DOCSLIB.ORG

Illustrated Object List Gifts of Mike and Mickey Marvins

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Illustrated Object List Gifts of Mike and Mickey Marvins ILLUSTRATED OBJECT LIST GIFTS OF MIKE AND MICKEY MARVINS 2012.618 Artist: Berenice Abbott, American, 1898–1991 Title: Nightview, New York Date: 1932 Medium: Gelatin silver print, printed c. 1980 Dimensions: Image: 13 5/8 x 10 5/8 in. (34.5 x 26.9 cm) Sheet: 13 5/8 x 10 5/8 in. (34.6 x 27 cm) Mount: 20 x 16 in. (50.8 x 40.6 cm) Credit Line: Gift of Mike and Mickey Marvins 2012.619 Artist: Ansel Adams, American, 1902–1984 Title: Mount Williamson, the Sierra Nevada, from Manzanar, California Date: 1944 Medium: Gelatin silver print, printed c. 1973 Dimensions: Image: 15 11/16 x 18 3/4 in. (39.8 x 47.6 cm) Sheet: 15 11/16 x 18 3/4 in. (39.8 x 47.6 cm) Mount: 21 7/8 x 28 in. (55.6 x 71.1 cm) Credit Line: Gift of Mike and Mickey Marvins 2014.929 Artist: Manuel Álvarez Bravo, Mexican, 1902–2002 Title: La Buena Fama Durmiendo The Good Reputation Sleeping Date: 1938–1939 Medium: Gelatin silver print Dimensions: Image: 6 7/8 x 9 3/8 in. (17.5 x 23.9 cm) Sheet: 7 15/16 x 9 15/16 in. (20.2 x 25.3 cm) Credit Line: Gift of Mike and Mickey Marvins 2012.620 Artist: Manuel Álvarez Bravo, Mexican, 1902–2002 Title: The Daughter of the Dancers La Hija de los Danzantes Date: c. 1933 Medium: Gelatin silver print, printed c. 1980 Dimensions: Image: 9 7/8 x 6 15/16 in. (25.1 x 17.6 cm) Sheet: 9 15/16 x 7 15/16 in. (25.2 x 20.2 cm) Credit Line: Gift of Mike and Mickey Marvins 2014.926 Artist: Alice Boughton, American, 1865–1943 Title: Ellen Terry at the Window Date: c. 1905 Medium: Platinum print Dimensions: Image: 7 7/8 x 5 7/8 in. (20.1 x 14.9 cm) Sheet: 7 7/8 x 5 7/8 in. (20 x 14.9 cm) Credit Line: Gift of Mike and Mickey Marvins Images represented on this report are for internal MFAH operations and do not represent the availability of reproducible images for publication in any format. 2 Apr 2015 \\MFAH-TMS\TMS\Reports\OBJECTS\OBJ_ListwithImage(customsort).rpt Page 1 of 14 ILLUSTRATED OBJECT LIST GIFTS OF MIKE AND MICKEY MARVINS 2013.729.1-.24 Author: Margaret Bourke-White, American, 1904–1971 Title: USSR Photographs Date: 1934 Medium: Photogravures, edition 62/1000, printed 1934 Dimensions: Overall: 20 x 14 in. (50.8 x 35.6 cm) Credit Line: Gift of Mike and Mickey Marvins 2014.927 Artist: Asa A. Brack, American, active 1850s–1890s Title: Sam Houston Date: c. 1860 Medium: Albumen silver print Dimensions: Image: 5 1/2 x 3 7/8 in. (14 x 9.9 cm) Sheet: 6 3/4 x 4 5/8 in. (17.1 x 11.7 cm) Credit Line: Gift of Mike and Mickey Marvins 2014.928 Artist: Mathew B. Brady, American, 1823–1896 Title: Mr. & Mrs. General Tom Thumb in their Wedding Costume Date: 1863 Medium: Albumen silver print Dimensions: Image: 3 3/8 x 2 1/8 in. (8.6 x 5.3 cm) Sheet: 3 3/8 x 2 1/8 in. (8.6 x 5.4 cm) Mount: 4 x 2 7/16 in. (10.2 x 6.2 cm) Credit Line: Gift of Mike and Mickey Marvins 2013.707 Artist: Brassaï, French, born Hungary, 1899–1984 Title: Une Vespasienne, Boulevard Auguste Blanqui Date: 1935 Medium: Gelatin silver print Dimensions: Image: 11 7/8 x 9 3/16 in. (30.2 x 23.3 cm) Sheet: 12 x 9 1/4 in. (30.5 x 23.5 cm) Credit Line: Gift of Mike and Mickey Marvins 2013.708 Artist: Keith Calhoun, American, born 1955 Title: Junior's Juke Joint, Lower 9th Ward, New Orleans Date: 1992 Medium: Inkjet print Dimensions: Image: 6 3/4 x 10 in. (17.1 x 25.4 cm) Sheet: 8 1/2 x 11 in. (21.6 x 27.9 cm) Credit Line: Gift of Mike and Mickey Marvins Images represented on this report are for internal MFAH operations and do not represent the availability of reproducible images for publication in any format. 