Wulz, a portrait photographer loosely associated with the Italian Futurist movement, created this striking composite by printing two negatives—one of her face, the other of the family cat—on a single sheet of photographic paper, evoking by technical means the seamless conflation of identities that occurs so effortlessly in the world of dreams.
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Dimensions:Image: 11 9/16 × 9 1/8 in. (29.4 × 23.2 cm) Mount: 13 3/16 × 10 1/4 in. (33.5 × 26 cm) Mat: 22 in. × 19 1/4 in. (55.9 × 48.9 cm) Frame: 62.9 × 55.6 cm (24 3/4 × 21 7/8 in.)
Classification:Photographs
Credit Line:Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987
Accession Number:1987.1100.123
Inscription: Signed and inscribed in pencil on print, recto LR: "W. Wulz // Trieste"; signed and inscribed on mount, verso LC: "Wanda Wulz // Io + gatto"; inscribed in ink on mount, verso LR: "Trieste Corso Italia 9"
Collection of Giovanni Lista, Italy; (sold, Sotheby's, New York, Italian Futurist Photographs Sale, November 9, 1982, Lot no. 72); John C. Waddell, New York
The Metropolitan Museum of Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," September 23–December 31, 1989.
San Francisco Museum of Modern Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," February 28–April 22, 1990.
Los Angeles County Museum of Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," May 10–July 15, 1990.
High Museum of Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," February 5–April 28, 1991.
Museum of Fine Arts, Boston. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," June 8–August 4, 1991.
IVAM, Centre Julio Gonzalez, Valencia. "The New Vision, IVAM, Centre Julio Gonzalez, Valencia," January 20, 1995–March 26, 1995.
New York Public Library. "A History of Women Photographers," October 19, 1996–January 4, 1997.
National Museum of Women in the Arts. "A History of Women Photographers," February 13, 1997–May 11, 1997.
Santa Barbara Museum of Art. "A History of Women Photographers," June 7, 1997–August 10, 1997.
Akron Art Museum. "A History of Women Photographers," September 6, 1997–November 2, 1997.
Los Angeles County Museum of Art. "Ghosts in the Shell: Photography and the Human Soul 1850-2000," October 24, 1999–January 16, 2000.
New York. The Metropolitan Museum of Art. "Portraits: A Century of Photographs," September 10, 2002–January 13, 2003.
Science Museum, London. "Future Faces," September 30, 2004–February 13, 2005.
Milwaukee Art Museum. "Foto: Modernity in Central Europe, 1918-1945," February 9, 2008–May 4, 2008.
New York. The Metropolitan Museum of Art. "The Lens and the Mirror, Part 1: Modern Self-Portraits from the Collection," April 7–July 12, 2009.
New York. The Metropolitan Museum of Art. "Faking It: Manipulated Photography Before Photoshop," October 10, 2012–January 27, 2013.
National Gallery of Art, Washington D.C. "Faking It: Manipulated Photography Before Photoshop," February 17–May 5, 2013.
Museum of Fine Arts, Houston. "Faking It: Manipulated Photography Before Photoshop," June 2–August 25, 2013.
New York. The Metropolitan Museum of Art. "The New Woman Behind the Camera," June 28–October 3, 2021.
National Gallery of Art, Washington D.C. "The New Woman Behind the Camera," October 31, 2021–January 30, 2022.
Metropolitan Museum of Art. "Photography between the Wars: Selections from the Ford Motor Company Collection." The Metropolitan Museum of Art Bulletin (Spring 1988). front cover.
Hambourg, Maria Morris. The New Vision: Photography between the World Wars, Ford Motor Company Collection at the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1989. no. 56.
Witkovsky, Matthew. Foto: Modernity in Central Europe, 1918–1945. London: National Gallery of Art, Washington D.C., 2007. no. 50.
Ingelmann, Inka Graeve, ed. Female Trouble: Die Kamera als Spiegel und Bühne Weiblicher Inszenierungen. Munich: Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen, 2008. p. 16.
Fineman, Mia. Faking It: Manipulated Photography Before Photoshop. New York: The Metropolitan Museum of Art, 2012. no. 174, pp. 164, 247.
Hollein, Max. Modern and Contemporary Art in the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 2019. pp. 60–61.
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