DOCSLIB.ORG

Family Portraits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Family Portraits Wright State University CORE Scholar Exhibition and Program Catalogs Robert and Elaine Stein Galleries 2-22-1987 Family Portraits Ronald R. Geibert Wright State University, [email protected] University Art Galleries, Wright State University Follow this and additional works at: https://corescholar.libraries.wright.edu/restein_catalogs Part of the Art and Design Commons, Art Practice Commons, and the Fine Arts Commons Repository Citation Geibert , R. R., & University Art Galleries, Wright State University (1987). Family Portraits. Dayton, Ohio: Robert and Elaine Stein Galleries, Wright State University. This Catalog is brought to you for free and open access by the Robert and Elaine Stein Galleries at CORE Scholar. It has been accepted for inclusion in Exhibition and Program Catalogs by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. -------1-f--------­ l Designed by Theresa Almond University Art Galleries Cover Photo by I. I. Freyman, Child-Wedding Tableau, Wright State University Library of Congress catalog card number: 86-51654 c. 1900, glass negatives printed by Emmet Gowin, 1978. Dayton, Ohio 45435 ISBN 0-932 706-13-4 D1~m DOllllllll 13~~~il 0153926il~iil~llllllllllllll llb fAMILY PORTRAITS February 22,March 20, 1987 Curated by Barry A. Rosenberg and Kathleen Peoples With essay by Ron Geibert University Art Galleries Wright State University Dayton, Ohio This exhibition and catalog were made possible through the Corporate Sponsorship of Lazarus and Federated Department Stores. T HER E S SOMETHIN G LAZARUS HAPPE NIN G FOR YOU he aim of our Family Portraits Special acknowledgement and thanks must T exhibition was to investigate the also be given to all of the lending artists, photographer's use of his/her own galleries, and institutions, and in particular to family as subject matter from the earliest days Richard Rudisill and Steve Yates from the of photography to the present. Although the Museum of New Mexico, Dominique Vassar idea of family portraiture seems elementary, to from the Dayton Art Institute, Van Deren our knowledge there has never been a large­ Coke, Donna VanDerZee, Cusie Pfeifer, scale exhibition mounted that explores this Julie Saul, Linda Fiske, and Tennyson Schad. theme. For this reason, Family Portraits is We would also like to acknowledge the unique. invaluable assistance of Stuart Delk, for the As with any exhibition, curatorial decisions installation and design of the exhibit; Lisa were enormous, and many good photographers Hogan-Fryer, for promotion; Jeff Smith, working in this field have not been included. Theresa Almond, Margaret Yoko, and the We have, however, attempted to highlight students of WSU. various methods and concepts that have been This exhibition was made possible through employed throughout the years, and we have grant and corporate support from the Ohio tried to present an overview of many of the Arts Council and from Lazarus and Federated most important artists who have dealt with Department Stores. We owe particular thanks family portraiture in the medium of to Mr. Douglas Thomsen and Mr. Robert photography. Lazarus for their special interest and From its conception to its completion, Family enthusiasm in our Family Portraits project. Portraits has involved the time and labor of many individuals and institutions. Special thanks and appreciation must be given to Barry A. Rosenberg, Director Dr. Carol Nathanson for germinating the idea Kathleen Peoples, Assistant Director from which our final theme emerged, and to Ron Geibert for his many suggestions and for his essay. We would like to extend our gratitude to Emmet Gowin for the loan of his personal photographs by I. I. Freyman and for his permission to use them as cover and publicity pieces. by Ron Geibert oon after the daguerreotype and calotype be no fault of the Daguerreotypists of the expressions. The difficult circumstances in Sphotographic processes were introduced in present day; for verily, they are limning faces which they were made certainly provide us a 1839, photographers adapted them to at a rate that promises soon to make every partial explanation for the strained looks and portraiture. Calotype inventor William Henry man's house a Daguerrian Gallery." 