2 Apr 2015 \\MFAH-TMS\TMS\Reports\OBJECTS\OBJ_ListwithImage(customsort).rpt Page 2 of 14 ILLUSTRATED OBJECT LIST GIFTS OF MIKE AND MICKEY MARVINS 2013.709 Artist: Keith Calhoun, American, born 1955 Title: Armstrong Attitude Date: 1987 Medium: Inkjet print Dimensions: Image: 10 x 6 3/4 in. (25.4 x 17.1 cm) Sheet: 8 1/2 x 11 in. (21.6 x 27.9 cm) Credit Line: Gift of Mike and Mickey Marvins 2014.930 Artist: Henri Cartier-Bresson, French, 1908–2004 Title: Hyères, France Date: 1932 Medium: Gelatin silver print, printed 1990s Dimensions: Image: 11 3/4 x 17 1/2 in. (29.8 x 44.5 cm) Sheet: 16 x 20 in. (40.6 x 50.8 cm) Credit Line: Gift of Mike and Mickey Marvins 2014.931 Artist: Augustín Victor Casasola, Mexican, 1874 - 1938 Title: Soldadera y Federal Descansado en Cuartel Date: c. 1910 Medium: Gelatin silver print, printed later Dimensions: Image: 7 3/8 x 9 3/8 in. (18.8 x 23.9 cm) Sheet: 8 x 10 in. (20.3 x 25.4 cm) Credit Line: Gift of Mike and Mickey Marvins 2013.710 Artist: Marcos Chamudes, Chilean, 1907–1989 Title: Bolivia Date: 1952 Medium: Gelatin silver print Dimensions: Image: 8 1/8 x 8 3/8 in. (20.6 x 21.3 cm) Sheet: 8 1/8 x 8 3/8 in. (20.6 x 21.3 cm) Credit Line: Gift of Mike and Mickey Marvins 2012.621 Artist: Alvin Langdon Coburn, British, born United States, 1882 - 1966 Title: St. Paul's from Ludgate Circus Date: 1905 Medium: Photogravure Dimensions: Image: 15 1/8 x 11 5/16 in. (38.4 x 28.7 cm) Sheet: 16 x 11 15/16 in. (40.6 x 30.3 cm) Mount: 18 1/4 x 13 3/8 in. (46.4 x 34 cm) Credit Line: Gift of Mike and Mickey Marvins Images represented on this report are for internal MFAH operations and do not represent the availability of reproducible images for publication in any format. 2 Apr 2015 \\MFAH-TMS\TMS\Reports\OBJECTS\OBJ_ListwithImage(customsort).rpt Page 3 of 14 ILLUSTRATED OBJECT LIST GIFTS OF MIKE AND MICKEY MARVINS 2014.932 Artist: Edward Sheriff Curtis, American, 1868 - 1952 Title: The Vanishing Race - Navajo Date: 1904 Medium: Platinum print Dimensions: Image: 12 7/16 x 16 1/8 in. (31.6 x 40.9 cm) Sheet: 16 x 20 in. (40.6 x 50.8 cm) Credit Line: Gift of Mike and Mickey Marvins 2014.950 Artist: Baron Adolf De Meyer, American, 1868–1946 Title: Olga Date: 1920s Medium: Platinum print Dimensions: Image: 5 15/16 x 6 7/16 in. (15.1 x 16.4 cm) Credit Line: Gift of Mike and Mickey Marvins 2013.719 Artist: Baron Adolf De Meyer, American, 1868–1946 Title: Mme. Goupy Date: c. 1928 Medium: Photoengraving Dimensions: Image: 14 x 11 in. (35.6 x 27.9 cm) Sheet: 14 13/16 x 11 3/4 in. (37.6 x 29.8 cm) Credit Line: Gift of Mike and Mickey Marvins 2014.933 Artist: Eugene A. Delcroix, American, 1891-1967 Title: The Spanish Court Date: 1930s–1940s Medium: Gelatin silver print with toning and applied color Dimensions: Image: 5 1/4 x 3 3/4 in. (13.3 x 9.5 cm) Sheet: 5 1/4 x 3 3/4 in. (13.3 x 9.5 cm) Credit Line: Gift of Mike and Mickey Marvins 2014.934 Artist: André Adolphe-Eugène Disdéri, French, 1819 - 1889 Title: Count and Countess Tyszkiewicz Date: 1860 Medium: Albumen silver print Dimensions: Image: 7 7/8 x 9 1/8 in. (20.1 x 23.1 cm) Sheet: 7 7/8 x 9 1/8 in. (20 x 23.2 cm) Mount: 10 3/8 x 13 3/4 in. (26.4 x 34.9 cm) Credit Line: Gift of Mike and Mickey Marvins Images represented on this report are for internal MFAH operations and do not represent the availability of reproducible images for publication in any format. 