest of Annie Swan Coburn (Mrs. Lewis Larned Coburn)

The commencement posting of 2016, and it is a doozy – a multimedia caricature of sight and audio showcasing exhibitions that focus on that eclectic playground, Coney Island.

Featuring images supplied by the gallery – plus videos, other art piece of work featured in the exhibitions and texts that I sourced myself – this posting documents "the luridness of the sideshow acts, the drunk sailors, the amorous couples and the scantily dressed bathers who were then much a part of the attraction and menace of Coney Island." I spent many hours scouring the net, undertaking enquiry and cleaning poor quality images to bring this choice to you lot.

The exhibition is divided into five sections, and I accept attempted to proceed the posting in this chronological order.

• Down at Coney Isle, 1861-94
• The Globe'south Greatest Playground, 1895-1929
• The Nickel Empire, 1930-39
• A Coney Island of the Mind, 1940-61
• Requiem for a Dream, 1962-2008

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There are some interesting art works in both exhibitions. The correspondence between elephant/handler and mural is delightful in Edgar S. Thomson'due south Coney Island(1897, beneath), while Joseph Stella's Battle of Lights, Coney Island, Mardi Gras(1913-xiv, below) is a revelation to me, considering the date of production and the portrayal of contemporary life which is akin to our own. Walker Evans' Couple at Coney Isle, New York (1928, below) seems staged and confused in its pictorial construction, not one of his better photographs, while Edward J. Kelty's photographs of sideshow revues including a "coloured revue" are interesting for their social context and formalism.

Paul Cadmus' satirical view of American vacationersConey Island(1934, beneath) is a riot of colour, motion and social commentary, including references to homosexuality and Hitler, while his friend Reginald Marsh's effusive Coney Island paintings play with "reimagined bathers and sideshow audiences in poses derived from Michelangelo and Rubens" packed into compressed, collage like spaces. Particular favourites are photographs past Garry Winograd, Bruce Davidson, Diane Arbus and Robert Frank. Surprise of the posting are the black and white photographs of Morris Engel.

Dr Marcus Bunyan

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Many thankx to the Brooklyn Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the paradigm.

"The mixed-media showroom captures Coney Island's campy, trippy aesthetic with a hodgepodge of photographs by the likes of Walker Evans, Weegee, Bruce Davidson, and Diane Arbus (since Coney Isle was basically tailor-fabricated for a Diane Arbus photograph shoot). Also on view are pastoral seascapes from the 1800s; sideshow posters galore; a plough-of-the-century gambling cycle and carousel animals presented similar sculpture; picture show stills from Woody Allen'due southAnnie Hall and Darren Aronofsky'sRequiem for a Dream; and a modernist abstract composition past Frank Stella. With crimson and xanthous stripes around a blue square, Stella distills the sand and sea and sun into a primary-colored flag for Brooklyn'southward most famous destination.

In these pictures, Coney Island serves as a microcosm of American mass culture equally a whole, and the chronology of 140 art objects here chart major societal shifts, from the dawn of the Great Low to desegregation. "The modern American mass-culture manufacture was born at Coney Isle, and the constant novelty of the resort fabricated it a seductively liberating subject for artists," Dr Robin Jaffee Frank, curator of the exhibit, which Wadsworth Athenaeum helped organize, said in a statement. "What these artists saw from 1861 to 2008 at Coney Isle, and the varied ways in which they chose to portray it, mirrored the aspirations and disappointments of the era and the land. Taken together, these tableaux of wonder and menace, hope and despair, dreams and nightmares become metaphors for the collective soul of a nation."

Carey Dunne. "Dreamland as Muse: A Await Back at 150 Years of Coney Isle Fine art, Photography, and Picture," on the Brooklyn Mag website 17/08/2015 [Online] Cited 02/01/2016

Strobridge Lithographing Company
The great Forepaugh & Sells Brothers shows combined. Terrific flights over ponderous elephants past a company of xx 5 first-class artists in a great contest for valuable prizes, introducing high, long distance, layout, twisting, single and double somersault leapers, enlivened by mirth provoking one-act surprises.
c. 1899
Promotional poster for Forepaugh & Sells Brothers circus
Color lithograph affiche