2 rigid poses. These technical shortcomings, Fox Talbot wrote in his photographic however, can not explain the continued use The demand on photographic studios for manifesto The Pencil of Nature that "Portraits of the same stylized postures and contrived "mirrored" images (i.e., daguerreotypes) was of living persons and groups of figures form one gestures by today's amateur and professional nothing less than phenomenal. One New York of the most attractive subjects in photographers. Further explanation of these studio boasted of producing upwards of a photography ... I have observed that family practices lies in the traditional meaning thousand portraits daily. 3 Mass production and groups are especial favourites: and the same attached to the act of having a family portrait cut-throat competition soon dropped the price five or six individuals may be combined in so made. for a palm-sized daguerreotype from two dollars many varying attitudes, as to give much to twelve and one-half cents. 4 Obtaining a Interestingly, at the very birth of photography, interest and a great air of reality to a series of likeness of oneself or family was no longer the even the desire to have a facsimile of oneself such pictures." By the early 1840s Talbot exclusive privilege of wealthy aristocrats with was suspect. A German newspaper reminded himself had already made hundreds of salted their highly paid portrait painters; inexpensive readers that "the wish to capture evanescent paper prints of family members and friends at photographic portraits were now readily reflections is not only impossible, as has been his family estate, Lacock Abbey. His wife, available to all classes of society. shown by thorough German investigation, but Constance, and four children posed so often the mere desire alone, the will to do so, is that someone suggested that the youngest A visit to an early photographic studio was not blasphemy. God created man in His own daughter, Matilda Caroline, should have been an experience to be easily forgotten. The low image, and no man-made machine may fix the renamed Photogena. 1 In Boston, the famed sensitivity of the photographic materials image of God." 6 This stem rebuke may not daguerreotypist Josiah Johnson Hawes also required brilliant light and lengthy exposures have deterred the curious and the sinful from began portrait work, capturing on a highly of several minutes. After climbing flights of trouping off to the photographers, but it may polished silvered copper plate an exquisitely stairs to a roof-top studio, the client was well have undercut their enthusiasm about spontaneous and delicate image of his wife and ushered into a large room bathed in light from such a visit with tinges of guilt and anxiety. daughter. By 1849 family portraiture was so ceiling skylights and reflective mirrors. Chair Even today, for most families a visit to a widespread that T. S. Arthur said " ... it is straps, neck braces, and head clamps were used neighborhood portrait studio is approached hard to find the man who has not -the shadowy to assure the camera operator of a motionless with the same degree of enthusiasm that we faces of his wife and children done up in subject. Then, as described by one client, "the reserve for a trip to the dentist. Any purple morocco and velvet [cases], together or operator promenaded the room with watch in narcissistic tendencies that we might have are singly, among his household treasures . and hand, calling out the time every five seconds, counterbalanced by feelings of anxiety. Our if our children and children's children to the till the fountains of my eyes were dry." 5 imperfections loom before us and rudely third and fourth generation are not in Today we are fascinated by those early portrait remind us of our insecurities and our possession of portraits of their ancestors, it will attempts and amused at the somber humanity. But we go, nevertheless, grimly reminding ourselves that our obligation to positions in the family gatherings. Failure to of preset lighting arrangements, prosaic posterity must take precedence over any conform with the traditional fictions risks backgrounds, and retouched negatives. The personal fears and