2 Apr 2015 \\MFAH-TMS\TMS\Reports\OBJECTS\OBJ_ListwithImage(customsort).rpt Page 4 of 14 ILLUSTRATED OBJECT LIST GIFTS OF MIKE AND MICKEY MARVINS 2012.622 Artist: Robert Doisneau, French, 1912 - 1994 Title: Le Manège de Monsieur Barré Mr. Barré's Carousel Date: 1955 Medium: Gelatin silver print Dimensions: Image: 11 7/8 x 9 5/8 in. (30.2 x 24.4 cm) Sheet: 16 x 11 7/8 in. (40.6 x 30.2 cm) Credit Line: Gift of Mike and Mickey Marvins 2013.711 Artist: František Drtikol, Czech, 1883 - 1961 Title: Untitled Date: 1925 Medium: Gelatin silver print Dimensions: Image: 1 15/16 x 1 9/16 in. (5 x 4 cm) Sheet: 1 15/16 x 1 9/16 in. (4.9 x 4 cm) Credit Line: Gift of Mike and Mickey Marvins 2014.956 Artist: Eberle & Werner, Ulm, German, 1870s–1910s Title: German Roster: 1894–96 Fur Erinnernng an unler Dienstzeit, 11 Comp, Gren Rgt. K.K. 5 Wurtt, No. 123 Date: 1894–1896 Medium: Albumen silver prints Dimensions: Image: 19 x 15 1/8 in. (48.3 x 38.4 cm) Sheet: 21 1/2 x 18 in. (54.6 x 45.7 cm) Credit Line: Gift of Mike and Mickey Marvins 2012.623 Artist: Peter Henry Emerson, British, born Cuba, 1856 - 1936 Title: Coming Home from the Marshes from the series Life and Landscape on the Norfolk Broads Date: c.
Load more

Recommended publications
  • Before Zen: the Nothing of American Dada
    Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada.
    [Show full text]
  • Century British Photography and the Case of Walter Benington by Robert William Crow
    Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography.
    [Show full text]
  • June 3, 2013 to Whom It May Concern, We Support
    June 3, 2013 To whom it may concern, We support having The Bancroft Building at 3-7 West 29th Street, New York, New York, 10001, evaluated by the Landmarks Commission. This particular building housed the Camera Club of New York, which exhibited many of the most famous photographers of the turn of the century. As The Director of this 125+ year organization I can tell you this was a very important time for the Club and for the history of the arts in NYC. Alfred Stieglitz, considered by many to be the father of American photography, was an early member, and his groundbreaking publication, Camera Notes, documented the Club’s activities while advocating for the inclusion of photography in the catalog of fine arts. Best, John Stanley CCNY Director The Camera Club of New York (CCNY) 336 West 37th Street, Suite #206 New York, NY 10018 212-260-9927 The Camera Club of New York at 3‐9 West 29th Street, 1898‐1903 The Camera Club of New York, during the time of its residency at 3‐7 West 29th St. (1898‐1903), was recognized as the leading photographic organization of its day in the United States. Combined in 1897 from two other camera clubs, the newly named Camera Club of New York constructed a state of the art facility on the 8th floor and a portrait studio on the roof. The Club had about 335 members at that time. The Camera Club at the turn of the 19th century was a combination of social club and scientific and artistic meeting place.