Strobridge Lithographing Company
The Barnum & Bailey Greatest Show on Globe /The Great Coney Island Water Carnival /Remarkable Head-Foremost Dives from Enormous Heights into Shallow Depths of Water
1898
Color lithograph affiche
30 i/6 ten 38 3/4 in. (76.6 x 98.iv cm)
Cincinnati Art Museum; Gift of the Strobridge Lithographing Visitor

Strobridge Lithographing Company
Beach and boardwalk scenes, Coney Isle
c. 1898
Color lithograph foldout affiche
approx. 21 anxiety long

George Bradford Brainerd (American, 1845-1887)
Bathers, Steel Pier, Coney Island
c. 1880-85, printed 1940s
Gelatin silver photo
7 five/eight x 12 in. (19.iv x 30.5cm)
Brooklyn Museum, Brooklyn Museum Collection
Photo: Sarah DeSantis, Brooklyn Museum

Edgar S. Thomson (American, agile 1890s-1900s)
Coney Island
1897
Gelatin dry drinking glass plate negative
4 x v in. (x.2 ten 12.7cm)
Brooklyn Museum, Brooklyn Museum/Brooklyn Public Library, Brooklyn Collection
Photo: Althea Morin, Brooklyn Museum

Edgar S. Thomson (American, active 1890s-1900s)
Coney Isle (detail)
1897
Gelatin dry drinking glass plate negative
4 x 5 in. (x.2 x 12.7cm)
Brooklyn Museum, Brooklyn Museum/Brooklyn Public Library, Brooklyn Collection
Photo: Althea Morin, Brooklyn Museum

William Merritt Chase (American, 1849-1916)
Mural, near Coney Island
c. 1886
Oil on panel
8 1/viii x 12 v/viii in. (20.6 x 32cm)
The Hyde Collection, Glens Falls, New York; Gift of Mary H. Beeman to the Pruyn Family Collection

Joseph Stella(American built-in Italy, 1877-1946)
Boxing of Lights, Coney Island, Mardi Gras
1913-fourteen
Oil on canvas
77 by 84¾ inches
Yale University Fine art Gallery, New Haven, Conn.

"In 1913, to celebrate Mardi Gras, Joseph Stella took a bus ride to Coney Island that changed his life. The Italian immigrant painter remembered that up until this betoken he had been "struggling … working along the lines of the old masters, seeking to portray a civilisation long since dead." He connected:

"Arriving at the Island I was instantly struck by the dazzling array of lights. It seemed as if they were in conflict. I was struck with the thought that here was what I had been unconsciously seeking for and then many years… On the spot was built-in the idea for my get-go truly corking picture." (Joseph Stella, "I Knew Him When (1924)," in Barbara Haskell, ed., Joseph Stella, New York, Whitney Museum of American Art, distributed by Harry Due north. Abrams, 1994, p. 206)

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The effect of Stella's revelation, the enormous oil painting Battle of Lights, Coney Isle, Mardi Gras (1913-xiv), was the inspiration for the traveling exhibition Coney Island: Visions of an American Dreamland, 1861-2008…

If the cleaved planes and neon coloring of Stella'south painting suggest the exhilaration of gimmicky life, they as well express dislocation and alienation. Stella himself spoke of the "unsafe pleasures" of Coney Island, implying that its unleashing of desires could provoke anxiety (Joseph Stella, "Autobiographical Notes (1946)," in Barbara Haskell, ed., Joseph Stella, p. 213). And yet for all of the dynamism of Stella'south aesthetic, his painting'due south sweeping arabesques are checked by the rectangle of the picture aeroplane, and its decorative unity distances the disruptive power of its discordant subjects. The contained anarchy of Stella's painting is the perfect metaphor for Coney Island's manipulation and command of the unruly masses, who, at the finish of the day, go dorsum to their homes and their ordered being.

Looking closely atBattle of Lightswe might be able to make out fragments of actual rides and even shapes that suggest people, simply Stella's brainchild obscures the luridness of the sideshow acts, the drunkard sailors, the amorous couples and the scantily dressed bathers who were then much a part of the allure and menace of Coney Island."

Text from Jonathan Weinberg "Coney Island Forever," on the Art in America website, Oct 1st 2015 [Online] Cited xiv/12/2015.

