DOCSLIB.ORG

Full Issue of the PHOTOGRAPH COLLECTOR

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Full Issue of the PHOTOGRAPH COLLECTOR THE PHOTOGRAPH COLLECTOR INFORMATION, OPINION, AND ADVICE FOR COLLECTORS, CURATORS, AND DEALERS N E W S L T R Volume XXXIV, No. 6 June 2013 AIPAD PHOTOGRAPHY SHOW AND AUCTIONS: $50–$60 MILLION IN SALES by Alex Novak (with Stephen Perloff) Jerry Uelsmann, Giampaolo Paci, and Maggie Taylor liven up the AIPAD Photography Show New York Opening Reception. (All photographs of the AIPAD Photography Show in this article by Stephen Perloff.) Despite some hefty competition during the about sales from the show. Most were in fact very week, the AIPAD Photography Show, New York enthusiastic about their results. produced some of the most solid results for dealers The 33rd edition of the longest-running pho- ever, as the show itself continued to set attendance tography fair in the world spotlighted 82 of some records (up this year to a “real” 11,500 attendees). of the most important international photo galler- Buyers were finding lots of interesting images ies and private dealers. AIPAD featured contem- to take home to add to their collections. For the porary, modern, and 19th-century photographs, first time ever in reporting on photography and art as well as photo-based art, video, and new media. fairs, I couldn’t find a single dealer to complain Exhibitors included galleries from across the U.S. THE AIPAD PHOTOGRAPHY SHOW continued and around the world, including Europe, Asia, the Bussard, Jeff Rosenheim, Malcolm Daniels, and Middle East, and South America. Seven galleries Fred Ritchin — among many others. exhibited at AIPAD for the first time: Brancolini AIPAD drew a wide range of curators from Grimaldi, London; ClampArt, New York; Fifty One such institutions as the Museum of Modern Art, Fine Art Photography, Antwerp; Klompching Gal- New York; Metropolitan Museum of Art; Interna- lery, Brooklyn; M97 Gallery, Shanghai; P.P.O.W., tional Center for Photography; Solomon R. Gug- New York; and Sage Paris. An exhibitor list is still genheim Museum: Morgan Library and Museum; available at http://www.aipad.com/photoshow. Nelson-Atkins Museum; Library of Congress; The opening night gala on April 3rd set the Philadelphia Museum of Art; Los Angeles County scene with a record crowd, which was buying in a Museum of Art; J. Paul Getty Museum; San Fran- serious way. That’s unusual at opening receptions, cisco Museum of Modern Art; Art Institute of Chi- which often turn out to be simply social events. cago; Art Gallery of Ontario, Scottsdale Museum The benefit was forinMotion , which provides free of Contemporary Art; Detroit Institute of Arts; legal services to low-income women. George Eastman House; Museum of Fine Arts, A wide range of notables from the worlds of Boston; National Gallery of Art, Washington, DC; art, entertainment, fashion, finance, government Smithsonian National Portrait Gallery; Smithson- and the media attended the bash including: Chris ian American Art Museum; New Orleans Museum Rock, Naomi Campbell, Kelly Bensimon, John of Art; National Gallery of Canada; Rijksmuseum, Demsey, Amanda Burden, Leonard Lauder, Sally Amsterdam; and Tate Modern, London. Mann, Christo, Steven Meisel, Bob Gruen, Elliott It really didn’t seem to matter what kind of Erwitt, Jerry Uelsmann and Maggie Taylor, Bruce work you were selling here. Whether it was 19th- Davidson, LaToya Ruby Frazier, Walter Martin century, 20th-century modernism or the latest and Paloma Munoz, Patrick McMullan, Vince cutting-edge contemporary work, it found buyers. Aletti, Vera Lutter, Jean Dykstra, Duane Michals, Many dealers, including myself, set New York AI- Anna Sui, Louise Blouin, Nion McEvoy, Michael PAD Show records for sales. And the sales were Gross, Gary and Sarah Wolkowitz, Gloria Katz strong to collectors, institutions, as well as other and Willard Huyck, Richard and Ronay Menschel, dealers. The strength of the latter’s purchases are Celso Gonzalez-Falla, Henry Buhl, Joseph Baio, what personally surprised and enthused me. Deal- Dan Greenberg, Eileen Cohen, Matt Blank, Peter er purchases at shows have been rather anemic in Som, Marjorie Ornston, Vicki