    [Show full text]
  • The Original Copy: Photography of Sculpture, 1839 to Today
    The Original Copy: Photography of Sculpture, 1839 to Today The Museum of Modern Art, New York August 01, 2010-November 01, 2010 6th Floor, Special Exhibitions, North Kunsthaus Zürich February 25, 2011-May 15, 2011 Sculpture in the Age of Photography 1. WILLIAM HENRY FOX TALBOT (British, 1800-1877) Bust of Patroclus Before February 7, 1846 Salt print from a calotype negative 7 x 6 5/16" on 8 7/8 x 7 5/16" paper (17.8 x 16 cm on 22.5 x 18.6 cm paper) The J. Paul Getty Museum, Los Angeles, California, 84.XP.921.2 2. ADOLPHE BILORDEAUX (French, 1807-1875) Plaster Hand 1864 Albumen silver print 12 1/16 x 9 3/8" (30.7 x 23.8 cm) Bibliothèque nationale de France, Paris 3. LORRAINE O'GRADY (American, born 1934) Sister IV, L: Devonia's Sister, Lorraine; R: Nefertiti's Sister, Mutnedjmet from Miscegenated Family Album 1980/94 Silver dye bleach print 26 x 37" (66 x 94 cm) Courtesy the artist and Alexander Gray Associates, New York 4. CHARLES NÈGRE (French, 1820-1880) The Mystery of Death, Medallion by Auguste Préault November 1858 Photogravure 10 1/2 x 10 1/2" (26.6 x 26.7 cm) National Gallery of Canada, Ottawa Purchased 1968 The Original Copy: Photography of Sculpture, 1839 to Today - Exhibition Checklist Page 1 of 73 5. KEN DOMON (Japanese, 1909-1990) Right Hand of the Sitting Image of Buddha Shakyamuni in the Hall of Miroku, Muro-Ji, Nara 1942-43 Gelatin silver print 12 7/8 x 9 1/2" (32.7 x 24.2 cm) The Museum of Modern Art, New York.
    [Show full text]
  • The Stieglitz Revolution the Art Show February 28-March 5, 2018 / Booth B12
    THE STIEGLITZ REVOLUTION THE ART SHOW FEBRUARY 28-MARCH 5, 2018 / BOOTH B12 Artist, Rebel, Publisher, Philosopher, Promoter and pioneering Gallerist, Alfred Stieglitz (1864- 1946) played the starring role in the emergence and development of American Modernism. In the early years, Stieglitz fostered the pictorialist photography movement, while bringing the most important European avant-garde artists to American shores and the attention of collectors and artists (names such as Cézanne, Rodin, Matisse, Braque, Picasso, Brancusi, Picabia and Severini). Later, he established and promoted the central canonical group of American modernists, including Bluemner, Lachaise, Maurer, Nadelman and Walkowitz. Stieglitz used every imaginable resource to showcase the foundational artists of modernism, and allow the artists he gathered around him to develop a singularly American response to the avant-garde ideas of the early STIEGLITZ’S GALLERIES THE LITTLE GALLERIES OF THE PHOTO-SECESSION 20th century. (“291”) 1905-1917 After 1915, he principally championed American 291 Fifth Avenue (moves to 293 Fifth Avenue in 1908) modernists and the “7 Americans”, formalized ANDERSON GALLERIES 1921-1925 in a 1925 exhibition presenting the work of 489 Park Avenue Demuth, Dove, Hartley, Marin, O’Keeffe, THE INTIMATE GALLERY Strand and Stieglitz himself. His publications, 1925-1929 489 Park Avenue, Room 303 including the influential Camera Work, were instrumental in disseminating his ideas about AN AMERICAN PLACE 1929-1946 photography and modern art to a general public. 509 Madison Avenue, Room 1710 Through his succession of galleries from 1905- 1946, the artists Stieglitz exhibited and the ideas he promoted changed the course of 20th century art in America.