Irving Underhill (American, 1872-1960)
Luna Park and Surf Avenue, Coney Island
1912
Gelatin dry glass plate negative
Brooklyn Museum, Brooklyn Museum/Brooklyn Public Library, Brooklyn Collection
Photo: Althea Morin, Brooklyn Museum

Irving Underhill (American, 1872-1960)
Luna Park and Surf Avenue, Coney Isle(detail)
1912
Gelatin dry drinking glass plate negative
Brooklyn Museum, Brooklyn Museum/Brooklyn Public Library, Brooklyn Collection
Photo: Althea Morin, Brooklyn Museum

Roscoe Fat Arbuckle (director)
Fatty Arbuckle and Buster Keaton (actors)
Coney Island
1917
25 mins – short, comedy

The fifth moving picture starring the duo of Buster Keaton & Fatty Arbuckle, who likewise directed. Taking place at the Coney Island amusement park of New York Metropolis, it's notable every bit the merely pic where Buster Keaton is seen laughing as this is before he developed his "Keen Stoneface" persona.

Gambling Wheel
1900-20
Wood, glass, metal
65 10 14 in. (165.1 x 35.6cm)
Collection of The New-York Historical Society; Purchase

Charles Carmel(American born Russian federation, 1865-1931)
Carousel Equus caballus with Raised Caput, Coney Island, Brooklyn, New York
c. 1914
Pigment on wood, jewels, glass eyes, horsehair tail
62 x 58 10 xiv in. (157.5 x 147.3 x 36.6cm)
Drove of American Folk Art Museum, New York; Gift of Laura Harding

Built-in in Russia in 1865, Charles Carmel and his young bride immigrated to the U.S. in 1883 and lived in Brooklyn for virtually of their lives. Charles was a perfectionist in his piece of work and a authoritarian with his family. Their dwelling house was located close to Prospect Park and its stable of riding horses, which served every bit a source of inspiration for Charles' carousel horse carving piece of work. It is generally accepted that Charles Carmel carved carousel horses from 1905 to 1920, and sold his work to all of the major carousel manufacturers of the time including Dolle, Borelli, Murphy, and Mangels.

In 1911 Charles invested nearly of his money in a newly constructed carousel that he intended to operate on Coney Island. The twenty-four hours earlier the park was to open, a fire totally destroyed the entertainment park along with the uninsured carousel. This was a devastating financial blow to the Carmel family. After his health deteriorated due to diabetes and arthritis until Charles airtight his shop and carved a few hours a day at home, filling orders. Charles died in 1933 of cancer, only his legacy lives on with the exquisite carousel animals that he produced throughout his life.

Text from the Gesa Carousel of Dreams website [Online] Cited 01/01/2016. No longer available online

Anonymous artist
Looping the Loop, Coney Isle
1901-10
Individual Collection

Walker Evans(American, 1903-1975)
Couple at Coney Island, New York
1928
Gelatin silver print
viii x 5 13/xvi inches
The Metropolitan Museum of Art, New York, Ford Motor Company Collection. Gift of Ford Motor Company and John C. Waddell, 1987

Edward J. Kelty (American, 1888-1967)
Ten-ray of Ajax, "The Sword Swallower"
1928
20 x 20 inches
Collection of Ken Harck

Edward J. Kelty (American, 1888-1967)
Wonderland Circus Sideshow, Coney Isle
1929
Collection of Ken Harck
© Edward J. Kelty

Edward J. Kelty (American, 1888-1967)
Harlem Black Birds, Coney Island
1930
12 x 20 in. (30.5 x fifty.8cm)
Collection of Ken Harck
© Edward J. Kelty

Edward J. Kelty (American, 1888-1967)
Harlem Blackness Birds, Coney Island(detail)
1930
12 x 20 in. (xxx.5 x fifty.8cm)
Drove of Ken Harck
© Edward J. Kelty

Milton Avery (American, 1885-1965)
The Steeplechase, Coney Island
1929
Oil on canvas, 32 ten forty in. (81.3 x 101.6cm)
The Metropolitan Museum of Art, New York; Gift of Sally M. Avery, 1984
Photo: © The Metropolitan Museum of Art, courtesy of Fine art Resources, New York
© 2013 Milton Avery Trust/Artists Rights Lodge (ARS), New York

Paul Cadmus(American, 1904-1999)
Coney Island
1934
Oil on canvas
32 7/xvi x 36 five/16 inches
Los Angeles Canton Museum of Art. Gift of Peter Paanakker

Paul Cadmus'due south "Coney Isle" takes a satirical view of American vacationers. The fleshy members of the human being pyramid seem carefree and frivolous in lite of the ominous rise to ability of the Nazi Party in Germany (Hitler's face can be seen printed on the magazine resting on the sleeping man'southward chest at the bottom of the painting).