Goldberg, Chris- the last few years. Dealers tend to avoid buying, tiane Fischer, Keith Davis, Michael Mattis and particularly from other dealers, when they aren’t Judith Hochberg, Sandra Phillips, Gary Sokol, Ju- having a great show or year, and buy when they dith Keller, Charles Jing, Lisa Hostetler, Katherine are doing well. There has been a bit of a recent turn-around here with dealers seeming to feel in more of a buying mood. At least that is my im- IN THIS ISSUE pression and experience. I not only sold to and AIPAD Photography Show Report ............................1 bought from exhibitors myself, but witnessed nu- merous sales of the same type. Perhaps it was also Random Notes from Paris Photo LA ......................10 because many of the dealers couldn’t get over to Auction Preview........................................................16 the auctions to buy nor had inclinations to do so, Auction Report ..........................................................17 when those auctions had so competitively run their Gallery Row ...............................................................18 hours directly over the show’s. Many dealers com- Museum and Nonprofit Row ....................................18 plained privately (and publicly) about the three Fairs and Festivals ...................................................20 big auction houses, but few offered solutions, and Awards .......................................................................21 some even felt it might have oddly helped the fair. In Passing..................................................................23 “The response to AIPAD 2013 from both col- Auction Schedule .....................................................25 lectors and exhibitors was overwhelmingly posi- Courses, Lectures, and Seminars...........................27 tive,” noted Catherine Edelman, new president Trade Shows, Fairs, and Festivals ..........................27 of AIPAD, and director of Catherine Edelman Catalogues & Publications/Limited Editions .........28 Gallery, Chicago. “Sales were strong across the Exhibitions of Note ...................................................28 board, and AIPAD’s famously collegial and wel- coming atmosphere, combined with the collective 2 THE AIPAD PHOTOGRAPHY SHOW continued including those two Greg Scott videos at $28,000 and $26,000 respectively. Edelman noted the competition from the auc- tions: “I’m not sure there is much we can do about the auctions taking place in and around our fair. On the one hand, it is very flattering. On the other hand, it would be nice to be the main focus for five days. We announce our show dates when they are finalized, which typically happens during the sum- mer months. I am not sure there is much we can do about this issue, except to embrace it and celebrate the strength of the photo market.” By the way, newly minted president Edelman is already becoming an AIPAD dealer favorite. She set up a lunch area for exhibitors that went over big with the group. In fact the entire man- agement team got plaudits from virtually all of the exhibitors, who constantly remarked about the smooth operations of the show. Our own company, Contemporary Works/ Vintage Works, posted its best New York show results ever. Even after two months we are still making sales from the show, and probably will be until the end of the year. I felt the show itself was in its most elegant iteration. Virtually all the collectors that I spoke A display of Jefferson Hayman’s images at Michael Shapiro to about the show were gushing with enthusiasm Photographs. for the fair. More importantly, it was clear that the work at the fair was appealing to a large group of knowledge and expertise of the membership, was collectors and curators, who were not afraid to pull unbeatable.” the trigger on probably over $12–$15 million in Edelman reviewed her own results with us: sales here over the four days. Add in the auction “We did well this year. We decided to show two results that approached $33 million, plus the local video pieces by Gregory Scott (in the past it’s only New York photo gallery sales, which were report- been one) and sold both, with additional follow edly much stronger