Edward Weston Photographs
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
304 Moderne Und Zeitgenössische Photographie 29. Mai 2019
Photographie Frühjahr 2019 304 Zeitgenössische Photographie Zeitgenössische Photographie Moderne und 29. Mai29. 2019 Lotte Jacobi. Detail. Los 2102 MartinLisette Munkácsi.Model. Detail. Detail. Los Los 2190 2181 Moderne und Zeitgenössische Photographie 29. Mai 2019, 18 Uhr Modern and Contemporary Photographs 29 May 2019, 6 p.m. Experten Specialists Vorbesichtigung der Werke Sale Preview Ausgewählte Werke München Ausgewählte Werke: 3. und 4. Mai 2019 Kunst des 19. Jahrhunderts: 14. und 15. Mai 2019 Grisebach Türkenstraße 104 80799 München Hamburg Diandra Donecker 7. Mai 2019 +49 30 885 915 27 Galerie Commeter [email protected] Bergstraße 11 20095 Hamburg Dortmund 8. und 9. Mai 2019 Galerie Utermann Silberstraße 22 44137 Dortmund Zürich 13. bis 15. Mai 2019 Grisebach Bahnhofstrasse 14 8001 Zürich Düsseldorf 18. Mai 2019 Grisebach Susanne Schmid Bilker Straße 4–6 +49 30 885 915 26 40213 Düsseldorf [email protected] Sämtliche Werke Berlin 24. bis 28. Mai 2019 Grisebach Zustandsberichte Fasanenstraße 25, 27 und 73 Condition reports 10719 Berlin [email protected] Freitag bis Montag 10 bis 18 Uhr Dienstag 10 bis 15 Uhr Grisebach — Frühjahr 2019 R 2000 Eve Arnold 2001 Sid Avery Philadelphia 1912 – 2012 London Akron/Ohio 1918 – 2002 Los Angeles Marilyn Monroe at the billiard table. Reno, Nevada. 1960 „Rock Hudson washing his car, photographed outside his Vintage oder früher Silbergelatineabzug. Hollywood Hills home“. 1952 19,5 × 29,3 cm (23,9 × 30,5 cm) (7 ⅝ × 11 ½ in. Späterer Silbergelatineabzug. Agfa-Papier. (9 ⅜ × 12 in.)). Rückseitig Photographen- bzw. Copy- 37,4 × 46,6 cm (40,3 × 50,4 cm) (14 ¾ × 18 ⅜ in. -
Brett Weston June 2020
#51 June 2020 Cameraderie Brett Weston (1911-1993) Brett Weston and his father, Edward Weston I started this series on great photographers in October 2012 with Edward Weston, the photographer with whom I was then, and now, most impressed. Now, for the beginning of the second set of 50 articles—an anniversary of sorts—I am turning to his son, Brett Weston. Please have a look at his Wikipedia article here: https://en.wikipedia.org/wiki/Brett_Weston From the Wikipedia article: [Brett] Weston began taking photographs in 1925, …. He began showing his photographs with Edward Weston in 1927, was featured at the international exhibition at Film und Foto in Germany at age 17, and mounted his first one-man museum retrospective at age 21 at the De Young Museum in San Francisco in January, 1932. Brett Weston was credited by photography historian Beaumont Newhall as the first photographer to make negative space the subject of a photograph. I am impressed by the younger Weston’s extraordinary versatility in his photography, possibly more so than his father—a difficult decision for me. In the sample images below, I am trying to show that versatility. Street Corner, New York 1944 I am charmed by these two extremely formal compositions. Nude in Pool [1979-1982] Dunes Weston apparently saw similarities between nudes and dunes, and exhibited them together. This is Weston’s famous broken glass image, said by one critic to be the first photograph ever to capture “negative space.” Edward Weston by Brett Weston Manuel Hernández Galván by Edward Weston, 1924 Do you have any doubt that Brett Weston shot this image of his father in the style of his father’s famous shot of General Galván? . -
Death Valley National Park
COMPLIMENTARY $3.95 2019/2020 YOUR COMPLETE GUIDE TO THE PARKS DEATH VALLEY NATIONAL PARK ACTIVITIES • SIGHTSEEING • DINING • LODGING TRAILS • HISTORY • MAPS • MORE OFFICIAL PARTNERS T:5.375” S:4.75” PLAN YOUR VISIT WELCOME S:7.375” In T:8.375” 1994, Death Valley National SO TASTY EVERYONE WILL WANT A BITE. Monument was expanded by 1.3 million FUN FACTS acres and redesignated a national park by the California Desert Protection Act. Established: Death Valley became a The largest national park below Alaska, national monument in 1933 and is famed this designation helped focus protection for being the hottest, lowest and driest on one the most iconic landscapes in the location in the country. The parched world. In 2018 nearly 1.7 million people landscape rises into snow-capped mountains and is home to the Timbisha visited the park, a new visitation record. Shoshone people. Death Valley is renowned for its colorful Land Area: The park’s 3.4 million acres and complex geology. Its extremes of stretch across two states, California and elevation support a great diversity of life Nevada. and provide a natural geologic museum. Highest Elevation: The top of This region is the ancestral homeland Telescope Peak is 11,049 feet high. The of the Timbisha Shoshone Tribe. The lowest is -282 feet at Badwater Basin. Timbisha established a life in concert Plants and Animals: Death Valley with nature. is home to 51 mammal species, 307 Ninety-three percent of the park is bird species, 36 reptile species, two designated wilderness, providing unique amphibian species and five fish species. -
