291:, beginning in February 1978, and ending in December 1979, when he left his position due to a dispute with the museum's board of directors. During his leadership he brought many exhibitions to Akron from New York and helped the institution to focus on photography and art of the nineteenth century and thereafter. He led the museum's efforts to raise $ 5 million and design a new art museum facility utilising the 1899 Post Office Building in downtown Akron. This brief period was also important as Coplans bought cameras, set up a dark room in his apartment, and actively began his photographic work, initially by mimicking photographers who he admired, such as Lee Friedlander, Jan Groover, and others. He moved back to New York City in February 1980.
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119:. Leider connected Coplans to John Irwin, who wanted to start a magazine. Coplans convinced Irwin that the West Coast needed an art publication: one that gave voice to art that was important, but had not yet received critical attention. He further suggested that it should be published in square format so that both vertical and horizontal images would be viewed equally, thus giving birth to
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family was in flux between London and South Africa, settling in a seaside Cape Town suburb until 1930. Despite the instability of his early home life, Coplans developed an enormous admiration for his father, who took him to galleries at weekends and instilled within him a love for exploration, experimentation, and a fascination with the world.
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the help of an assistant. The poses were inspired by an intuitive connection to a pre-conscious, pre-lingual awareness of the body. “I don’t know how it happens, but when I pose for one of these photographs, I become immersed in the past...I am somewhere else, another person, or a woman in another life. At times, I’m in my youth.”
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subject matter...So, I’m using my body and saying, even though it's a seventy year old body, I can make it interesting. This keeps me alive and gives me vitality. It's a kind of process of energizing myself by my belief that the classical tradition of art that we’ve inherited from the Greeks is a load of bullshit.”
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as one of its founding members (1962), a contributing critic, and chief editor (1971-1976). Along with fellow founding member John Irwin he followed the magazine to Los
Angeles and, in 1967, to its permanent home in New York. In June 1971, he replaced Philip Leider as chief editor (first announced on
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positive/negative 4x5 film, so that he could quickly see the result of the poses and make immediate adjustments. He later used a video camera connected to a television monitor to see the back of the 4x5 camera for an even more immediate mirror effect. Although this technique deepened his control and
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John
Coplans was born in London in 1920. His father was Joseph Moses Coplans, a medical doctor and a man of many scientific and artistic talents. His father left England for Johannesburg while John was an infant. At the age of two, John was brought to his father in South Africa; from 1924 to 1927 the
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In 1980, during his one-year appointment as head of the Akron Art Museum in Ohio, Coplans first began experimenting with photography. Here he took his initial nude photographs with a timer, but would not return to the idea until 1984, when he began a serious exploration into the self portraits with
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In 1937, John
Coplans returned to England from South Africa. When eighteen, he was commissioned into the Royal Air Force as an Acting Pilot Officer. Due to his hearing being affected by a rugby match, two years later, he volunteered for the army. His childhood experience living in Africa led to his
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His photographs ultimately question the taboo of age through the provocative and direct style of addressing his body. Said
Coplans: “I have the feeling that I’m alive, I have a body. I’m seventy years old, and generally the bodies of seventy-year old men look somewhat like my body. It's a neglected
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movement, which he would become deeply involved in as both critic and curator. His experience viewing exhibitions such as the Hard-Edged
Painting exhibition (ICA, 1959) and New American Painting (The Tate, 1959) helped to solidify his growing passion for not just Pop Art, but American art as well.
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After being demobilised, Coplans settled in London, rooming at the Abbey Art Centre; he wanted to become an artist. The
British government was giving grants to veterans of the war, and he received one such grant to study art. He tried both Goldsmiths and Chelsea College of the Arts, but found that
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The photographic work of John
Coplans has been a focus of academic study and art criticism since he began his self-portraits in the 1980s. His challenge of the ageist norm and beauty standards in Western culture, as articulated through his photography, has been studied in books such as Christophe
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the magazine's masthead in
January 1972). He subsequently presided over the magazine's tumultuous years, which saw the core editorial group of the mid- to late 1960s break apart into a handful of factions; the majority of the group had left the magazine by the end of the 1970s. Coplans's reign at
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Finding himself conflicted between his painting and writing careers, he chose the latter and devoted the next twenty years of his life to the magazine, as well as curatorial pursuits and a career as a museum director. It was not until 1981, at the age of 62, that he returned to his career as an
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Coplans is known for his series of black and white self-portraits which are a frank study of the naked, aging body. He photographed his body from the base of his foot to the wrinkles on his hand. As he never photographed his face, his images are not focused on a specific man nor identity.