than normal for that week, and up. I try to feature work not shown by other deal- you had a single week when buyers bought over ers and not only exhibited work by Gregory Scott $50–$60 million in photography in just New York (the video artist), but introduced the AIPAD pub- City! A rather staggering weekly total to us old lic to Frieke Janssens (Smoking Kids) and Keliy timers. OK, it wasn’t quite the exaggerated $100 Anderson-Staley. I also exhibited new pieces by million total that one publication reported, but John Cyr, whose works we highlighted last year, it also wasn’t chopped liver either, as the saying and Elizabeth Ernst (photo-based mixed media), goes. whose works we show every three or four years.” As I noted above and as before the recession, Edelman gave her thoughts on the show: “I some of Contemporary Works/Vintage Works’ thought the fair looked terrific this year, but I may strongest sales were to other dealers, who clearly be biased. By moving the food into an auxiliary saw and understood the many top bargains in our room, we were able to fill out the back area with booth. The magnificent Heinrich Kühn landscape large booths, attaining a wonderful flow through- on our front wall and the two great Helmut New- out the show floor. We also tweaked the
Load more

Recommended publications
  • Eduardo Del Valle & Mirta Gómez
    EDUARDO DEL VALLE Professor Department of Art & Art History [email protected] CURRICULUM VITAE PERSONAL INFORMATION Eduardo del Valle, American, born Havana, Cuba 1951. EDUCATION Master of Fine Arts in Art, Brooklyn College of the City University of New York, Brooklyn, NY, 1981. Bachelor of Fine Arts in Art, Florida International University, Miami, FL, 1976. Associate of Arts, Miami-Dade Community College, South Campus, Miami, FL, 1974. MONOGRAPHS ON VIEW, Photographs by Eduardo del Valle & Mirta Gómez. The Nazraeli Press, 2012. ISBN 978-1-59005-342-7 EN VISTA, Photographs by Eduardo del Valle & Mirta Gómez. The Nazraeli Press, 2009. ISBN 978-1-59005-262-4 WITNESS NUMBER FOUR, Artists and Guest Editors, Eduardo del Valle & Mirta Gómez. JGS, Inc. 2008. ISBN 978-1-59005-220-4 BETWEEN RUNS, Photographs by Eduardo del Valle & Mirta Gómez. Essay by Chris Pichler, Director of Nazraeli Press, Portland, OR. The Nazraeli Press, 2006. ISBN 1-59005-168-8 FRIED WATERS, Photographs by Eduardo del Valle and Mirta Gómez. Essay by Mark Haworth-Booth, Senior Curator of Photography, The Victoria and Albert Museum, London. The Nazraeli Press, 2005. ISBN 1-59005-090-8 FOUR SECTIONS OF TIME, Photographs by Eduardo del Valle & Mirta Gómez, The Nazraeli Press, 2004. ISBN 1-59005-077-0 FROM THE GROUND UP, Photographs by Eduardo del Valle & Mirta Gómez. Essays by Sandra S. Phillips, Senior Curator of Photography, San Francisco Museum of Modern Art and Richard Rodriguez, author and essayist on the NewsHour with Jim Lehrer on PBS. The Nazraeli Press, 2003. ISBN 1-59005-054-1 FELLOWSHIPS & GRANTS (selected) John Simon Guggenheim Memorial Foundation, Two Individual Artists Fellowships for Photography, New York City, NY, 1997-98.
    [Show full text]
  • Hiroshi Hamaya 1915 Born in Tokyo, Japan 1933 Joins Practical
    Hiroshi Hamaya 1915 Born in Tokyo, Japan 1933 Joins Practical Aeronautical Research Institute (Nisui Jitsuyo Kouku Kenkyujo), starts working as an aeronautical photographer. The same year, works at Cyber Graphics Cooperation. 1937 Forms “Ginkobo” with his brother, Masao Tanaka. 1938 Forms “Youth Photography Press Study Group” (Seinen Shashin Houdou Kenkyukai) with Ken Domon and others. With Shuzo Takiguchi at the head, participates in “Avant-Garde Photography Association” (Zenei Shashin Kyokai). 1941 Joins photographer department of Toho-Sha. (Retires in 1943) Same year, interviews Japanese intellectuals as a temporary employee at the Organization of Asia Pacific News Agencies (Taiheiyo Tsushinsha). 1960 Signs contract with Magnum Photos, as a contributing photographer. 1999 Passed away SOLO EXHIBITIONS 2017 Record of Anger and Grief, Taka Ishii Gallery Photography / Film, Tokyo, Japan 2015 Hiroshi Hamaya Photographs 1930s – 1960s, The Niigata Prefectural Museum of Modern Art, Niigata, Japan, July 4 – Aug. 30; Traveled to: Setagaya Art Museum, Tokyo, Japan, Sept. 19 – Nov. 15; Tonami Art Museum, Toyama, Japan, Sept. 2 – Oct. 15, 2017. [Cat.] Hiroshi Hamaya Photographs 100th anniversary: Snow Land, Joetsu City History Museum, Niigata, Japan 2013 Japan's Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto, J. Paul Getty Museum, Los Angeles, CA, USA [Cat.] 2012 Hiroshi Hamaya: “Children in Japan”, “Chi no Kao [Aspects of Nature]”, “American America”, Kawasaki City Museum, Kanagawa, Japan 2009 Shonan to Sakka II Botsugo
