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Art & Art History

Robert Stiegler Retrospective 1938–1990

Monday, November 09, 1992–Saturday, December 05, 1992

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A photograph exists first as a negative image on film from which a positive print is produced. The negative state of the image can also be presented in print form. I have been exploring the positive and negative states of the photographic image and their simultaneous and coherent presentation in a single photographic print. The changes from positive to negative are controlled by a second image which acts as a catalyst. I have been refining techniques to accomplish this end as well as investigating how this new system for ordering visual information changes the “language” of photography.
—Robert Stiegler

This retrospective spans approximately thirty years of Robert Stiegler’s photographic and film work, encompassing many projects involving different techniques. Some of these works have been seen in Chicago in small groups over the years; this exhibit is the first time they are shown together.

Stiegler, a native of Chicago, received a BFA and an MFA from the Institute of Design at the Illinois lnstitute of Technology, where he studied with Aaron Siskind and Arthur Siegel. He taught at the University of Illinois at Chicago in the School of Art and Design from 1966 until his death in 1990. Stiegler received grants from the National Endowment for the Arts and the Illinois Arts Council. His work is in public and private collections, including the Art Institute of Chicago, the Museum of Modern Art, New York, and the George Eastman House, Rochester.

The exhibition includes examples from different bodies of his photographic work and some of his films, such as his humorous dog show images and widelux views as well as his many series of complex positive/negative works. These latter works involve a complex layering of photographic information in positive and negative form that investigate, as Stiegler said, “the dual nature of the photographic process,” where “concerns shift from the literal to the abstract.”

Stiegler’s interest in photography began at Lane Tech, where he was encouraged by a teacher to attend the lnstitute of Design in Chicago and study with photographers Harry Callahan and Aaron Siskind. After serving in the Army in Germany, he worked for photographer-filmmaker Vince Maselli and then for Morton Goldsholl Design creating photography and film. Stiegler also produced his own short films in response to re-entering civilian life. He began teaching at UIC in its second year (1966); he was instrumental in establishing the photography curriculum, and he developed the studio course and the first direction of documentary photography. While teaching he completed an MFA at the Institute of Design (1968–70) with Arthur Siegel, creating photo-silkscreen interpretations of a series of his “bridge” pictures.

Stiegler was part of the “original” faculty of the UIC School of Art and Design and was instrumental in making the school what it is today. He was widely known among the faculty for having contributed to the development of the curriculum and to a careful scrutiny of the details involved in reconfiguring the studio courses to conform to the semester system. He and his wife, Anita David, were prominent in the Chicago art community as artists and through their lively and active relationships with other artists. Stiegler was a founding member of the Center Cinema Co-op at the Art Institute of Chicago; he shared in the running of Lightfall Gallery in Evanston; he was part of a group who presented films at the Little Stabs of Happiness Cinemateque; and he was an artist-member of Live from Chicago cooperative gallery, one of Chicago’s first. At UIC he started the New Works gallery, which continues to be a vital part of the MFA photography program.

Stiegler’s photographs range from straightforward work in which the often-centered subject dominates his concern, to an exploitation of panoramic views made in Chicago and during travels to Florida, the western United States, Niagara Falls, Egypt, and Great Britain. The most unique of his works are the product of a composite printing system in which one image becomes a “mask” for another. These pictures often have subjects of their own—the cacti and especially many of the Egypt views. During his 1983–84 sabbatical, he added color to this positive/negative work and found “the work became baroque and contrapuntal rather than integrated and harmonious,” suggesting new strategies and resulting in images unlike any he’d made previously. Steigler ’s health began to fail during a period in which he was refining his multiple-enlarger system. He was preparing to expand on his most recent color work when he died of cancer on January 18,1990.

EXHIBITION SUPPORT

Robert Stiegler Retrospective 1938–1990 is supported by the University of Illinois at Chicago School of Art and Design’s College of Architecture, Art, and Urban Planning.

This exhibition is also partly supported by a grant from the Illinois Arts Council, a state agency, and the National Endowment for the Arts.

PRINT COLLATERAL

Postcard: Robert Stiegler Retrospective 1938–1990 – Opening Reception

Robert Steigler Retrospective

Robert Stiegler

Catalog essay by Michael Weinstein
Gallery 400, School of Art and Design,
University of Illinois at Chicago, 1992
21 pp., 8 x 11 in., with black and white reproductions

This catalogue can be purchased for $10.00 plus shipping by calling Gallery 400 at 312 996 6114.