reservations. puzzled expressions from peers as well as the customer is assured of a known product­ possibility of not appearing to be a loving and nothing more, nothing less. As early Indeed, this concern with posterity has turned as 1854 well-adjusted family. This cookie-cutter this homogenization of portraiture was the production of family photographs into approach discourages individuality, but it also recognized by Danish philosopher and ceremonial events. From the moment of birth, assures, at least superficially, a visual theologian Soren Kierkegaard "special occasions" are dutifully recorded, when he wrote continuity with traditional society and that "everything is being done to make mounted in albums, and carefully labeled. The us all humanity. look exactly the same-so that earliest moments, the baptism, first steps, we shall only need one portrait." 7 Given its lackluster past, senior prom, and wedding are carefully Vacation snapshots fare no better. We churn it should be of no surprise that m any artists memorialized for future generations. Most
Load more

Recommended publications
  • Words Without Pictures
    WORDS WITHOUT PICTURES NOVEMBER 2007– FEBRUARY 2009 Los Angeles County Museum of Art CONTENTS INTRODUCTION Charlotte Cotton, Alex Klein 1 NOVEMBER 2007 / ESSAY Qualifying Photography as Art, or, Is Photography All It Can Be? Christopher Bedford 4 NOVEMBER 2007 / DISCUSSION FORUM Charlotte Cotton, Arthur Ou, Phillip Prodger, Alex Klein, Nicholas Grider, Ken Abbott, Colin Westerbeck 12 NOVEMBER 2007 / PANEL DISCUSSION Is Photography Really Art? Arthur Ou, Michael Queenland, Mark Wyse 27 JANUARY 2008 / ESSAY Online Photographic Thinking Jason Evans 40 JANUARY 2008 / DISCUSSION FORUM Amir Zaki, Nicholas Grider, David Campany, David Weiner, Lester Pleasant, Penelope Umbrico 48 FEBRUARY 2008 / ESSAY foRm Kevin Moore 62 FEBRUARY 2008 / DISCUSSION FORUM Carter Mull, Charlotte Cotton, Alex Klein 73 MARCH 2008 / ESSAY Too Drunk to Fuck (On the Anxiety of Photography) Mark Wyse 84 MARCH 2008 / DISCUSSION FORUM Bennett Simpson, Charlie White, Ken Abbott 95 MARCH 2008 / PANEL DISCUSSION Too Early Too Late Miranda Lichtenstein, Carter Mull, Amir Zaki 103 APRIL 2008 / ESSAY Remembering and Forgetting Conceptual Art Alex Klein 120 APRIL 2008 / DISCUSSION FORUM Shannon Ebner, Phil Chang 131 APRIL 2008 / PANEL DISCUSSION Remembering and Forgetting Conceptual Art Sarah Charlesworth, John Divola, Shannon Ebner 138 MAY 2008 / ESSAY Who Cares About Books? Darius Himes 156 MAY 2008 / DISCUSSION FORUM Jason Fulford, Siri Kaur, Chris Balaschak 168 CONTENTS JUNE 2008 / ESSAY Minor Threat Charlie White 178 JUNE 2008 / DISCUSSION FORUM William E. Jones, Catherine
    [Show full text]
  • Walker Evans: Depth of Field
    Walker Evans: Depth of Field Silhouette Self-Portrait, Juan-les-Pins, France, January 1927 Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long. Walker Evans Walker Evans: Depth of Field Edited by John T. Hill and Heinz Liesbrock Essays by John T. Hill Heinz Liesbrock Jerry L. Thompson Alan Trachtenberg­­ Thomas Weski Josef Albers Museum Quadrat, Bottrop High Museum of Art, Atlanta Vancouver Art Gallery, Vancouver Prestel • Munich • London • New York Walker Evans with His Father and Grandfather Walker Evans II, Walker Evans III, Walker Evans I Contents 12 Directors’ Foreword 14 Patrons’ Remarks 16 Introduction John T. Hill 19 “A surgeon operating on the fluid body of time”: The Historiography and Poetry of Walker Evans Heinz Liesbrock 30 Chapter 1 Origins and Early Work 1926–1931 94 Chapter 2 Portraits 95 “Quiet and true”: The Portrait Photographs of Walker Evans Jerry L. Thompson 112 Chapter 3 Victorian Architecture 1931–1934 126 Chapter 4 Cuba 1933 142 Chapter 5 African Sculpture 1934–1935 148 Chapter 6 Antebellum Architecture 1935–1936 162 Chapter 7 Farm Security Administration 1935–1938 200 Chapter 8 Let Us Now Praise Famous Men 222 “The most literary of the graphic arts”: Walker Evans on Photography Alan Trachtenberg 232 Chapter 9 New York Subway Portraits 1938–1941 248 Chapter 10 Mangrove Coast 1941 261 The Cruel and Tender Camera Thomas Weski and Heinz Liesbrock 274 Chapter 11 Magazine Essays 1945–1965 334 Chapter 12 Late Work 1960 –1970s 346 A “last lap around the track”: Signs and SX-70s Jerry L.