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John
Coplans had a daughter, Dr. Barbara Ann Rivers Coplans, born in East Africa with his first wife Betty Coplans (née Little) and a son, Joseph John Coplans born in California, USA with his third wife, Carolyn Coplans (née Teeter). His fourth wife was New York photographer
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From 1965 to 1967 Coplans was director of the Art
Gallery of the University of California at Irvine. As senior curator at the Pasadena Art Museum (1967–1970), Coplans was among the earliest champions of Pop Art and a vociferously sympathetic critic of the work of
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appointment to the King's African Rifles in East Africa. He was active as a platoon commander (primarily in Ethiopia) until 1943, after which his unit was deployed to Burma. In 1945 Coplans returned to civilian life and decided to become an artist.
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In 1960, Coplans sold all of his belongings and moved to the United States, initially settling in San Francisco and taking a position at UC Berkeley as a visiting assistant design professor. Here he met gallerist Phil Leider, the future editor of
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itself. Coplans was a regular writer for the magazine. His perspective on art writing was anti-elitist, using popular appeal and excitement over new work to “stimulate debate and awareness” especially for West Coast artists.
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was considered a time of editorial catholicity, reflecting a moment of expanding media, practices, and modes of engagement within contemporary art. He was dismissed, along with his managing editor
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art school did not suit him. He painted part-time for clients including Cecil Beaton, Basil Deardon whilst running his business John Rivers Limited which specialised in interior decorating.
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In 1968, Coplans became acting director of the Pasadena Art Museum and curated the "Serial Imagery" show. He resigned in 1970 and left California in 1971 to become the editor in chief of
269:. In many of these cases, such as with Lichtenstein, it was their crucial first exhibition. Many of the catalogue essays that accompanied these exhibitions were also published in
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During this period he struggled as a young artist to find his artistic voice, and developed an abstract painting practice which reflected trends of
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In the mid-1950s, Coplans began attending lectures by Lawrence Alloway at the Institute of Contemporary Arts. Here he was introduced to the budding
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348:(1996). Many of these texts were initially writings for exhibition catalogues of exhibitions he had curated, and were in turn published in
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in New York City. He did, however, curate another major Warhol exhibition as well as a Richard Serra show before his move to New York.
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The photographs of John Coplans are featured in over sixty museum collections all over the world. These collections include:
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253:. Coplans began a series of exhibitions in a small gallery in the old Pasadena Art Museum which included West Coast artists
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John Coplans : Prolific founder of Artforum magazine whose photographic self-portraits challenged the taboo on ageing
105:. Coplans would later refer to this early painting work as "derivative"; these paintings were shown in exhibitions at the
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861:"John Coplans: Prolific founder of Artforum magazine whose phorographic self-portraits challenged the taboo of ageing"
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362:(2011). Following his 1969 Guggenheim Fellowship, he published a monograph on the work of Ellsworth Kelly (1973).
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Smithsonian Archives of American Art: Oral history interview with John Coplans, 1975 Apr. 4-1977 Aug. 4
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accuracy, it is of note that he claimed to possess a sense of pre-determined clarity about the poses.
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Academie Schloss Solitude, Stuttgart: Symposium: Die Photographie in der Zeitgenossischen Kunst
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bringing critical attention for these West Coast artists to a New York audience.
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which was published in tandem with his solo exhibition by the same title at
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144:"Frieze, No. 2, Four Panels, 1994" by John Coplans, in the collection of
25:'Back with Arms Above', black and white photograph by John Coplans, 1984
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Distinguished Visiting Professor, American University of Cairo (1983)
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905:"Oral history interview with John Coplans, 1975 Apr. 4-1977 Aug. 4"
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1320:. Philadelphia: Temple University Press. pp. 27–64, 155–157.
1295:(First ed.). Bielefeld: transcript Verlag. pp. 171–173.
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Richard Koopman Distinguished Chair, University of Hartford (1991)
1143:(Second ed.). Paris: Lectures Maison Rouge. pp. 59–61.
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Davidson Art Center, Wesleyan University, Middletown, Connecticut
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1068:(First ed.). New York: powerHouse Books. pp. 163–164.