    [Show full text]
  • The Board of Trustees of the International Fund for Concerned Photography Is Drawn from Many Intellectual Disciplines. All Trust
    the International fund for Concerned Photography inc. 275 Fifth Avenue, New York, N.Y. 10016 The Board of Trustees of The International Fund for Concerned Photography is drawn from many intellectual disciplines. All trustees are involved in the visual perception of the world, working closely with us to identify talent and ideas, indicate the direc­ tion and quality of our various projects, and provide active support. Included among the Board and the Advisory Council are photographers, film-makers, educators, museum curators, art historians, psychologists, architects, writers, journalists, and business executives who share both a concern for man and his world and a commitment to the goals of the Fund. Board of Trustees - The International Fund for Concerned Photography Rosellina Bischof Burri Zurich: Founding Trustee Frank R. Donnelly New York: Child psychologist; social worker; author; Associate Director, Playschool Association; Founder, Studio Museum, Harlem Matthew Huxley Washington, D.C.: Chief, Standards Development Branch, National Institute of Mental Health; author Karl Katz New York: Chairman of Exhibitions and Loans, Metro­ politan Museum of Art Gy orgy Kepes Cambridge, Mass.: Professor of Visual Design, M.I.T.; painter; author Ellen Liman New York: Painter; author; collector William H. MacLeish Woods Hole, Mass.: Editor of Oceanus, the official publication of Woods Hole Oceanographic Institution Henry M. Margolis New York: Chairman of the Board of Trustees, ICP, industrialist; Director, American Committee of the Weizmann Institute of Science Mitchell Pallas Chicago: Chairman of the Board, Center for Photographic Arts Dr. Fritz Redi Massachusetts: Professor of Behavioral Sciences; author Nina Rosenwald New York: Photographer; board member, Young Concert Artists Society; member.
    [Show full text]
  • Frank Gohlke: Where We Live Queens, New York 2003-2004
    Frank Gohlke: Where We Live Queens, New York 2003-2004 27 June – 22 August, 2008 Artist’s Reception Wednesday, 26 June, 6-8 pm New York - Howard Greenberg Gallery is pleased to announce an exhibition of Frank Gohlke’s photography. A reception for the artist is scheduled for Thursday, 26 June, from 6:00 to 8:00 p.m. Recognized as one of the most influential and reflective American landscape photographers, Gohlke takes us to Queens, NY for this exhibition. Queens is both a destination and a way station, where ethnic diversity first undergoes the turbulent process of Americanization. What interests Gohlke in this borough are the visible traces of this process in the urban/suburban landscape. His hunch is that every step in this complex transformation can be observed somewhere in Queens if one knows where to look. Gohlke’s photographs speak with precision and economy, inspired by the straightforwardness of their subjects—they are quiet, spare, and elegant. He first gained notice as one of ten photographers included in the landmark exhibition New Topographics: Photographs of a Man-altered Landscape. Organized in 1975 by the International Museum of Photography at George Eastman House, this exhibition re- defined landscape photography in America and abroad. Rather than romanticized views concentrating on the idea of wilderness, the photographers in this exhibition described places where a human presence was acknowledged as the actual condition of our time. Throughout his career, Gohlke has carefully defined urban, suburban, and rural landscapes. Almost every image carries a human mark, even if it is as subtle as the engraved lines of a tilled field.