    [Show full text]
  • Download the Exhibition Captions and Posters (123
    INTRODUCTION “These pictures grew out of the curiosity about and admiration for this band of beautiful, strong women, who first let me into their lives then allowed me to try making one picture, then joined me in a tradition, an annual rite of passage. I love my sisters-in-law Mimi, Laurie and Heather, and I thank them wholeheartedly for their love and patience. Bebe, my true love, my best friend, is the centre of my life. How lucky, how grateful I am.” Nicholas Nixon The Brown Sisters Nicholas Nixon occupies a singular place in the recent history of photography. Focused on portraiture above all, and with a strong interest in the descriptive possibilities of the camera, his work reveals a tension between the visible–the subject, depicted skillfully and with extraordinary clarity–and the invisible– the emotional content, thoughts and curiosities that emerge in his photographs. His serial work explores unique worlds with a notable social concern that allows us to access unseen aspects of the artist’s private reality. But the everyday qualities of the series make them relatable and awaken in us echoes of associated memories and emotions. The communication of the passage of time and the absence of dramatic elements define a body of work that unfolds over nearly five decades of continuous dedication. Nixon employs a simple technique, almost obsolete, yet impeccable, the use of a large-format camera that encourages intimacy and cooperation with his subjects allowing him to reveal the worlds of the elderly and the sick, as well as the inner life of families and couples.
    [Show full text]
  • NICHOLAS NIXON: PICTURES of PEOPLE September 15 - November 13, 1988
    The Museum of Modern Art For Immediate Release August 1988 NICHOLAS NIXON: PICTURES OF PEOPLE September 15 - November 13, 1988 The contemporary American photographer Nicholas Nixon is the subject of a major exhibition at The Museum of Modern Art from September 15 to November 13, 1988. Organized by Peter Galassi, curator, Department of Photography, NICHOLAS NIXON: PICTURES OF PEOPLE presents approximately 120 black-and-white photographs surveying Nixon's work of the past decade. In this work Nixon has brought fresh conviction to the idea that sympathetic pictures of ordinary people can address the deepest human values. This exhibition and the accompanying book have been made possible by grants from the National Endowment for the Arts and the New York State Council on the Arts. John C. Waddell and Polaroid Corporation have provided additional support for the book. PICTURES OF PEOPLE is divided into five sections representing the five major series Nixon has produced since 1977: photographs of groups of people outdoors (1977-82); portraits of the elderly (1983-85); nude studies of Nixon's family (1980-88); annual portraits of the photographer's wife and her three sisters (1975-88); and excerpts from work-in-progress on portraits of people with AIDS (since 1987). In his essay, Peter Galassi observes that Nixon's work is free of irony and sentimental cliche\ "His pictures persuade us that we see individuals, not symptoms of a problem, or, worse, heroes of the solution. This achievement arises from Nixon's talent for pictorial invention, his sureness of craft, and above all his frankness of purpose, without which the other two would matter little." - more - 11 West 53 Street, New York, N.Y.