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:May 15, 2007 I, Katie Esther Landrigan, hereby submit this work as part of the requirements for the degree of: Master of Arts in: Art History It is entitled: The Photographic Vision of John O. Bowman, “The Undisputed Box-Camera Champion of the Universe” This work and its defense approved by: Chair: Theresa Leininger-Miller, Ph.D. Mikiko Hirayama, Ph.D. Jane Alden Stevens The Photographic Vision of John O. Bowman (1884-1977), “The Undisputed Box-Camera Champion of the Universe” A thesis submitted to the Art History Faculty of the School of Art/College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Master of Arts in Art History Katie Esther Landrigan B.A., Ohio State University April 2006 Thesis Chair: Dr. Theresa Leininger-Miller Abstract In 1936, John Oliver Bowman (1884-1977) purchased his first box camera with seventy- five cents and six coffee coupons. In his hometown of Jamestown, New York, located in the Chautauqua Lake Region, Bowman spent his free time photographing a wide range of subjects, including farmers plowing the fields or the sun setting over Chautauqua Lake from the 1930s until the end of his life. He displayed a Pictorialist sensibility in his photographs of small town living and received worldwide recognition with a solo exhibition of ninety-nine prints at the New York World’s Fair of 1939-1940, as well as nationwide praise in the popular press. Within forty years, Bowman produced an estimated 8,000 gelatin silver prints. This thesis marks the first in- depth, scholarly study of Bowman’s life and work.
    [Show full text]
  • BEA NETTLES Nettles’ First Book
    BEA NETTLES Nettles’ first book. A surreal group that share a common element - some mysteri- An innovator in photomechanical ous event or organic form against a sky with clouds. $300.00 printmaking, Bea Nettles (b. 1946, Gainesville, Florida) uses photographic 586. Nettles, Bea. FLAMINGO IN THE imagery with a variety of processes, DARK. Rochester: Inky Press, 1979. First some of which she introduced to the ed. Square 4to., 66 photographically pro- lexicon. She obtained her B.F.A. from duced images in color, illustrated endpa- the University of Florida, Gainesville pers. Gilt-embossed cloth, issued without (1968), and her M.F.A. from the Uni- dw. Fine. Housed in cloth slipcase. versity of Illinois, Chicago (1970). Limited to 200 SIGNED copies, with Nettles has produced some of the most an additional portfolio of six prints laid in. Nettles used the Kwik Print method to pro- visually exciting work since the early duce the original multiple negative color 590. Nettles, Bea. KNIGHTS OF ASSISI: A 70’s. prints, which are reproduced here by offset JOURNEY THROUGH THE TAROT. (Urbana, screened lithography. $250.00 IL: Inky Press Productions, 1990). First ed. 582. Nettles, Bea. A IS FOR APPLEBITING Square 8vo., (22) pp., color photos. Plain ALLIGATORS: AN ALPHABET BOOK. N.p.: 587. Nettles, Bea. FLAMINGO IN THE stiff wrappers in illustrated dw. Fine. Self-published, 1974. First ed. 24mo., (29) DARK. Rochester: Inky Press, 1979. First $45.00 pp., b&w photo-illustrations. Stiff wrappers. ed. Square 4to., 66 photographically pro- Fine. Housed in faux alligator skin stitched duced images in color, illustrated endpa- 591.
    [Show full text]
  • The History of Photography: the Research Library of the Mack Lee
    THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography.
    [Show full text]
  • How Copyright Law Fails to Adequately Account for Photography
    Volume 115 Issue 1 Article 11 September 2012 In the Language of Pictures: How Copyright Law Fails to Adequately Account for Photography Teresa M. Bruce University of Denver College of Law Follow this and additional works at: https://researchrepository.wvu.edu/wvlr Part of the Intellectual Property Law Commons, and the Photography Commons Recommended Citation Teresa M. Bruce, In the Language of Pictures: How Copyright Law Fails to Adequately Account for Photography, 115 W. Va. L. Rev. (2012). Available at: https://researchrepository.wvu.edu/wvlr/vol115/iss1/11 This Article is brought to you for free and open access by the WVU College of Law at The Research Repository @ WVU. It has been accepted for inclusion in West Virginia Law Review by an authorized editor of The Research Repository @ WVU. For more information, please contact [email protected]. Bruce: In the Language of Pictures: How Copyright Law Fails to Adequatel IN THE LANGUAGE OF PICTURES*: HOW COPYRIGHT LAW FAILS TO ADEQUATELY ACCOUNT FOR PHOTOGRAPHY Teresa M Bruce I. INTRODUCTION. ........................................ ........ 95 II. PHOTOGRAPHY'S BATTLE FOR FINE-ARTS STATUS..................98 A. The Arguments Against Photographyas a Fine Art ..... ..... 1 01 B. The Arguments for Photographyas a Fine Art ....... ......... 102 1. pictorialism: attempting to imitate the traditional fine arts......102 2. straight photography: developing a true photographic aesthetic........................ ............. 104 3. straight photography and the moment of meaningfulness ....... 105 III. PHOTOGRAPHY AND ORIGINALITY: A PICTORIALIST RATIONALE EVOLVES INTO A STANDARD THAT "ALMOST ANY" PHOTOGRAPH CAN SATISFY ................................................. 108 A. Burrow-Giles Introduces a PictorialistEthic into the OriginalityInquiry.. .................................... 109 B. Burrow-Giles's Progeny and the Move Away from a Strict- PictorialistViewpoint .....................................112 1.
