The Hidden Mother
by Linda Fregni Nagler
Photographs: Linda Fregni Nagler
Text: Massimiliano Gioni, Geoffrey Batchen and a conversation between Francesco Zanot and Linda Fregni Nagler
Publisher: MACK Books Co-published with the Nouveau Musée National de Monaco
432 pages
Pictures: 1002 colour plates
Year: 2013
ISBN: 978-1-907946-53-0
Comments: 23.8 cm x 28.6 cm, softcover with a die cut dustjacket
In the vein of Francis Alÿs’s Fabiola and Andy Warhol’s Time Capsules, Linda Fregni Nagler has collected seemingly nondescript images and accumulated a meaningful archive, thereby giving them a renewed purpose and intensity.
The Hidden Mother is comprised of 1,002 photographs (from daguerreotypes and tintypes to cartes de visite and cabinet cards), all examples of a now redundant practice: to cloak or hide a parent within the background of a child’s portrait, a common procedure from the advent of photography up until the 1920s, when exposure times were relative slow, and a hidden parent was required to hold the child still.
These hidden mothers can be discerned in the background of every one of these portraits – looming behind their children, swaddled in blankets, carpets and brocades as they support their progeny as the central subject. The iterations vary, and in some instances the hidden mother is revealed as a single hand, while in others the child is seated on a shrouded figure, or the parent is quite literally hiding – ensuring that the child’s identity is transposed over their own.
The images hold a certain degree of comedy – albeit unintentional – because the viewer is asked to suspend their disbelief, to ‘not see’ the hidden figure. Some contemporary onlookers would have simply not seen the portrait’s hidden mother, indicative of the cultural nature of the act of seeing. For other viewers, the hidden figure was an essential part of the picture: high infant mortality rates meant that posthumous portraits were the norm, and thus the hidden mother would signify to the viewer that this child was alive.
Creating and defining a sub-genre of photography, Fregni Nagler has accumulated images that repeat a particular gesture – the negation of the parent in the interest of the legibility of the child. The many themes bubbling under the surface of her collection are unified by the singular principle of effacement – as if this gesture speaks of the nature of parenthood itself, or of women’s place in a patriarchal society, where she is figured without an identity of her own.
The collection also confronts the inevitable self-effacing nature of the photographer and the collector. The artist herself seems to hover over these images like a mother – conserving and safeguarding these photographs; as collector, presenter and curator of the collection, Fregni Nagler herself becomes another hidden mother.
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The Hidden Mother
by Linda Fregni Nagler
Photographs: Linda Fregni Nagler
Text: Massimiliano Gioni, Geoffrey Batchen and a conversation between Francesco Zanot and Linda Fregni Nagler
Publisher: MACK Books Co-published with the Nouveau Musée National de Monaco
432 pages
Pictures: 1002 colour plates
Year: 2013
ISBN: 978-1-907946-53-0
Comments: 23.8 cm x 28.6 cm, softcover with a die cut dustjacket
In the vein of Francis Alÿs’s Fabiola and Andy Warhol’s Time Capsules, Linda Fregni Nagler has collected seemingly nondescript images and accumulated a meaningful archive, thereby giving them a renewed purpose and intensity.
The Hidden Mother is comprised of 1,002 photographs (from daguerreotypes and tintypes to cartes de visite and cabinet cards), all examples of a now redundant practice: to cloak or hide a parent within the background of a child’s portrait, a common procedure from the advent of photography up until the 1920s, when exposure times were relative slow, and a hidden parent was required to hold the child still.
These hidden mothers can be discerned in the background of every one of these portraits – looming behind their children, swaddled in blankets, carpets and brocades as they support their progeny as the central subject. The iterations vary, and in some instances the hidden mother is revealed as a single hand, while in others the child is seated on a shrouded figure, or the parent is quite literally hiding – ensuring that the child’s identity is transposed over their own.
The images hold a certain degree of comedy – albeit unintentional – because the viewer is asked to suspend their disbelief, to ‘not see’ the hidden figure. Some contemporary onlookers would have simply not seen the portrait’s hidden mother, indicative of the cultural nature of the act of seeing. For other viewers, the hidden figure was an essential part of the picture: high infant mortality rates meant that posthumous portraits were the norm, and thus the hidden mother would signify to the viewer that this child was alive.
Creating and defining a sub-genre of photography, Fregni Nagler has accumulated images that repeat a particular gesture – the negation of the parent in the interest of the legibility of the child. The many themes bubbling under the surface of her collection are unified by the singular principle of effacement – as if this gesture speaks of the nature of parenthood itself, or of women’s place in a patriarchal society, where she is figured without an identity of her own.