"… Paul Cadmus, who shared Marsh's use of old-master forms and techniques simply not his heterosexuality, filled his beach painting with purposely ugly women and mostly cute men. The primary action in Cadmus'sConey Island (1934) is the human pyramid of men and women at its center. And notwithstanding the Adonis who lies on his stomach in the foreground has no interest in this heterosexual game. Instead, he looks off at some other muscular youth farther down the beach. For Marsh, Cadmus and their young man Coney Isle artists, the gamble to gaze unabashedly at the body of a stranger was ane of the great pleasures of the milieu.

… traditional figuration, similar that of Cadmus and Marsh, is then dominant that the exhibition arguably offers an alternating history of American art – one in which the modernist painting of Milton Avery or Frank Stella seems like a sideshow. Breaking out of the canon of modernism, "Coney Isle" puts new focus on neglected realist painters like Harry Roseland, Robert Riggs, George Tooker and a particular favorite of mine, Henry Koerner."

Text from Jonathan Weinberg "Coney Isle Forever," on theArt in America website, Oct 1st 2015 [Online] Cited 14/12/2015.

Curator notes

Coney Isle was the first painting Cadmus made afterward he ceased working for the federally sponsored Public Works of Art Projection. It is typical of his paintings of the menses in both theme and grade. Cadmus viewed the prosaic action of bathing on a beach in devastatingly satirical terms. Poking fun at the bathers' carefree pleasures, Cadmus accumulated an odd assortment of jutting, burnt bodies. The bathers are oblivious to their ridiculous appearance and uncouth behaviour. Swarming the beach, their bodies are strangely intertwined, their faces grinning inanely. Everything is exaggerated, the colour verging on the garish to intensify their grossness. In the 1930s Cadmus used oil pigment almost every bit if information technology were a graphic medium, consequently Coney Island looks more like a tinted drawing than a painting. His small, exacting brushstrokes impart a flickering quality to the surface, which intensifies the impression that the figures are in abiding movement. Cadmus actually began to sketch the scene on Martha'southward Vineyard, before he visited Coney Island. He was attracted to the Brooklyn beach considering it offered him the opportunity to delineate the homo effigy with equally little clothing as possible. Moreover, he considered the beach scene to be a classical bailiwick. His handling, even so, is rather baroque.

Every bit was his friend Reginald Marsh, Cadmus was attracted to the elaborate compositions of old master paintings. Coney Isle, with its seminude figures arranged in complex groupings, their bodies twisted and in abiding motion, was for Cadmus the twentieth-century version of a baroque allegorical composition. Cadmus claimed that his intent was non to be sensational, simply when the painting was exhibited in the Whitney Museum of American Fine art'due south 2nd biennial, it suffered the same hostile reception equally did his before The Fleet'southward In!. The Coney Island Showmen's League, a local trade group, denounced the painting as offensive and inaccurate and threatened a libel adjust if the painting was not removed from the exhibition. According to the artist's incomplete records, it seems that the painting was rejected from several annual exhibitions to which information technology was submitted soon later it was shown at the Whitney biennial, probably because of the controversy it stirred. In 1935 Cadmus produced an etching from a photo of the painting in the hope that it would reach a larger public. In the etching the image is reversed but otherwise differs only in a few minor details.

Exhibition Label, 1997

Cadmus was 1 of the most controversial American artists of the 1930s. His satirical perspective fabricated people uncomfortable, and consequently reviewers sometimes questioned the decency of his rollicking scenes of New York Metropolis life. Coney Island, with its entertainment park and embankment on the south shore of Brooklyn, was a favourite destination of working-class people. Rather than glamorise labourers enjoying their twenty-four hours off, Cadmus poked fun at these beachgoers and their jutting, entangled bodies. They seem oblivious to their sunburnt flesh and the silliness of their activities. Coney Island met a especially hostile reception when it was showtime exhibited. A businessman arrangement associated with the amusement park denounced the painting as offensive, resulting in its rejection from subsequent exhibitions. Cadmus's meticulous painting technique – pigments applied with thin, pencil like strokes – enabled him to delineate infinitesimal detail. For example, the viewer can read the headline about Hitler in the newspaper held past the reclining man in the foreground. This subtle reference to the horrifying political developments abroad underscores the inanities of the beachgoers. Carved in wood, this simple frame was rubbed with paint rather than gilded, a treatment that came into mode during World War I, equally gold became deficient.

