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Pressemappe American Photography
Exhibition Facts Duration 24 August – 28 November 2021 Virtual Opening 23. August 2021 | 6.30 PM | on Facebook-Live & YouTube Venue Bastion Hall Curator Walter Moser Co-Curator Anna Hanreich Works ca. 180 Catalogue Available for EUR EUR 29,90 (English & German) onsite at the Museum Shop as well as via www.albertina.at Contact Albertinaplatz 1 | 1010 Vienna T +43 (01) 534 83 0 [email protected] www.albertina.at Opening Hours Daily 10 am – 6 pm Press contact Daniel Benyes T +43 (01) 534 83 511 | M +43 (0)699 12178720 [email protected] Sarah Wulbrandt T +43 (01) 534 83 512 | M +43 (0)699 10981743 [email protected] 2 American Photography 24 August - 28 November 2021 The exhibition American Photography presents an overview of the development of US American photography between the 1930s and the 2000s. With works by 33 artists on display, it introduces the essential currents that once revolutionized the canon of classic motifs and photographic practices. The effects of this have reached far beyond the country’s borders to the present day. The main focus of the works is on offering a visual survey of the United States by depicting its people and their living environments. A microcosm frequently viewed through the lens of everyday occurrences permits us to draw conclusions about the prevalent political circumstances and social conditions in the United States, capturing the country and its inhabitants in their idiosyncrasies and contradictions. In several instances, artists having immigrated from Europe successfully perceived hitherto unknown aspects through their eyes as outsiders, thus providing new impulses. -
Street Seen Teachers Guide
JAN 30–APR 25, 2010 THE PSYCHOLOGICAL GESTURE IN AMERICAN PHOTOGRAPHY, 1940–1959 TEACHERS GUIDE CONTENTS 2 Using This Teachers Guide 3 A Walk through Street Seen 10 Vocabulary 11 Cross-Curricular Activities 15 Lesson Plan 18 Further Resources cover image credit Ted Croner, Untitled (Pedestrian on Snowy Street), 1947–48. Gelatin silver print, 14 x 11 in. Howard Greenberg Gallery, New York. ©Ted Croner Estate prepared by Chelsea Kelly, School & Teacher Programs Manager, Milwaukee Art Museum STREET SEEN: The Psychological Gesture in American Photography, 1940–1959 TEACHERS GUIDE 1 USING THIS TEACHERS GUIDE This guide, intended for teachers of grades 6–12, is meant to provide background information about and classroom implementation ideas inspired by Street Seen: The Psychological Gesture in American Photography, 1940–1959, on view at the Milwaukee Art Museum through April 25, 2010. In addition to an introductory walk-through of the exhibition, this guide includes useful vocabulary, discussion questions to use in the galleries and in the classroom, lesson ideas for cross-curricular activities, a complete lesson plan, and further resources. Learn more about the exhibition at mam.org/streetseen. Let us know what you think of this guide and how you use it. Email us at [email protected]. STREET SEEN: The Psychological Gesture in American Photography, 1940–1959 TEACHERS GUIDE 2 A WALK THROUGH STREET SEEN This introduction follows the organization of the exhibition; use it and the accompanying discussion questions as a guide when you walk through Street Seen with your students. Street Seen: The Psychological Gesture in American Photography, 1940–1959 showcases the work of six American artists whose work was directly influenced by World War II. -
The Immigrant Experience Portfolio Guide
Addison Gallery of American Art Permanent Collection Portfolio Guide: The Immigrant Experience 1 The Immigrant Experience What can we learn about the values and beliefs of society from the ways in which artists document, depict, or comment on the immigrant experience? How do the narratives of images made by immigrants compare to documentation by others? Documentary illustrations and photography often aim to capture moments that reveal an individual or group of people and their place in the larger society. This Permanent Collection Portfolio Guide features a sampling of works from the Addison’s collection offering varied perspectives and discussion points for exploring the ways in which immigrant experiences and voices have been documented over time. Educators are encouraged to use this Guide and the expanded Portfolio Image List as a starting point, a place from which to dig deeper, ask questions, and make new connections for class plans and projects. For online use, click the images in this guide to access digital images in the Addison’s online database. This Portfolio Guide contains selected artworks and ideas to connect the Images highlighted in grey are ideas for materials from outside the Addison’s collection of American art that Addison’s collection with classroom can enhance the potential for both personal and global connections. themes, disciplines, and curricula. For more information about resources from the Phillips Academy Archives and Special Collections, Digital images of works from this Guide contact Director Paige Roberts at [email protected]. can be downloaded from the Addison’s website for use in classrooms. Visits to explore works in the Addison’s Museum SELECTED THEMATIC APPROACHES Learning Center can be arranged as a Social Documentation — How does social documentary photography tell stories about immigration and complement to the viewing of current immigrant experiences? exhibitions. -
Sandra Weiner: New York Kids, 1940-1948 Exhibition: June 7Th – July 27Th, 2018 Opening Reception: June 7Th, 2018, 6 – 8 PM