Transforming Practices
Transforming Practices: Imogen Cunningham’s Botanical Studies of the 1920s Caroline Marsh Spring Semester 2014 Dr. Juliet Bellow, Art History University Honors in Art History Imogen Cunningham worked for decades as a professional photographer, creating predominantly portraits and botanical studies. In 1932, she joined the influential Group f.64, a group of West Coast photographers who worked to pioneer the concept of “Straight Photography,” a movement that emphasized the use of sharp focus and high contrast. Members of Group f.64 included Ansel Adams and Edward Weston, whose works have since overshadowed other photographers in the group. Cunningham has been marginalized in histories of Group f.64, and in the history of photography in general, despite evidence of her development of many important photographic practices during her lifetime. This paper builds on scholarship about Group f.64, using biographical information and analysis of her photographs, to argue that Cunningham influenced more of the ideas in the group than has been recognized, especially in her focus on the simplification of form and the creation of compelling compositions. Focusing on her botanical studies, I show that many of the ideas of f.64 existed in her oeuvre before the formal creation of the group. Analysis of her participation in the group reveals her contribution to developments in art photography in that period, and shows that her gender played a key role in historical accounts that downplay her significant contributions to f.64. Marsh 2 Imogen Cunningham became well known in her lifetime as an independent and energetic photographer from the West Coast, whose personality defined her more than the photographs she created or her contribution to the developing straight photography movement in California. -
Post-Visualization Jerry N. Uelsmann 1967
Post-Visualization Edward Weston, in his efforts to find a language suitable and indigenous to his own life and time, developed a method of working which today we refer to as pre-visualization. Jerry N. Uelsmann 1967 Weston, in his daybooks, writes, the finished print is pre-visioned complete in every detail of texture, movement, proportion, before exposure-the shutter’s release automatically and finally fixes my conception, allowing no after manipulation. It is Weston the master craftsman, not Weston the visionary, that performs the darkroom ritual. The distinctively different documentary’ approach exemplified by the work of Walker Evans and thedecisive moment approach of Henri Cartier Bresson have in common with Weston’s approach their emphasis on the discipline of seeing and their acceptance of a prescribed darkroom ritual. These established, perhaps classic traditions are now an important part of the photographic heritage that we all share. For the moment let us consider experimentation in photography. Although I do not pretend to be a historian, it appears to me that there have been three major waves of open experimentation in photography; the first following the public announcement of the Daguerreotype process in 1839; the second right after the turn of the century under the general guidance of Alfred Stieglitz and the loosely knit Photo-Secession group; and the third in the late twenties and thirties under the influence of Moholy-Nagy and the Bauhaus. In each instance there was an initial outburst of enthusiasm, excitement and aliveness. The medium was viewed as something new and fresh possibilities were explored and unanticipated directions were taken. -
5 Day Itinerary
by a grant from Travel Nevada. Travel from grant a by possible made brochure This JUST 98 MILES NORTH OF LAS VEGAS ON HIGHWAY 95. HIGHWAY ON VEGAS LAS OF NORTH MILES 98 JUST www.beattynevada.org Ph: 1.866.736.3716 Ph: Studio 401 Arts & Salon & Arts 401 Studio Mama’s Sweet Ice Sweet Mama’s Smash Hit Subs Hit Smash VFW Chow VFW Smokin’ J’s BBQ J’s Smokin’ shoot out or two performed by our local cowboys. cowboys. local our by performed two or out shoot Gema’s Café Gema’s historical area you might catch a glimpse of a a of glimpse a catch might you area historical Death Valley Coffee Time Coffee Valley Death of our local eateries. If you are in the downtown downtown the in are you If eateries. local our of Roadhouse 95 Roadhouse After your day trips into the Valley, relax at one one at relax Valley, the into trips day your After Sourdough Saloon & Eatery & Saloon Sourdough lunch at Beatty’s Cottonwood Park. Park. Cottonwood Beatty’s at lunch Hot Stuff Pizza Stuff Hot Store or enjoy walking your dog or having a picnic picnic a having or dog your walking enjoy or Store Mel’s Diner Mel’s Town, the Famous Death Valley Nut and Candy Candy and Nut Valley Death Famous the Town, Happy Burro Chili & Beer & Chili Burro Happy open daily from 10 am to 3 pm, Rhyolite Ghost Ghost Rhyolite pm, 3 to am 10 from daily open The Death Valley Nut & Candy Store Candy & Nut Valley Death The can find in our little town, the Beatty Museum, Museum, Beatty the town, little our in find can LOCAL SHOPS & EATERIES & SHOPS LOCAL Day area, be sure to visit the unique businesses that you you that businesses unique the visit to sure be area, BEATTY Between trips to explore the Death Valley Valley Death the explore to trips Between your plan for each day, and set up a check in time. -