    [Show full text]
  • The Photographer's Legacy: Our Members Speak out About Their Work
    The magazine of The Foreign Correspondents’ Club of Japan May 2016, Volume 48 No. 5, ¥400 The photographer’s legacy: Our members speak out about their work Vol. 48, Number 5 May 2016 contact the editors [email protected] Publisher FCCJ Editor Gregory Starr Art Director Andrew Pothecary www.forbiddencolour.com Editorial Assistants Naomichi Iwamura, Tyler Rothmar Photo Coordinator Akiko Miyake Publications committee members Gavin Blair, Freelance (Chair); Geoffrey Tudor, Orient Aviation; Monzurul Huq, Prothom Alo; Julian Ryall, Daily Telegraph; Patrick Zoll, Neue Zürcher Zeitung; Sonja Blaschke, Freelance; John R. Harris, Freelance FCCJ BOARD OF DIRECTORS Bob President Suvendrini Kakuchi, University World News, UK Kirschenbaum 1st Vice President Peter Langan, Freelance 2nd Vice President Imad Ajami, IRIS Media Secretary Mary Corbett, Cresner Media Treasurer Robert Whiting, Freelance HLADIK MARTIN p14 Directors at Large In this issue Masaaki Fukunaga, the Sanmarg Milton Isa, Associate Member Yuichi Otsuka, Associate Member James Simms, Forbes Contributor, Freelance The Front Page Ex-officio Lucy Birmingham From the President by Suvendrini Kakuchi 4 Kanji William Sposato, Freelance Collections: Kyushu earthquakes by the numbers 4 FCCJ COMMITTEE CHAIRS Associate Members Liaison Milton Isa From the archives by Charles Pomeroy 5 Compliance Kunio Hamada DeRoy Memorial Scholarship Masaaki Fukunaga Entertainment Sandra Mori, Suvendrini Kakuchi Exhibition Bruce Osborn Film Karen Severns Finance Robert Whiting Food & Beverage Robert Whiting Freedom
    [Show full text]
  • Page 1 EYES WIDE OPEN: 100 YEARS of LEICA PHOTOGRAPHY
    EYES WIDE OPEN: 100 YEARS OF LEICA PHOTOGRAPHY OCTOBER 24, 2014 – JANUARY 11, 2015 DEICHTORHALLEN HAMBURG / HOUSE OF PHOTOGRAPHY The exhibition EYES WIDE OPEN: 100 YEARS OF LEICA PHOTOGRAPHY curated by Hans-Michael Koetzle, illuminates various aspects of recent small-format photography, from journalistic strategies to documentary approaches and free artistic positions, spanning fourteen chapters. Among the artists whose work will be shown are Alexander Rodchenko, Henri Cartier-Bresson, Robert Capa, Christer Strömholm, Robert Frank, Bruce Davidson, William Klein, William Eggleston, René Burri, Thomas Hoepker and Bruce Gilden. Following its premiere in the House of Photography at the Deichtorhallen Hamburg, the exhibition will travel to Berlin, Frankfurt and Vienna, among other locations. According to an entry in the workshop records, by March 1914 at the latest, Oskar Barnack, who worked as an industrial designer at Ernst Leitz in Wetzlar, completed the first functional model of a small-format camera for 35mm cinema film. The introduction of the Leica (a combination of »Leitz« and »Camera«) which was delayed until 1925 due to the war, was not merely the invention of a new camera; the small, reliable and always-ready Leica, equipped with a high-performance lens specially engineered by Max Berek, marked a paradigm shift in photography. Not only did it offer amateur photographers, newcomers and emancipated women greater access to photography; the Leica, which could be easily carried in a coat pocket, also became a ubiquitous part of everyday life. The comparatively affordable small-format camera stimulated photographic experimentation and opened up new perspectives. In general, visual strategies for representing the world became more innovative, bold and dynamic.