PRESS RELEASE

Robert Stiegler
Retrospective

Gallery 400
Chicago, IL
November 9–December 5, 1992

Opening Reception: Wednesday, November 11, 1992, 4–7pm

A retrospective exhibit of Robert Stiegler’s photographic and film work spanning approximately thirty years will be on display. Stiegler, a Chicago native, taught at the University of Illinois at Chicago’s School of Art and Design from 1966 until his death in 1990. The exhibition will include his humorous dog show images and widelux views as well as his many series of complex positive/negative works. These latter works investigate what Stiegler called “the dual nature of photographic process” where “concerns shift from the literal to the abstract.”

Stiegler completed his undergraduate and graduate work at the Illinois Institute of Technology, where he studied with Aaron Siskind and Arthur Siegel. He received grants from the National Endowment for the Arts and the Illinois Arts Council. His work is in the collections of the Art Institute of Chicago, the Museum of Modern Art in New York and the George Eastman House in Rochester.

EXHIBITION CHECKLIST

Robert Stiegler

1984, 1984
Pos/neg silver print, 11 x 14 in.

4 Frame Stills from “Capitulation,” 1965
Black-and-white 16 mm film, 16 x 20 in.

Abydos, Egypt,
1980
Pos/neg toned silver print, 16 x 20 in.

Abydos, Egypt, 1980
Pos/neg toned silver print, 16 x 20 in.

Arlington Heights, 1973
Silver print, 16 x 20 in.

Bridge, 1959
Twelve silver prints, each 11 x 14 in.

Bridge, 1959
Silver print, 10 1/4 x 10 1/2 in.

Cactus, Southwest, 1983
Pos/neg C-print, 16 x 20 in.

Capitulation, 1965
Black-and-white sound film, 25:00 min.

Chained Man, Marble Arch, London, 1976
Widelux silver print, 7 1/2 x 18 in.

Chicago, 1974
Widelux silver print, 7 x 17 in.

Chicago, 1974
Widelux silver print, 7 1/4 x 17 3/4 in.

Chicago, 1978
Pos/neg toned silver print, 7 1/2 x 17 1/4 in.

Chicago, 1980
Pos/neg silver print, 16 x 20 in.

Chicago, 1980
Pos/neg silver print, 16 x 20 in.

Chicago, 1980
Pos/neg silver print, 16 x 20 in.

Chicago, 1980
Pos/neg silver print, 16 x 20 in.

Chicago #3, 1975
Pos/neg silver print, 16 x 20 in.

Dog Show, Chicago, 1974
Ten silver prints, each 11 x 14 in.

El, Chicago,
1978
Pos/neg toned silver print, 7 1/2 x 17 1/4 in.

Europe, 1971
Six silver prints, each 11 x 14 in.

Full Circle, 1968
Color sound film, 25:00 min.

Highway Phenomena, 1976
Pos/neg toned silver print, 7 1/2 x 17 1/4 in.

Interstate 90, South Dakota, 1975
Six Widelux silver prints, each 7 x 17 in.

Karnak, Egypt, 1980
Pos/neg toned silver print, 16 x 20 in.

Kew Gardens, London, England, 1976
Widelux silver print, 7 1/2 x 18 in.

Licht Spiel Nur One, 1966
Color silent film, 11:00 min.

Michigan, 1978
Pos/neg toned silver print, 7 1/2 x 17 1/4 in.

Opening, Chicago, 1976
Silver print, 16 x 20 in.

Palm, St. Louis, 1983
Pos/neg C-print, 16 x 20 in.

Ramesseum, Thebes, Egypt, 1980
Pos/neg toned silver print, 16 x 20 in.

Serpent Near Miami, 1976
Widelux silver print, 7 1/4 x 17 3/4 in.

St. Louis, 1978
Pos/neg toned silver print, 7 1/2 x 17 1/4 in.

St. Louis, 1978
Pos/neg toned silver print, 7 1/2 x 17 1/4 in.

St. Louis (Cactus/Palms), 1978
Three pos/neg silver prints, each 16 x 20

St. Louis (Cactus/Palms), 1978
Three pos/neg toned silver prints, each 16 x 20 in.

Steppe Pyramid of Djoser, Saquara, Egypt, 1980
Pos/neg toned silver print, 16 x 20 in.