    [Show full text]
  • William Eggleston Born 1939 in Memphis, Tennessee
    This document was February 18, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. William Eggleston Born 1939 in Memphis, Tennessee. Lives and works in Memphis, Tennessee. BIOGRAPHY 1939Born July 27, Born in Memphis, Tennessee 1957 Acquires his first camera, a Canon Rangefinder 1958 Acquires his first Leica camera 1959 Sees Henri Cartier-Bresson’s “The Decisive Moment” and Walker Evans’s “American Photographs” 1965 Begins to experiment with color transparency film 1967 Starts to use color negative film. Goes to New York and meets Garry Winogrand, Lee Friedlander, and Diane Arbus. Presents his work to John Szarkowski at The Museum of Modern Art, New York 1974 Harry Lunn publishes the first portfolio of dye-transfer photographs, “14 Pictures.” Receives a Guggenheim Fellowship. Appointed Lecturer in Visual and Environmental Studies at Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts. Completes his “Los Alamos” project 1975 Receives a National Endowment for the Arts Photographer’s Fellowship 1976 The Museum of Modern Art exhibits work in first solo exhibition of color photographs accompanied by a monograph, William Eggleston’s Guide. Commissioned by Rolling Stone magazine to photograph Plains, Georgia before the election of President Jimmy Carter. Project becomes “Election Eve,” the first of the artist’s books of original photographs published by Caldecot Chubb 1978 Appointed Researcher in Color Video at Massachusetts Institute of Technology, Cambridge at the invitation of Richard Leacock. Photographs the Gulf states on a commission from AT&T. Receives another award from the National Endowment for the Arts.
    [Show full text]
  • Emmet Gowin's Photographs of Edith
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 The Photographer's Wife: Emmet Gowin's Photographs of Edith Mikell Waters Brown Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4501 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. School of the Arts Virginia Commonwealth University This is to certify that the dissertation prepared by Mikell Waters Brown entitled "The Photographer's Wife: Emmet Gowin's Photographs of Edith" has been approved by her committee as satisfactory completion of the dissertation requirement fo r the degree of D Philosophy. , irector, Department of Art History, School of the Arts Dr. Eric Garberson, Reader, Department of Art History, School of the Arts redrika Jacobs, �r,Depalfiii'ent of Art History, School of the Arts Dr. Michael Schreffler, Reader, Department of Art History, School of the Arts Ot1irS'fiIfe"'Reader, Chief Curator, Hirshhorn Museum, Smithsonian Dr. Eric Garberson, Director of Graduate Studies, Department of Art History, School of the Arts Dr. Richard E. Toscan, Dean, School of the Arts Dr. F. Douglas Boudinot, Dean, School of Graduate Studies ©Mikell Waters Brown 2005 All Rights Reserved The Photographer's Wife: Emmet Gowin's Photographs of Edith A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University by Mikell Waters Brown, B.F.A., Virginia Commonwealth University, 1981 M.A., Virginia Commonwealth University, 1991 Director: Robert C.
    [Show full text]
  • Fes Tiv Al Guide
    festival 2013 guide atlanta celebrates photography [ welcome welcome Welcome to the 15th annual published by atlanta Celebrates photography festival! 260 Peachtree Street Suite 300 through this festival, AcP seeks to involve anyone who has taken or shared Atlanta, GA 30303 a photograph—that means You! ] 404-527-5500 atlantamagazine.com every part of the city is touched by a variety of events and exhibitions—at the world’s busiest airport, in the weekend bustle of Piedmont Park, or tucked away in quiet corners of Atlanta’s outskirts—photographers transform retail shops, galleries, museums and PubliSher public spaces into a coordinated cultural experience! sean Mcginnis editoriAl director Month-LONG, City-Wide. delight YOUR eyes, inspire YOUR Mind! Kevin benefield • featured aCp events highlighted on pages 22–37 deSiGn director • all aCp festival events are listed chronologically in the main Section of the Guide Katy Miller • Calendar at the front of the Guide is the most comprehensive display of all AcP director of S AleS events, and is a handy one-stop planning tool for all of your AcP festival adventures. Clint smith • index of Artists and Venues to aid your search for a particular event. Art director Mark Ziemer Disclaimer: The listings compiled in this guide are submitted by companies and individuals, and are Cover art Alison wright considered as advertisements. Although every effort has been made to ensure that this information is correct, the publisher cannot guarantee accuracy. Please note that the information herein is meant to Malagan Ceremonial Mask lissengung island, new ireland, be used as a guide only.