882:(First ed.). New York: powerHouse Books. pp. 157–158.
831:(First ed.). New York: powerHouse Books. pp. 150–154.
773:, who is Trustee of the John Coplans Trust in Beacon, New York.
1270:(First ed.). London: Thames and Hudson. pp. 265–267.
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University Art Museum, University of California, Santa Barabara
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from 1962 to 1971, and was Editor-in-Chief from 1972 to 1977.
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Coplans wrote critical essays on the work of such artists as
1345:(First ed.). New York: powerHouse Books. p. 183.
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Chevrier, Jean-Francois (1990). "John Coplans Interview".
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His technique for making the photographs involved use of
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British artist, art writer, curator, and museum director
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Bodies We Fail: Productive Embodiments of Imperfection,
344:, many of which are included in his anthology entitled
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Bodies We Fail: Productive Embodiments of Imperfection
1220:. New York: P.S.1 / Distributed Art Publishers, Inc.
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Fonds RĂ©gional d'Art Contemporain, Champagne Ardenne
491:, Michigan State University, East Lansing, Michigan
123:s iconic shape—and to the successful foundation of
1168:(First ed.). New York: Harry N. Abrams, Inc.
647:Fonds RĂ©gional d'Art Contemporain, Basse-Normandie
1243:The Century of the Body: 100 Photoworks 1900-2000
759:Officer de L’Ordre des Arts et des Lettres (2001)
753:National Endowment for the Arts Fellowship (1986)
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1093:. New York: powerHouse Books. pp. 164–166.
962:. New York: powerHouse Books. pp. 161–162.
806:. New York: powerHouse Books. pp. 178–182.
548:Newport Harbor Museum, Newport Beach, California
1014:Berlind, Robert (Spring 1994). "John Coplans".
656:La Maison Européenne de la Photographie, Paris
466:, Harvard University, Cambridge, Massachusetts
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201:, NY (1997), Paco dasArtes, SĂŁo Paulo (1998),
181:His major one-person exhibitions include: the
60:Early life and service in the Second World War
32:(24 June 1920 – 21 August 2003) was a British
1245:(First ed.). London: Thames and Hudson.
1141:Ed Ruscha: Huits textes Vingt-trois entrtiens
560:, Brandeis University, Waltham, Massachusetts
360:Ed Ruscha: Huit textes Vingt-trois entretiens
197:, Paris (1994), Ludwig Forum, Aachen (1995),
1372:. John Siimon Guggenheim Memorial Foundation
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653:Fonds RĂ©gional d'Art Contemporain, Marseille
439:Bowdoin College Art Museum, Brunswick, Maine
366:Writings about Coplans and artist monographs
52:. He was on the founding editorial staff of
1118:(First ed.). London: London Projects.
990:. New York: powerHouse Books. p. 166.
937:. New York: powerHouse Books. p. 159.
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109:(1950) and later at the New Vision Center.
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659:Musée d'Art Moderne, Saint-Etienne, France
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1318:The Male Nude in Contemporary Photography
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400:The Male Nude in Contemporary Photography
358:article, have been translated to French:
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699:Tokyo Metropolitan Museum of Photography
644:Fonds National d'Art Contemporain, Paris
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1217:A Self-Portrait: John Coplans 1984-1997
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376:A Self-Portrait: John Coplans 1984-1997
203:Scottish National Gallery of Modern Art
1465:English emigrants to the United States
1455:British Army personnel of World War II
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859:Hopkinson, Amanda (4 September 2003).
392:The Self Portrait: A Cultural History,
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1268:The Self-Portrait: A Cultural History
722:Magasin 3 Stockholm Konsthall, Sweden
674:Musée de la Vielle Charité, Marseille
481:International Museum of Photography,
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662:Musée des Beaux-Arts de Metz, France
629:Museum of Contemporary Art, Helsinki
591:Musée d'art contemporain de Montréal
545:Neuberger Museum, Purchase, New York
217:Coplans had a long affiliation with
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44:in 1960 and had many exhibitions in
1435:20th-century American photographers
725:Swedish State Collection, Stockholm
525:Museum of Contemporary Art, Chicago
318:. Regents University of California.