Text from the LACMA website [Online] Cited 01/01/2016.

Reginald Marsh(American, 1898-1954)
Pip and Flip
1932
Tempera on newspaper mounted on canvass
48 i/iv x 48 ane/4 in.
Terra Foundation for American Art, Chicago
Daniel J. Terra Collection

"Such bodies were the slap-up subjects of Reginald Marsh. Instead of Stella's spirals of lights abstracted and seen from a distance, Marsh'sGeorge C. Tilyou's Steeplechase Park(1936) gives us a close-upwards view of the Human Roulette Wheel where young women are spun into all kinds of unladylike postures. For the Yale-educated Marsh, Coney Isle was a chance to get "slumming," to mingle with the lower classes on the beach and in the amusement parks. Hostile to modernism and abstract art, he reimagined bathers and sideshow audiences in poses derived from Michelangelo and Rubens. And yet, like Stella, Marsh overpacked his Coney Island paintings and so that every inch is activated and in move similar a carnival ride. The highly compressed space of a Marsh painting likePip and Flip(1932, above),with its collage-similar play of rectangular billboards ad human-oddity sideshows, would exist unthinkable without the precedent of Cubism that he supposedly detested."

Text from Jonathan Weinberg "Coney Isle Forever," on the Art in America website, October 1st 2015 [Online] Cited 14/12/2015.

Human Roulette Wheel at Steeplechase Park, Coney Island, early 1900s

Reginald Marsh (American, 1898-1954)
Wooden Horses
1936
Tempera on board, 24 ten 40 in. (61 ten 101.6cm)
Wadsworth Atheneum Museum of Art, Hartford, Connecticut; The Dorothy Clark Archibald and Thomas L. Archibald Fund, The Krieble Family unit Fund for American Art, The American Paintings Purchase Fund, and The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund
Photograph: © 2013 Manor of Reginald Marsh/Fine art Students League, New York/Artists Rights Society (ARS), New York

Reginald Marsh (American, 1898-1954)
George Tilyou'southward Steeplechase Park
1936
Oil and egg tempera on linen mounted on fiberboard
30 ane/viii 10 xl i/viii in. (76.five x 101.8cm)
Smithsonian American Art Museum
Gift of the Sara Roby Foundation

Steeplechase Mechanical Equus caballus Ride at Steeplechase Park, Coney Island, early 1900s

The spirit of Coney Island comes alive with Coney Island: Visions of an American Dreamland, 1861-2008 on view at the Brooklyn Museum. The exhibition traces the development of the Coney Island phenomenon from tourist destination during the Civil War to the Globe's Greatest Playground to a site of nostalgia. Covering a period of 150 years, the exhibition features 140 objects, including paintings, drawings, photographs, prints, posters, artefacts, carousel animals, ephemera, and film clips. Too on view is Forever Coney, 42 photographs from the Brooklyn Museum collection.

An boggling array of artists take viewed Coney Island every bit a microcosm of the American feel and used their works to investigate the surface area equally both a place and an idea. Coney Isle: Visions of an American Dreamland offers up early depictions of "the people'due south beach" by Impressionists William Merritt Hunt and John Henry Twachtman; modernist depictions of the amusement park by Joseph Stella; Depression-era scenes of cheap thrills by Reginald Marsh; photographs by Walker Evans, Diane Arbus, Weegee, and Bruce Davidson; and contemporary works by Daze and Swoon.

"The modern American mass-culture industry was born at Coney Island, and the constant novelty of the resort made it a seductively liberating subject for artists," said Dr Robin Jaffee Frank, exhibition curator. "What these artists saw from 1861 to 2008 at Coney Isle, and the varied ways in which they chose to portray it, mirrored the aspirations and disappointments of the era and the country. Taken together, these tableaux of wonder and menace, hope and despair, dreams and nightmares become metaphors for the collective soul of a nation."