The collection also confronts the inevitable self-effacing nature of the photographer and the collector. The artist herself seems to hover over these images like a mother – conserving and safeguarding these photographs; as collector, presenter and curator of the collection, Fregni Nagler herself becomes another hidden mother.
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The Hidden Mother
by Linda Fregni Nagler
Photographs: Linda Fregni Nagler
Text: Massimiliano Gioni, Geoffrey Batchen and a conversation between Francesco Zanot and Linda Fregni Nagler
Publisher: MACK Books Co-published with the Nouveau Musée National de Monaco
432 pages
Pictures: 1002 colour plates
Year: 2013
ISBN: 978-1-907946-53-0
Comments: 23.8 cm x 28.6 cm, softcover with a die cut dustjacket
In the vein of Francis Alÿs’s Fabiola and Andy Warhol’s Time Capsules, Linda Fregni Nagler has collected seemingly nondescript images and accumulated a meaningful archive, thereby giving them a renewed purpose and intensity.
The Hidden Mother is comprised of 1,002 photographs (from daguerreotypes and tintypes to cartes de visite and cabinet cards), all examples of a now redundant practice: to cloak or hide a parent within the background of a child’s portrait, a common procedure from the advent of photography up until the 1920s, when exposure times were relative slow, and a hidden parent was required to hold the child still.
These hidden mothers can be discerned in the background of every one of these portraits – looming behind their children, swaddled in blankets, carpets and brocades as they support their progeny as the central subject. The iterations vary, and in some instances the hidden mother is revealed as a single hand, while in others the child is seated on a shrouded figure, or the parent is quite literally hiding – ensuring that the child’s identity is transposed over their own.
The images hold a certain degree of comedy – albeit unintentional – because the viewer is asked to suspend their disbelief, to ‘not see’ the hidden figure. Some contemporary onlookers would have simply not seen the portrait’s hidden mother, indicative of the cultural nature of the act of seeing. For other viewers, the hidden figure was an essential part of the picture: high infant mortality rates meant that posthumous portraits were the norm, and thus the hidden mother would signify to the viewer that this child was alive.
Creating and defining a sub-genre of photography, Fregni Nagler has accumulated images that repeat a particular gesture – the negation of the parent in the interest of the legibility of the child. The many themes bubbling under the surface of her collection are unified by the singular principle of effacement – as if this gesture speaks of the nature of parenthood itself, or of women’s place in a patriarchal society, where she is figured without an identity of her own.
The collection also confronts the inevitable self-effacing nature of the photographer and the collector. The artist herself seems to hover over these images like a mother – conserving and safeguarding these photographs; as collector, presenter and curator of the collection, Fregni Nagler herself becomes another hidden mother.
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not far - special edition (signed+print+1booklet)
by Ildi Hermann
sold out -
It’s a Lovelly Morning (Eclisse #1) + Italian Matters (Eclisse...
by Renato Abenavoli + Mr. G
Euro 35 21.00 -
The Canadians
by Roger Hargreaves, Jill Offenbeck and Stefanie Petrilliv
sold out -
Blackout New York (SIGNED - last copy)
by René Burri
sold out -
The Soviet Photobook 1920-1941
by Mikhail Karasik
sold out -
Nein, Onkel (review copy)
by various photographers
Euro 165 132.00
more books tagged »portrait« | >> see all
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People of Lithuania (signed)
by Antanas Sutkus
Euro 150 -
Economopoulos, photographer
by Nikos Economopoulos
sold out -
Works
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sold out -
Big Champ (signed)
by Thomas Hoepker
sold out -
Deutsche Börse Photography Foundation Prize 2017
by various photographers
Euro 39 -
T: A Typology of T-Shirts
by Susan A. Barnett
Euro 36 21.60
more books tagged »Swedish« | >> see all
-
By lamplight
by Johan Sundgren
sold out -
From Back Home
by Anders Petersen & JH Engström
Euro 175 -
Veins
by Anders Petersen & Jacob Aue Sobol
sold out -
OCEAN (signed)
by Martin Bogren
sold out -
How Much Silence Can You Take? (signed)
by Marie Sjøvold
Euro 36 -
African Catwalk
by Per-Anders Pettersson
sold out
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Tundra Kids (signed)
by Ikuru Kuwajima
Euro 35 -
This World of Dew (signed)
by Aini Hasina Bano, Chandan Gomes
sold out -
Streetlife Bradford 1970s-1980s
by Ian Beesley
sold out -
Portrait Photographs (English)
by Bernhard Fuchs
sold out -
I am Waldviertel (signed)
by Carla Kogelman
sold out -
Flaming Grace (signed)
by Vivian Keulards
Euro 40
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