Photographer Ida Kar was at the heart of London’s cultural life in the 1950s, but then fell out of fashion. A new exhibition should return her to the spotlight where she belongsby Vanora Bennett / February 23, 2011 / Leave a comment
Published in March 2011 issue of Prospect Magazine
Bridget Riley in 1963. All images © The National Portrait Gallery
Ida Kar: Bohemian Photographer, 1908-74
National Portrait Gallery, 10th March-19th June, Tel: 020 7306 0055
What happens to art in times of recession? The National Portrait Gallery’s new exhibition of postwar photographic portraits by the long-forgotten artist Ida Kar offers one answer. When the most recent downturn began, conventional wisdom was that the lack of buyers might push the art world towards self-indulgence, or a defiant testing of boundaries. Yet what has instead come to the fore since 2007, at least among curators, has been a quieter, more reflective mood; one that reconsiders artists neglected or left behind in their time.
On both sides of the Atlantic, artists once deemed dull for quietly pursuing their work, instead of following fashion, are finally getting their due. In New York, surrealist-cum-beat artist Brion Gysin got a full-floor retrospective last summer at the New Museum for Contemporary Art. London’s Whitechapel Gallery reconsidered the American Alice Neel, whose images of Andy Warhol and Frank O’Hara reinvigorated portrait painting, but who worked at a time when abstract art and white male painters predominated.
Kar deserves to be part of this reassessment. Armenian in origin, she was a member of the London cultural avant garde of the 1950s and 1960s, and chronicled the time in her own elegant style. She called herself an artist with a camera, not a photographer. But her star faded as the 1960s vogue for Blow-Up-style muscular male action photography swept all before it.