Platinum, Silver- Platinum, and Palladium Prints
Noble Metals for the Early Modern Era: Platinum, Silver- Platinum, and Palladium Prints Constance Mc Cabe Histories of photography usually emphasize the photogra- phers’ command of the camera and the resulting pictures while offering little insight into the extensive chemical and technical artistry performed in studios and darkrooms. Research into the materials and methods behind photo- graphic prints, however, can shed light on the aesthetic goals of the photographers and help to determine which properties are the result of artistic decisions and which might be the natural effects of aging. By studying the array of platinum, silver- platinum, and palladium prints in the Thomas Walther Collection, we are given an opportunity to appreciate how photographers in the early twentieth cen- tury manipulated materials and chemicals to achieve a quasi-modern aesthetic. The aesthetic benchmark for many photographers at the dawn of the twentieth century was the platinum print, extolled for its unparalleled artistic qualities and perma- nence. Alfred Stieglitz (1864–1946) and Clarence H. White (1871–1925), both highly influential photographers and lead- ers of Pictorialism, a movement championing photography as fine art, praised platinum as the ideal photographic medium for their exhibition prints. Their disciples contin- ued to test the medium for new and unusual effects, exploiting such curiosities as multiple exposures, tone reversal, and solarization, and exploring unconventional compositional elements and abstraction. Highly attuned to the technical craft of their work, they investigated myriad products and chemical modifications to achieve their artistic fig. 1 Alfred Stieglitz. From the Back Window at “291”. April 3, 1915. Platinum print, objectives. -
Death Valley National Monument
DEATH VALLEY NATIONAL MONUMENT D/ETT H VALLEY NATIONAL 2 OPEN ALL YEAR o ^^uJv^/nsurty 2! c! Contents 2 w Scenic Attractions 2 2! Suggested Trips in Death Valley 4 H History 7 Indians 8 Wildlife 9 Plants 12 Geology 18 How To Reach Death Valley 23 By Automobile 23 By Airplane, Bus, or Railroad 24 Administration 25 Naturalist Service 25 Free Public Campground 25 Accommodations 25 References 27 UNITED STATES DEPARTMENT OF THE INTERIOR- Harold L. Ickes, Secretary NATIONAL PARK SERVICE Arno B. Cammerer, Director UNITED STATES GOVERNMENT PRINTING OFFICE, WASHINGTON EATH VALLEY National Monument was created by Presidential proclamation on 2February 11), 1933, and enlarged to its present dimensions on March 26, 1937. Embracing 2,981 square miles, or nearly 2 million acres of primitive, unspoiled desert country, it is the second largest area administered by the National Park Service in the United States proper. Famed as the scene of a tragic episode in the gold-rush drama of '49, Death Valley has long been known to scientist and layman alike as a region rich in scientific and human interest. Its distinctive types of scenery, its geological phenomena, its flora, and climate are not duplicated by any other area open to general travel. In all ways it is different and unique. The monument is situated in the rugged desert region lying east of the High Sierra in eastern California and southwestern Nevada. The valley itself is about 140 miles in length, with the forbidding Panamint Range forming the western wall, and the precipitous slopes of the Funeral Range bounding it on the east. -
Finding Aid for the Dody Weston Thompson Collection, Undated, Circa 1940-1991 AG 258
Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Dody Weston Thompson Collection, undated, circa 1940-1991 AG 258 Finding aid created by Leslie Squyres, August 2016 AG 258: Dody Thompson Weston - page 2 Dody Weston Thompson Collection, circa 1940-1991 AG 258 Creator Dody Weston Thompson Quantity/ Extent 6 linear feet Language of Materials English Biographical/ Historical Note Photographer Dody Weston Thompson, (1923-2012), was a founder of the photographic journal, Aperture and was married and a creative collaborator with the photographer Brett Weston from 1952-1956. Thompson favored creating sharp-focus, realistic photographs of natural objects in the style popularized by Ansel Adams and Edward Weston, both of whom she assisted. In 1952, Thompson was the second photographer to win the San Francisco Museum of Art’s Albert M. Bender Award. Ms. Thompson’s husband of 48 years, aerospace executive Daniel Michael Thompson died in 2008. Dody Weston Thompson died in Los Angeles on October 14, 2012, at the age of 89. Scope and Content Note Photographs and contact prints by Dody Thompson Weston, undated, circa 1940-1991; one photograph by John Sexton and one photograph by Jerome Baker. Arrangement Chronological Restrictions Conditions Governing Access Access to this collection requires an appointment with the Volkerding Study Center. Conditions Governing Use It is the responsibility of the user to obtain permission from the copyright owner (which could be the institution, the creator of the record, the author or his/her transferees, heirs, legates or literary executors) prior to any copyright-protected uses of the collection. -