    [Show full text]
  • Introduction Case Study: Photography Into Sculpture
    INTROduCTION Case Study: Photography into Sculpture In 1979, Peter Bunnell, the David Hunter McAlpin Professor of the History of Pho- tography and Modern Art at Princeton University, gave a lecture at Tucson’s Center for Creative Photography (CCP) titled “The Will to Style: Observations on Aspects of Contemporary Photography.”1 James Enyeart, the CCP’s director, introduced Bunnell and listed his many accomplishments, including his tenure as a curator of photography at the Museum of Modern Art (1966– 72), noting in particular his 1970 exhibition there Photography into Sculpture. Enyeart called it “one of the preeminent exhibitions of the decade.” But at the end of the talk, the focus of which was not photo sculpture or other experimental forms, but straight photography, Bunnell offered his own assessment of the exhibition, which was decidedly less positive. In his complex and carefully argued lecture, Bunnell defended Garry Winogrand and Lee Friedlander, whose work had recently come under attack by Janet Malcolm in her New Yorker essay “Diana and Nikon” for making presumably style-less photographs that were “indistinguishable” from snapshots and just as unsophisticated and offhand as those made by amateur photographers.2 Bunnell argued that Winogrand’s and Fried- lander’s photographs were absolutely not snapshots, and demonstrated the point by com- paring them to actual snapshots taken by random amateurs who had participated in Ken Ohara’s Snapshot Project.3 Citing the Russian formalist Victor Shklovsky and the Marxist cultural critic Fredric Jameson, Bunnell asserted that “defamiliarization” was one of the primary strategies deployed by Winogrand and Friedlander, noting that “in their hands, defamiliarization became an attack .
    [Show full text]
  • Hiroshi HAMAYA 1915 Born in Tokyo, Japan 1933 Joins Practical
    Hiroshi HAMAYA 1915 Born in Tokyo, Japan 1933 Joins Practical Aeronautical Research Institute (Nisui Jitsuyo Kouku Kenkyujo), starts working as an aeronautical photographer. The same year, works at Cyber Graphics Cooperation. 1937 Forms “Ginkobo” with his brother, Masao Tanaka. 1938 Forms “Youth Photography Press Study Group” (Seinen Shashin Houdou Kenkyukai) with Ken Domon and others. With Shuzo Takiguchi at the head, participates in “Avant-Garde Photography Association” (Zenei Shashin Kyokai). 1941 Joins photographer department of Toho-Sha. (Retires in 1943) Same year, interviews Japanese intellectuals as a temporary employee at the Organization of Asia Pacific News Agencies (Taiheiyo Tsushinsha). 1960 Signs contract with Magnum Photos, as a contributing photographer. 1999 Passed away SOLO EXHIBITIONS 2017 A Chronicle of Grief and Anger, Taka Ishii Gallery Photography / Film, Tokyo, Japan 2015 Hiroshi Hamaya Photographs 1930s – 1960s, The Niigata Prefectural Museum of Modern Art, Niigata, Japan, July 4 – Aug. 30; Traveled to: Setagaya Art Museum, Tokyo, Japan, Sept. 19 – Nov. 15; Tonami Art Museum, Toyama, Japan, Sept. 2 – Oct. 15, 2017. [Cat.] Hiroshi Hamaya Photographs 100th anniversary: Snow Land, Joetsu City History Museum, Niigata, Japan 2013 Japan's Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto, J. Paul Getty Museum, Los Angeles, CA, USA [Cat.] 2012 Hiroshi Hamaya: “Children in Japan”, “Chi no Kao [Aspects of Nature]”, “American America”, Kawasaki City Museum, Kanagawa, Japan 2009 Shonan to Sakka II Botsugo
    [Show full text]
  • An Analysis of Contemporary Landscape Photography and Environmentalist!!