Coney Island: Visions of an American Dreamland, 1861-2008 is organised by the Wadsworth Atheneum Museum of Art, Hartford, Connecticut. The Brooklyn presentation is organised by Connie H. Choi, Banana Curator, Arts of the Americas and Europe, Brooklyn Museum. A fully illustrated 304-page catalogue, co-published by Yale Academy Press and the Wadsworth Archives, incorporates the first continuous visual analysis of corking works of art near Coney Island by Dr Frank as well as essays by distinguished cultural historians.

Forever Coney

Equally one of America's first seaside resorts, Coney Island has attracted adventurous visitors and undergone multiple transformations, inspiring photographers since the mid-nineteenth century.Forever Coney: Photographs from the Brooklyn Museum Collection features xl-ii images that celebrate the people and places that make up Coney Isle. The primeval works, taken past photographers such as George Bradford Brainerd and Irving Underhill, certificate the resort from the mail service-Civil War menstruum through the turn of the twentieth century. Later artists such as Harry Lapow and Stephen Salmieri have photographed the many personalities that accept passed through the site.

The photographers included in this exhibition are George Bradford Brainerd, Lynn Hyman Butler, Anita Chernewski, Victor Friedman, Kim Iacono, Sidney Kerner, Harry Lapow, Nathan Lerner, Jack Lessinger, H.S. Lewis, John L. White potato, Ben Ross, Stephen Salmieri, Edgar South. Thomson, Arthur Tress, Irving Underhill, Breading G. Fashion, Eugene Wemlinger, and Harvey R. Zipkin.Forever Coney: Photographs from the Brooklyn Museum Collection is organized by Connie H. Choi, Assistant Curator of American Art, Brooklyn Museum. It is presented in conjunction with the exhibition Coney Isle: Visions of an American Dreamland, 1861-2008.

Text from the Brooklyn Museum website

Morris Engel(American, 1918-2005)
Coney Isle Embrace, New York City
1938
Gelatin silvery impress
x nine/16 x eleven one/2 inches
Orkin/Engel Film and Photo Archive, New York
© Morris Engel

Morris Engel(American, 1918-2005)
Mother with Children
1938
Gelatin silver print
eight x 10 inches
Orkin/Engel Film and Photo Archive, New York

Nieman Studios, Inc., Chicago
Shackles the Corking
1940
Sideshow banner
118 10 108 inches
Collection of Ken Harck

Quito, Human Octopus
1940
Sideshow imprint
140 x 117 inches
Collection of Ken Harck

Steeplechase Funny Face
Nd
Painted metal
23 inches
Collection of Ken Harck

Henry Koerner (American built-in Austria, 1915-1991)
The Barker'south Booth
1948-49
Oil on Masonite
26 x xl ½ in. (66 x 102.9cm)
Collection of Alice A. Grossman

George Tooker
Coney Island
1948
Egg tempera on gesso panel
19 1/4 ten 26 ane/4 inches
Curtis Galleries, Minneapolis

George Tooker's idea-provoking "Coney Island" places traditional beach goers in a Pietà tableau.

Weegee (Arthur Fellig)(American, 1899-1968)
Coney Island Beach
1940
Gelatin silver impress
8 i/8 x ten inches
The Metropolitan Museum of Art, New York. Ford Motor Company Drove, Gift of Ford Motor Company and John C. Waddell, 1987

Looking at Weegee's photograph, information technology is like shooting fish in a barrel to exist carried away with longing for what seems similar a simpler and happier time. Undoubtedly, the picture's sense of naïve jubilation was office of its appeal for Red Grooms, who essentially copied the image in paint forWeegee 1940(1998-99). And yet, like much at Coney Island, Weegee'southward photograph is an illusion. Taken when Europe was already at state of war and the Depression had not still ended, its merriment was only a momentary respite.

Text from Jonathan Weinberg "Coney Island Forever," on theArt in America website, Oct 1st 2015 [Online] Cited fourteen/12/2015.