Carmel Pine Cone, February 12, 2021
New pros, old-timers, First Tee upstarts, Pebble watch-at-home Beach goodies and more ... AT&T PRO-AM 2021 inside this week! VolumeThe 107 No. 7 Carmelwww.carmelpinecone.com Pine ConeFebruary 12-18, 2021 T RUS T ED BYLOCALSANDLOVEDBYVISI T O RSSINCE 1 9 1 5 Moreno, vaccine rollout debated during ‘State of City’ n Adams: Hard to keep up rollout, she said, “I hear so many peo- ple say Dr. Moreno is not the great- with constituent calls est communicator. Dr. Moreno is the most shy person I have ever met, and By MARY SCHLEY this is agony for him to have to speak publicly. He also is very conscious of WHILE THE Carmel Chamber giving precise and correct answers.” of Commerce’s State of the City pre- Unmentioned during the call was sentations Friday might have intended the fact that Moreno’s job description to focus on city issues, it was Mon- requires him to be able to “prepare terey County 5th District Supervisor clear and concise written and oral re- Mary Adams’ comments that had ports,” and “speak effectively before PHOTOS/MICHAEL TROUTMAN, DMT IMAGING some viewers spitting out their coffee. large groups.” In her presentation, Adams men- Clockwise from left: CBS Sports broadcaster Jim Nantz, just days tioned some issues facing the coun- Bad names after calling the Super Bowl in Tampa, Fla., was the announcer for ty, such as $600 million in deferred MacMurdo urged Adams to “get an “Every Shot Counts” charity event on Wednesday, with celebri- maintenance on county roads and ties like Kathryn Newton (“Big Little Lies”), Larry Fitzgerald and Bill back to your constituents, and get Murray. -
Sustaining the Legacies: Mining and Death Valley
Volume 61 Issue 3 Fall 2016 Sustaining the Legacies: Mining and Death Valley eath Valley entered my radar about ive years ago when I By Nathan Francis, Board Chair DVNHA Dmoved to the region to work as land manager for Rio Tinto Minerals (U.S. Borax). Until then, I admit it had not been on my College of Mines and Earth Sciences to show them irst-hand the bucket list of places to visit. But as my knowledge about the area region’s legacy of mining. It is my job at Rio Tinto, speciically, to grew, so did my passion for everything it ofers — including its ensure the company’s mining legacy sites in the area are safe and rich history and culture. sustainable. As this year’s board chair of the Death Valley Natural History Association, I am honored and privileged to broaden that People outside of the mining industry are often surprised at role and my support of this national treasure. how intertwined the company’s history is with that of America’s national parks, and particularly Death Valley. In fact, they are very Certainly, my interest in the Death Valley area goes beyond my closely aligned. professional role. My wife and I often explore the region with our four sons. Some of our favorite spots include Ash Meadows It was in Death Valley that the Paciic Coast Borax Company got National Wildlife Refuge, the mesquite lat dunes, Golden its start in the late 1800s. The company eventually became U.S. Canyon, and the salt lats at Badwater. -
Book XVIII Prizes and Organizations Editor: Ramon F
8 88 8 88 Organizations 8888on.com 8888 Basic Photography in 180 Days Book XVIII Prizes and Organizations Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Group f/64 ............................................... 1 1.1.1 Background .......................................... 2 1.1.2 Formation and participants .................................. 2 1.1.3 Name and purpose ...................................... 4 1.1.4 Manifesto ........................................... 4 1.1.5 Aesthetics ........................................... 5 1.1.6 History ............................................ 5 1.1.7 Notes ............................................. 5 1.1.8 Sources ............................................ 6 1.2 Magnum Photos ............................................ 6 1.2.1 Founding of agency ...................................... 6 1.2.2 Elections of new members .................................. 6 1.2.3 Photographic collection .................................... 8 1.2.4 Graduate Photographers Award ................................ 8 1.2.5 Member list .......................................... 8 1.2.6 Books ............................................. 8 1.2.7 See also ............................................ 9 1.2.8 References .......................................... 9 1.2.9 External links ......................................... 12 1.3 International Center of Photography ................................. 12 1.3.1 History ............................................ 12 1.3.2 School at ICP ........................................