    Neutralized Landscapes and Critical Spaces: An Analysis of Contemporary Landscape Photography and Environmentalist!! in the Art Museum by Karla McManus A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Art History Carleton University OTTAWA, Ontario (May 1st, 2009) © 2009, Karla McManus Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-51996-7 Our file Notre reference ISBN: 978-0-494-51996-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nntemet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • The Cornell Capa Papers Dates: C
    Collection Overview Creator: Cornell Capa Title: The Cornell Capa papers Dates: c. late 1800s-2008 (bulk 1946-1976) Call Number: ICP.001 Volume: 54 linear ft, 55.21 cubic ft. (77 boxes; 33 seven inch Hollinger boxes, 32 twelve inch banker boxes, 1 oversized and 8 “other” sized boxes) Location: Mana contemporary / Shelf 1A-4A, 1B Historical Abstract: The Cornell Capa papers cover the history of photojournalism and photography pedagogy. Capa worked on assignment or on staff for several agencies including Time-Life, Holiday, Sports Illustrated and more. He was the director or served as a founding member of Magnum Photos, The Associated Society of Magazine Photographers, and The Overseas Press Club. Capa wrote and photographed several photo essays as well as serving as the photographer for many books and corporate catalogs. He founded the Capa-Chim Memorial Foundation, the Fund for Concerned Photography, and eventually, the International Center of Photography, where he served as director until his death in 2008. Scope and Content Some multi-media materials have already been, or should be considered for Abstract: digital preservation including cassette tapes, VHS tapes, brittle and faded sheets. Ask archivists for digitized materials. Moldy letters have been removed from the collection, and replaced with photocopies on acid-free paper. Arrangement: Organized into 11 series: 1. Time-Life; 2. Assignments and published works; 3. American Society of Magazine Photographers (ASMP); 4. Overseas Press Club (OPC); 5. Missionary Projects; 6. Magnum; 7. Capa-Chim Photographic Foundation Inc.; 8. Israel trip, 1967; 9. International Fund for Concerned Photography; 10. International Center of Photography; and 11.
    [Show full text]
  • American Geography: Pictures of the Land, from the Mid-19Th Century to the Present
    American Geography: Pictures of the Land, from the Mid-19th century to the Present OLLI Class taught by Sandra S. Phillips, Fall 2020 This class examines how we have represented land use in the United Stated in photographs from the mid-19th century to our own time chronologically. I will suggest readings a little later. The course will examine and discuss the following topics in this order: 1. How did photographers in the 19th century think of land in the tradition of portraiture? The Southworth and Hawes partnership in Boston. Daguerreotypes in the Northeast, the rise of industrialism in the tradition of farming, the Erie Canal, the growth of New York City. Other centers for photography of land in the 19th century, St. Louis, the “Gateway to the West,” and the work of Thomas Martin Easterly who documented its citizens and environs, and the many pictures made during the Gold Rush in Northern California. 2. Regional photography before and after the Civil War in the Northeast, Midwest and South, and the land uses sustained in these regions. The construction of the railroad and expeditionary photography in the West sponsored by the government after the Civil War. The development of the West. 3. The evolution of tourism and the development of the pocket camera by Kodak, the evolution of the automobile, National Parks and tourism. How did travel for pleasure evolve in the U.S., when and where? A discussion of the sites Niagara Falls, Yosemite and Yellowstone, their role in American history. 4. Ansel Adams’s role in photography of the West, in the evolution of the Sierra Club, and considering the use of photography to achieve broad conservation ideals from the 1930s to his defense of conservation to Ronald Reagan.
    [Show full text]
  • Oral History Interview with Robert Adams, 2010 July 20
    Oral history interview with Robert Adams, 2010 July 20 Funding for this interview was provided by the Brown Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Robert Adams on 2010 July 20. The interview took place in Astoria, OR, and was conducted by Toby Jurovics for the Archives of American Art, Smithsonian Institution. Toby Jurovics reviewed the transcript with Robert Adams. Their emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview TOBY JUROVICS: This is Toby Jurovics, curator of photography at the Smithsonian American Art Museum. And I'm sitting here with Robert Adams at his kitchen in Astoria, Oregon. It is July 20, 2010. You agree to these facts as they are stated. [Laughs.] ROBERT ADAMS: All right. All right. I won't back out. TOBY JUROVICS: Well, why don't we just start by going a little bit over biography. You were born in Orange, New Jersey. Is that— ROBERT ADAMS: That's true. My father always told me I was born across the street from Tony Galento's saloon, who was apparently a major gangster of the New Jersey scene. That's my only claim to fame—[they laugh]— unless you figure that it's not too far from Hoboken [NJ], where all kinds of good photographic history occurs.
    [Show full text]