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Portrait Paradox: Complicating Identity in Catherine Opie's "Being and Having" Permalink https://escholarship.org/uc/item/3tf6v1xq Author Ramey, Anamaria C. Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Portrait Paradox: Complicating Identity in Catherine Opie’s Being and Having A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Anamaria Clutterham Ramey June 2014 Thesis Committee: Dr. Liz Kotz, Chairperson Dr. Jeanette Kohl Dr. Susan Laxton Copyright by Anamaria Clutterham Ramey 2014 The Thesis of Anamaria Clutterham Ramey is approved: ______________________________________________________ ______________________________________________________ ______________________________________________________ Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS I am indebted to my thesis advisor, Liz Kotz, for her guidance and encouragement. I consider it an honor to have been able to work with her. I am also grateful to my committee members, Jeanette Kohl and Susan Laxton, for their close readings and detailed comments. My deepest gratitude goes to my parents, Satchi and Beth Venkataraman. My mom has been an exceptional editor throughout my writing process. Thank you to my supportive partner, Nico Mendoza. Lastly, I would like to thank my cohort for the fond memories of
    [Show full text]
  • The Museum of Modern Art for Immediate Release November 1985 VARIANTS
    The Museum of Modern Art For Immediate Release November 1985 VARIANTS December 12, 1985 - March 11, 1986 An exhibition illustrating the varieties of choice that define the art of photography opens at The Museum of Modern Art on December 12, 1985. Entitled VARIANTS, the exhibition includes both famous and lesser-known examples of works by leading American and European photographers. Shown alongside one another are variant prints made from the same negative, different views of the same subject, and pictures taken from the same vantage point at different times, often to startling effect. Organized by John Szarkowski, director of the Department of Photography, the exhibition consists of approximately fifty black-and-white photographs, most of which have been drawn from the Museum's collection. The earliest variants in the exhibition are two 1865 pictures by Matthew Brady depicting the ruins of the mills of Richmond, Virginia. Both are made from the same camera position; but the photographer has panned his camera to produce two different versions of a symbol of total war. The work of Alfred Stieglitz provides an exceptionally rich example of the way a photographer may reconsider and revise the meaning of a picture years after the making of the negative. The exhibition contains two photogravure prints from his 1893 negative Winter Fifth Avenue. The earlier print (1897) presents a harsher, more naturalistic vision of the rigors of a winter snow storm; the 1905 print, by means of a softer tonal scale and the removal by retouching of unwanted details, produces a more lyric and decorative blizzard. Two Walker Evans photographs made within minutes of each other in 1930, both of the facade of a simple summer camp cottage, demonstrate the - more - 11 West 53 Street, New York, NY 10019-5486 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART - 2 - contradictory goals that competed for primacy in his work during that pivotal period.
    [Show full text]
  • Nicholas Nixon: the Brown Sisters” Opens November 13 at the National Gallery of Art
    Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: October 19, 2005 COMPELLING PHOTOGRAPHIC PORTRAITS IN “NICHOLAS NIXON: THE BROWN SISTERS” OPENS NOVEMBER 13 AT THE NATIONAL GALLERY OF ART Nicholas Nixon The Brown Sisters, 1978 gelatin silver print sheet: 20.2 x 25.2 cm (7 15/16 x 9 15/16) National Gallery of Art, Washington, Patrons' Permanent Fund, 2001.67.168 Washington, DC—One of the most compelling investigations of both portraiture and time in contemporary photography is on view in Nicholas Nixon: The Brown Sisters, at the National Gallery of Art in the West Building ground floor photography galleries from November 13, 2005, through February 20, 2006. The exhibition presents photographer Nicholas Nixon’s best-known work, a series of black-and-white portraits of his wife Bebe and her three sisters taken each year since 1975. While the photographs have their roots in family snapshots, the rigor of the artist and the commitment of the women to the project transcend their heritage to create a moving testament of human relationships. The series as a whole has become a remarkable record that grows in strength with each new addition. It has also attracted much attention: in 1999 the Museum of Modern Art in New York displayed the first 25 years; a version also has been shown at Harvard University’s Fogg Museum. Earlier in 2005, 30 years of the annual pictures were included in an exhibition of Nixon’s work at the Cincinnati Art Museum.