Store Front, Wisconsin, 1976
Pos/neg toned silver print, 7 1/2 x 17 1/4 in.

Street, 1964
Six silver prints, each 11 x 14 in.

Taxi, Chicago, 1978
Pos/neg toned silver print, 7 1/2 x 17 1/4 in.

Temple of Amon, Luxor, Egypt, 1980
Pos/neg toned silver print, 16 x 20 in.

Temple of the Seti, Thebes, Egypt, 1980
Pos/neg toned silver print, 16 x 20 in.

Tidal Plain, Black Pool, England, 1976
Widelux silver print, 9 1/2 x 17 3/4 in.

Traffic, 1958
Color silent film, 11:00 min.

Untitled

Pos/neg toned silver print, 7 1/2 x 17 3/4 in.

Untitled, 1970
Two photo-silkscreens, each 10 3/4 x 13 3/4 in.

Untitled, 1975
Four photo-silkscreens on acetate, each 9 1/2 x 7 3/4 in.

Untitled, 1983
Pos/neg C-print, 16 x 20 in.

Untitled (Alligator), c. 1976
Silver print, 16 x 20 in.

Untitled (Cactus, St. Louis), c. 1983
Pos/neg C-print, 16 x 20 in.

Untitled (Circus), 1977
Silver print, 16 x 20 in.

Untitled (Circus), 1977
Silver print, 16 x 20 in.

Untitled (Chicago), ca. 1974
Two silver prints, each 11 x 14 in.

Untitled (Compressed car bodies), 1975
Four hand-painted kodaliths, 9 3/4 x 10, 9 3/4 x 9 1/2, 9 1/2 x 10, 9 1/2 x 9 3/4 in.

Untitled (Demolition Derby), ca. 1976
Silver print, 16 x 20 in.

Untitled (Duck), c. 1976
Widelux silver print, 7 1/2 x 18 in.

Untitled (England), 1975
Silver print, 11 x 14 in.

Untitled (Flea Market/Buddah & Cobra)

Widelux silver print, 7 3/4 x 18 in.

Untitled (Flea Market/Jesus & Mary)

Widelux silver print, 7 3/4 x 18 in.

Untitled (Gollywoggs/England), 1976
Widelux silver print, 7 1/2 x 18 in.

Untitled (Gun)

Silver print, 11 x 14 in.

Untitled (Head of Memnon), Egypt, 1980
Pos/neg toned silver print, 16 x 20 in.

Untitled (John, Larry, and Robert), 1975
Hand-painted kodalith, 10 1/2 x 9 1/4 in.

Untitled (Miss Nude America)

Silver print, 16 x 20 in.

Untitled (Notley’s Loft), 1980
Seven C-prints, each 16 x 20 in.

Untitled (Parade)

Silver print, 16 x 20 in.

Untitled (Parade)

Silver print, 16 x 20 in.

Untitled (Watts Towers, L.A.), ca. 1983
Pos/neg C-print, 16 x 20 in.

Untitled (Watts towers, L.A.), ca. 1983
Pos/neg C-print, 16 x 20 in.

Wall #1, St. Louis, 1980
Pos/neg silver print, 16 x 20 in.

Watts Tower, Los Angeles, 1983
Pos/neg C-print, 16 x 20 in.

Watts Tower, Los Angeles, 1985
Pos/neg C-print, 16 x 20 in.

We Are Proud Are You? Iowa, 1976
Silver print, 16 x 20 in.

ARTIST BIOGRAPHY

Robert Steigler HeadshotRobert Stiegler (1930–1990) was a photographer and filmmaker from in Chicago, Illinois. A lifelong Chicagoan, he concentrated during the period of 1956–60 on making photographs largely of local bridges. For his master’s thesis at Illinois Institute of Technology, he worked primarily with photo-silkscreening. His other areas of artistic interest included street documentary, nature photography, and positive-negative abstractions. He taught at the University of Illinois at Chicago, where he helped to develop the photography program, from 1966 until his death in 1990. Stiegler received numerous grants, including from the National Endowment for the Arts and the Illinois Arts Council. His work is held in the collections of the Art Institute of Chicago and the Museum of Modern Art, New York, among others. He completed a BFA (1960) at the Institute of Design at the Illinois Institute of Technology in Chicago, studying with Harry Callahan and Aaron Siskind. He returned to the Institute of Design to complete an MFA in 1970.