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666:Musée des Beaux-Arts de Strasbourg
596:National Gallery of Canada, Ottawa
564:San Francisco Museum of Modern Art
530:Museum of Contemporary Photography
380:MoMA P.S.1 Contemporary Art Center
187:San Francisco Museum of Modern Art
146:The Whitney Museum of American Art
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572:, University of Kansas, Lawrence
495:Los Angeles County Museum of Art
312:University of California, Irvine
107:Royal Society of British Artists
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552:Princeton University Art Museum
449:Center for Creative Photography
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1193:. New York: powerHouse Books.
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792:The Guardian, 5 September 2003
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576:Whitney Museum of American Art
370:His artist monographs include
307:Jawlensky and the Serial Image
232:, by the magazine's publisher
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710:Museum Overholland, Amsterdam
705:Museum Boijmans Van Beuningen
677:Ludwig Forum, Aachen, Germany
606:Arts Council of Great Britain
199:P.S.1 Contemporary Art Center
1139:Criqui, Jean-Pierre (2011).
750:Guggenheim Fellowship (1985)
632:Artothèque de Nantes, France
541:Museum of Fine Arts, Houston
519:Minneapolis Institute of Art
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1241:Blazer, Christophe (2000).
635:Artothèque de Vitre, France
624:Scottish National Galleries
585:Yale University Art Gallery
536:Museum of Fine Arts, Boston
240:Curator and museum director
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618:Victoria and Albert Museum
507:Metropolitan Museum of Art
1470:American magazine editors
1425:Photographers from London
911:. Smithsonian Institution
422:Allen Memorial Art Museum
416:Albright-Knox Art Gallery
1450:Royal Air Force officers
909:Archives of American Art
719:I.V.A.M. Valencia, Spain
587:, New Haven, Connecticut
434:Art Institute of Chicago
388:The Century of the Body,
304:; Coplans, John (1966).
183:Art Institute of Chicago
687:Staatsgalerie Stuttgart
639:Centre Georges Pompidou
455:Cleveland Museum of Art
424:, Oberlin College, Ohio
283:He was director of the
97:pioneered by Americans
1341:Coplans, John (2002).
1316:Davis, Melody (1991).
1214:Coplans, John (1997).
1189:Coplans, John (2002).
1164:Coplans, John (1973).
1114:Coplans, John (1996).
1089:Coplans, John (2002).
1064:Coplans, John (2002).
986:Coplans, John (2002).
958:Coplans, John (2002).
933:Coplans, John (2002).
878:Coplans, John (2002).
827:Coplans, John (2002).
802:Coplans, John (2002).
714:Lillehammer Art Museum
476:Honolulu Museum of Art
443:Brooklyn Museum of Art
195:Centre George Pompidou
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95:Abstract Expressionism
40:, he emigrated to the
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1291:Sturm, Jules (2014).
737:Guggenheim Fellowship
570:Spencer Museum of Art
485:, Rochester, New York
302:Blum, Shirley Neilsen
143:
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1440:American art critics
1266:Hall, James (2014).
600:Winnipeg Art Gallery
513:Milwaukee Art Museum
483:George Eastman House
205:, Edinburgh (1999),
191:Museum of Modern Art
1430:English art critics
418:, Buffalo, New York
402:, and many others.
382:in New York, 1997.
324:Writings by Coplans
316:Pasadena Art Museum
30:John Rivers Coplans
602:, Manitoba, Canada
501:Madison Art Center
472:, Atlanta, Georgia
470:High Museum of Art
406:Museum collections
236:in December 1976.
185:(1981, 1989), the
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27:
1327:978-1-56639-198-6
1302:978-3-8376-2609-4
1277:978-0-500-239-100
1150:978-3-03764-089-0
744:Fellowship (1981)
731:Awards and honors
489:Kresge Art Museum
457:, Cleveland, Ohio
451:, Tucson, Arizona
209:, Sweden (1999).
136:Artistic practice
103:Willem de Kooning
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1376:16 November
1016:Art Journal
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374:(2002) and
342:Donald Judd
330:Andy Warhol
251:Andy Warhol
230:Max Kozloff
177:Exhibitions
150:Tate Modern
1409:Categories
1053:: 183–194.
777:References
578:, New York
509:, New York
445:, New York
689:, Germany
532:, Chicago
436:, Chicago
386:Blazer's
271:Artforum,
121:Artforum'
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355:Artforum
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213:Artforum
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148:and the
132:artist.
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701:, Japan
641:, Paris
91:tachism
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340:, and
265:, and
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34:artist
1032:JSTOR
1378:2018
1347:ISBN
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