    [Show full text]
  • Framing Ideas
    FRAMING IDEAS Portraiture and Representation Images from the collection of the MoCP for classroom use. This image set corresponds with a curriculum guide that can be found at http://www.mocp.org/education/resources- for-educators.php These resources were created with special support from the Terra Foundation for American Art. Dawoud Bey A Woman and Child In A Doorway, from the "Harlem" portfolio, 1975 Dawoud Bey Deas McNeil, The Barber, from the Harlem portfolio, 1976 Dawoud Bey A Woman Waiting In The Doorway, from the Harlem portfolio, 1976 Dawoud Bey Sharmaine, Vicente, Joseph, Andre, and Charlie, 1993 Diane Arbus Two girls in matching bathing suits, Coney Island, N.Y., 1967 Diane Arbus Lady at a masked ball with two roses on her dress, N.Y.C., 1967 Diane Arbus Hermaphrodite and a dog in a carnival trailer, Maryland, 1970 Diane Arbus The Junior Interstate Ballroom Dance Champions, Yonkers, NY, 1962 Dennis Stock Untitled, from James Dean: A Memorial Porfolio, 1955 Dennis Stock Untitled, from James Dean: A Memorial Porfolio, 1955 Dennis Stock Untitled, from James Dean: A Memorial Porfolio, 1955 Carrie Mae Weems untitled #2451, 1990 Sally Mann Candy Cigarette, 1989 Sally Mann Emmett and the White Boy, 1990 Sally Mann The Perfect Tomato, 1990 Nick Nixon Heather Brown McCann, Mimi Brown, Bebe Brown Nixon, Laurie Brown, New Canaan, Connecticut, 1975 Nick Nixon The Brown Sisters, 1986 Nick Nixon The Brown Sisters, Falmouth, Massachusetts, 1998 Nick Nixon Hyde Park, Massachusetts, 1979 Nick Nixon Bebe and Clementine, 1986 Tina Barney Marina’s Room, 1987 Carrie Mae Weems Untitled, from the Kitchen Table series, 1991 Tina Barney Marina and Peter, 1997 Nikki S.
    [Show full text]
  • Expansion of Springs Mills Series on Photography
    The Museum of Modem Art 50th Anniversary •JO NO. 47 FOR IMMEDIATE RELEASE MODERN MUSEUM ANNOUNCES EXPANSION OF SPRINGS MILLS SERIES ON PHOTOGRAPHY Three photography exhibitions and their accompanying publications will be sponsored by Springs Mills, Inc., at The Museum of Modern Art in 1981, it was announced today by Richard E. Oldenburg, Director of the Museum. This represents a major expansion of The Springs Mills Series on Photography at the Museum, and marks the first time a corporation has undertaken the continuing sponsorship of photography books published by the Museum. The three exhibitions and publications to be underwritten by Springs Mills are: AMERICAN CHILDREN, AMERICAN LANDSCAPE and OLD FRANCE, the first in a four-part series of exhibitions planned by the Museum of the work of Eugene Atget. "The Springs Mills series reflects a remarkably enlightened under­ standing of the obligations and potential rewards of corporate philanthropy, stated John Szarkowski, Director of the Department of Photography at The Museum of Modern Art, "for it projects support for a wide range of programs over an extended period rather than selecting a single exhibition that might seem to promise extraordinary public attention. The program is an expansion of faith in the art of photography and in the Museum's ability to serve that art with intelligence." more... 11 West 53 Street, New York, N.Y. 10019, 212-956-6100 Cable: Modernart NO. 47 Page 2 Springs Mills' commitment to a long-term program of support for projects conceived and mounted by the Department of Photography began in 1978 with JERRY DANTZIC AND THE CIRKUT CAMERA, and continued the following year with GRAIN ELEVATORS: PHOTOGRAPHS BY FRANK GOHLKE and ANSEL ADAMS AND THE WEST.
    [Show full text]