    [Show full text]
  • Elias Goldensky: Wizard of Photography' Gary D
    Elias Goldensky: Wizard of Photography' Gary D. Saretzky Who would not, out of sheer vanity, like to have himself photographed by ... Elias Goldensky ... ? Sidney Allan [Sadakichi Hartmann], 1904 In June 1924, Elias Goldensky (1867-1943) traveled from his Philadel- phia studio to demonstrate his portrait photography technique at the Con- vention of the Ontario Society of Photographers in Toronto. To encourage attendance, the Society printed a publicity card with Goldenskys portrait. The text on the back reflects the esteem with which Goldensky was held by his professional colleagues: Mr. Elias Goldensky, the Wizard of Photography, is coming from Philadelphia to demonstrate at our convention .... He has dem- onstrated at Conventions perhaps more than any other living pho- tographer. He is a most interesting lecturer and has the great gift of being a natural teacher; he can, and will, solve your many light- ing problems. He will show how to so balance a lighting that he can light four subjects at opposite corners at one time, clever as this may be in its practical way; he will also demonstrate how to make pictorial work. He is an acknowledged artist, in addition to. his practical craftsmanship. Three Big Performances from the brain of this marvelous workman. You owe it to yourself to see and hear him. .2 The wizard did not disappoint his audience. As reported by the Toronto Star Weekly on June 28 under the headline, "King of the Camera Works Like Greased Lightning," Goldensky, described as "one of the six best in the coun- try," took 400 portraits in 55 minutes while keeping up an amusing running commentary: "Good morning, madam," he began, "in the ma-ter of portraits we have two sizes, one at six photos for twenty dollars, one at six for forty.
    [Show full text]
  • Edward Steichen and Hollywood Glamour
    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2014 Edward Steichen and Hollywood Glamour Alisa Reynolds University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Reynolds, Alisa, "Edward Steichen and Hollywood Glamour" (2014). Theses and Dissertations--Art & Visual Studies. 9. https://uknowledge.uky.edu/art_etds/9 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • "Equivalents": Spirituality in the 1920S Work of Stieglitz
    The Intimate Gallery and the Equivalents: Spirituality in the 1920s Work of Stieglitz Kristina Wilson With a mixture of bitterness and yearning, Alfred Stieglitz Galleries of the Photo-Secession, where he had shown work wrote to Sherwood Anderson in December 1925 describing by both American and European modernists), the Intimate the gallery he had just opened in a small room in New York Gallery was Stieglitz's first venture dedicated solely to the City. The Intimate Gallery, as he called it, was to be devoted promotion of a national art.3 It operated in room 303 of the to the work of a select group of contemporary American Anderson Galleries Building on Park Avenue for four sea- artists. And although it was a mere 20 by 26 feet, he discussed sons, from when Stieglitz was sixty-one years of age until he the space as if it were enormous-perhaps limitless: was sixty-five; after the Intimate Gallery closed, he opened An American Place on Madison Avenue, which he ran until his There is no artiness-Just a throbbing pulsating.... I told death in 1946. It is at the Intimate Gallery, where he primarily a dealer who seemed surprised that I should be making showed the work of Arthur Dove, John Marin, Georgia this new "experiment"-[that] I had no choice-that O'Keeffe, Marsden Hartley, and Paul Strand, that the ideals there were things called fish and things called birds. That and aspirations motivating his late-life quest for a unique, fish seemed happiest in water-&8 birds seemed happy in homegrown school of art can be found in their clearest and the air.
    [Show full text]