Unknown creative person
Modern Venus of 1947
Coney Isle, 1947
Gelatin silverish photograph
10 3/4 10 13 7/8 in. (27.iii x 35.2cm)
Brooklyn Museum, Brooklyn Museum Drove
Photo: Christine Gant, Brooklyn Museum

Unknown creative person
Modern Venus of 1947(particular)
Coney Island, 1947
Gelatin silver photograph
x 3/4 x 13 7/8 in. (27.3 x 35.2cm)
Brooklyn Museum, Brooklyn Museum Collection
Photo: Christine Gant, Brooklyn Museum

Homer Page (American, 1918-1985)
Coney Isle
July 30, 1949
Gelatin silverish print
11 ten xiv in. (27.9 10 35.6cm)
The Nelson-Atkins Museum of Art, Kansas Urban center, Missouri; Gift of the Hall Family Foundation
© Homer Page
Photo: John Lamberton

Morris Engel(American, 1918-2005)
Under the Boardwalk, Coney Island [Production withal from Little Fugitive]
1953
Gelatin silver impress
eight ten ten inches
Orkin/Engel Film and Photo Archive, New York

Raymond Abrashkin (equally "Ray Ashley"), Morris Engel and Ruth Orkin (directors)
Little Avoiding
1953

Joey, a immature male child, runs away to Coney Island after he is tricked into believing he has killed his older blood brother. Joey collects glass bottles and turns them into money, which he uses to ride the rides.

"Picayune Fugitive(1953), ane of the most cute films featured in the exhibition, conveys the feeling of moving through the enormous crowds in Weegee's photo.The cosmos of two master still photographers, Morris Engel and Ruth Orkin, and writer Ray Ashley, the film tells the story of Joey, a vii-year-old boy who runs abroad to Coney Island. But if Joey initially exalts in the freedom of existence lost in the crowd, he feels abased when the amusement park closes downwards. Robert Frank's photograph from the same year of a human being comatose on a deserted beach with the Parachute Belfry at his dorsum [see beneath] echoes the moving picture'southward invocation of the resort's fleeting joys. When Coney Island empties out it reveals the superficiality and pathos of the fantasies it evokes. In 1894, even before the large amusement parks were congenital, Stephen Crane mused about how in winter the "mammoth" hotels became "gaunt and hollow, impassively and stolidly suffering from an enormous hunger for the public." (Stephen Crane, "Coney Isle'due south Failing Days," in A Coney Island Reader, p. 69)."

Text from Jonathan Weinberg "Coney Island Forever," on theArt in America website, Oct 1st 2015 [Online] Cited 14/12/2015.

Installation of views of the exhibition Coney Island: Visions of an American Dreamland, 1861-2008 at the Brooklyn Museum, New York

Cyclops Head from Spook-A-Rama
c. 1955
Mixed media
60 x 47 ten 42 inches
The Vourderis Family unit. Deno's Wonder Wheel

Garry Winogrand(American, 1928-1984)
Coney Island, New York City, N.Y.,
1952
Silver bromide
8 1/2 10 13 inches
Yale Academy Art Gallery, New Oasis, Conn. Gift of Barbara and James L. Melcher

Bruce Davidson(American, b. 1933)
Untitled (Cathy and Cigarette Auto), from the series Brooklyn Gang
1959, printed later
Gelatin silver print
Image: 8 3/8 x 12 5/8
Sheet: 11 x xiv inches
Yale Academy Art Gallery, New Haven, Conn. The Heinz Family Fund

Diane Arbus(American, 1923-1971)
The House of Horrors
1961
Gelatin silver print
14 1/ii x fourteen inches
Fraenkel Gallery, San Francisco

"As its carnival rides and sideshows became increasingly dated in the 1960s, Coney Island was unable to maintain fifty-fifty the phony thrills that Miller derided in the 1930s. In Diane Arbus'sThe House of Horrors(1961),the fake skeleton and the cartoon ape mask aren't every bit scary as the ride's deplorable land and the impression that something terrible has driven all the people away. (The 1970 low-budget slasher filmCarnival of Blood, non included in the exhibition, brilliantly uses this seediness to create a sense of uncanny doom.) In Arnold Mesches'due south paintingAnomie 1991: Winged Victory(1991), the creaky rides mingle with images of war, turning dreamland into an apocalyptic nightmare."

Text from Jonathan Weinberg "Coney Island Forever," on theArt in America website, October 1st 2015 [Online] Cited xiv/12/2015.

Diane Arbus(American, 1923-1971)
Couple Arguing, Coney Island, N.Y.,
1960
Vintage gelatin silver print
Image: 8 1/2 ten 6 5/8 inches
Canvas: fourteen x xi inches
Collection Thomas H. Lee and Ann Tenenbaum

Robert Frank(American, 1924-2019)
Coney Island
July 4, 1958
15 5/8 x xi 9/sixteen inches
Gelatin silver print
National Gallery of Art, Washington, D.C., Robert Frank Collection. Gift of the Richard Florsheim Art Fund and an Anonymous Donor

Frank Stella(American, born 1936)
Coney Island
1958
Oil on sheet
85 ane/iv x 78 3/4 inches
Yale Academy Art Gallery, New Oasis, Conn. Gift of Larom B. Munson, B.A. 1951

Harry Lapow (American, 1909-1982)
Untitled (Buried Alive)
c. 1960s or 1970s
Gelatin silver photograph
12 1/8 x 9 i/16 in. (30.8 x 23cm)
Brooklyn Museum, Gift of the artist
© Estate of Harry Lapow
Photo: Sarah DeSantis, Brooklyn Museum

Harry Lapow began frequenting Coney Island to capture quirks of the beach and boardwalk later on receiving a Ciroflex camera on his twoscore-third altogether. He was intrigued by the photographic camera's ability to isolate details and fleeting moments of everyday life. Here, a toddler'due south crossed legs appear above the head of a cached adult female whose optics are covered by a floral towel. In cropping this embankment sighting, Lapow crafts a surprising juxtaposition, forming an unlikely dynamic betwixt the lively child and the masked adult.

Bruce Davidson(American, b. 1933)
Untitled
July 4, 1962
Gelatin silvery print
11 x 14 inches
Howard Greenberg Gallery, New York

Stephen Salmieri (American, b. 1945)
Coney Island
1971
Gelatin argent photograph
eight ten 10 1/8 in. (20.iii x 25.7cm)
Brooklyn Museum, Souvenir of Edward Klein
© Stephen Salmieri
Photo: Sarah DeSantis, Brooklyn Museum

Harvey Stein (American, b. 1941)
The Hug: Closed Eyes and Smile
1982
Digital, inkjet archival print
13 x nineteen in. (33 ten 48.3cm)
Drove of the artist
© Harvey Stein, 2011

Carmine Grooms (American, b. 1937)
Weegee 1940
1998-99
Acrylic on paper
56 one/8 10 62 in. (142.six x 157.5cm)
Private Drove
© 2013 Red Grooms/Artists Rights Lodge (ARS), New York
Photo: Courtesy of Marlborough Gallery, New York

Arnold Mesches (American, 1923-2016)
Anomie 1991: Winged Victory
1991
Acrylic on canvas
92 x 135 in. (233.vii x 342.9cm)
The San Diego Museum of Art; Museum purchase with partial funding from the Richard Florsheim Art Fund
© 2013 Arnold Mesches

Stupor (American, b. 1962)
Coney Island Pier
1995
Oil on canvas
60 10 eighty in. (152.4 ten 203.2cm)
Collection of the artist

Shock (American, b. 1962)
Kiddyland Spirits
1995
Oil on canvas
42 x 71 inches
Collection of the artist

Requiem for a Dream, production still, directed past Darren Aronofsky, 2000

Marie Roberts (American, b. 1954)
A Congress of Curious Peoples
2005
Acrylic on unstretched canvas
84 x 120 in. (213.4 x 304.8cm)
Collection of Liz and Marc Hartzman

Swoon
Coney, Early on Evening
2005
Linoleum print on Mylar
Variable; overall: 213 ten 39 ten 113 inches
Brooklyn Museum. Healy Buy Fund B, Emily Winthrop Miles Fund, and Designated Purchase Fund

Swoon's "Coney, Early Evening" suspends youthful figures intertwined throughout the iconic tracks of a Coney Isle roller coaster.

Frederick Brosen (American, b. 1954)
Fortune Teller, Jones Walk, Coney Island
2008
Watercolor over graphite on paper
17 seven/8 10 11 ¼ in. (45.4 x 28.6cm)
Courtesy of Hirschl & Adler Modern, New York
© 2013 Frederick Brosen/Artists Rights Club (ARS), New York
Photo: Joshua Nefsky, courtesy of Hirschl & Adler Modern, New York

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