FOR IMMEDIATE RELEASE Sandra Weiner: New York Kids, 1940-1948 Exhibition: June 7th – July 27th, 2018 Opening Reception: June 7th, 2018, 6 – 8 PM Steven Kasher Gallery is pleased to present Sandra Weiner: New York Kids, 1940-1948. The exhibition features over twenty rare vintage black and white prints, many exhibited for the first time. Weiner’s photographs are celebrated for their perceptive depiction of everyday life in New York City's close-knit neighborhoods of the 1940s. Her photographs of children at play create a palpable sense of place. Weiner’s photographs reveal random moments of grace, transforming social documentation into a broadly humanist mode of street photography. Her sensitive and subtle renderings of neighborhood atmosphere make her photographs of New York heartwarming. Also on view is the exhibition Dan Weiner: Vintage New York, 1940-1959. This is the first time that exhibitions of the husband and wife photographers have been on view concurrently. Weiner focused on New York’s poorer children, possibly because she identified with them but more so because she wanted to tell a story of perseverance and hope. Weiner’s work highlighted social concerns of the era, however she focused her lens specifically on the city’s youngest denizens. For Weiner, children surviving the rough-and-tumble city streets became a symbol of fortitude. She strolled the city’s streets or posted at the edge of vacant lots where children play and caught them absorbed in their own worlds. Included in the exhibition is an extended essay in which Weiner followed a young boy named Mickey through his daily life in the tenements of East 26th Street. -
KATY GRANNAN Page 1
KATY GRANNAN page -1 KATY GRANNAN Born in 1969, Arlington, Massachuse>s Currently lives and works in Berkeley, California EDUCATION 1999 MFA, Yale University, New Haven, CT 1991 BA, University of Pennsylvania, Philadelphia, PA AWARDS 2005 Aperture Award to an Emerging ArLst 2004 The Baum: Award for Emerging American Photographers 1999 Rema Hort Mann FoundaLon Grant SELECTED INDIVIDUAL EXHIBITIONS 2017 Lady into Fox, FraenkelLAB, San Francisco, CA 2015 Katy Grannan: The Nine and The Ninety-Nine, FOAM, Amsterdam, the Netherlands Hundreds of Sparrows, Salon 94, New York, NY The 99 & The Nine, Sherrick & Paul, Nashville, TN 2014 The 99, Fraenkel Gallery, San Francisco, CA 2012 The Sun & Other Stars: Katy Grannan & Charlie White, LACMA, Los Angeles, CA 2011 Boulevard, Fraenkel Gallery, San Francisco, CA FRAENKELGALLERY.COM [email protected] KATY GRANNAN page -2 Boulevard, Salon 94, New York, NY 2008 The Westerns, Fraenkel Gallery, San Francisco, CA Another Woman Who Died in Her Sleep, Greenberg Van Doren Gallery, New York, NY Lady into Fox, Salon 94, New York, NY 2006 MysIc LaKe. Fraenkel Gallery, San Francisco, CA Blaffler Gallery, Art Museum of the University of Houston, Houston, TX MysIc LaKe, Greenberg Van Doren Gallery, New York, NY 2005 Pictures, Greenberg Van Doren, St. Louis, MO MysIc LaKe Fi\y One Fine Art Photography, Antwerp, Belgium Sugar Camp Road / Morning Call, Jackson Fine Art, Atlanta, GA 2004 Arles Photography FesIval, Arles, France Sugar Camp Road / Morning Call, Michael Kohn Gallery, Los Angeles, CA 2003 Sugar Camp -
Through a Different Lens: Stanley Kubrick Photographs Abrams, Nathan Jewish Historical Studies
Through a Different Lens: Stanley Kubrick Photographs ANGOR UNIVERSITY Abrams, Nathan Jewish Historical Studies DOI: 10.14324/111.444.jhs.2020v51.030 PRIFYSGOL BANGOR / B Published: 27/04/2020 Publisher's PDF, also known as Version of record Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Abrams, N. (2020). Through a Different Lens: Stanley Kubrick Photographs. Jewish Historical Studies, 51(1), 355-356. https://doi.org/10.14324/111.444.jhs.2020v51.030 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 28. Sep. 2021 Jewish Historical Studies Transactions of the Jewish Historical Society of England Book review: Through a Different Lens: Stanley Kubrick Photographs Nathan Abrams1,* How to cite: Abrams, N. ‘Through a Different Lens: Stanley Kubrick Photographs.’ Jewish Historical Studies, 2020, 51(1), pp. 355-356. DOI: https://doi.org/10.14324/111.444.jhs.2020v51.030. -
Oral History Interview with Jerome Liebling, 2010 Sept. 17
Oral history interview with Jerome Liebling, 2010 Sept. 17 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 Jerome Liebling on September 17, 2010. The interview took place in Amherst, Massachusetts, and was conducted by Robert Silberman for the Archives of American Art, Smithsonian Institution. The Archives of American Art has reviewed the transcript and has made corrections and emendations. 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 ROBERT SILBERMAN: This is Robert Silberman interviewing Jerome Liebling at the artist's home in Amherst, Massachusetts on September 17th, 2010 for the Archives of American Art, Smithsonian Institution, card number one. Good morning, Jerry. Maybe we could begin by my asking you when and where were you born. JEROME LIEBLING: New York City, April 16th, 1924. New York City, of course, has many boroughs. I was born in Manhattan. In fact, I was born in Harlem. At the time, that's where my family lived. And soon moved to Brooklyn. ROBERT SILBERMAN: Could you describe your childhood and your family background a little? JEROME LIEBLING: Interesting, in contemplating your arrival and finding a form to talk about my childhood— [phone rings]—in contemplating my childhood, there are certain terms that I think are important and when I had learned about these terms, would help define my childhood. -
Biography Evelyn Hofer
Biography Evelyn Hofer Evelyn Hofer was born in Marburg, Germany in 1922 and died in 2009 in Mexico City. In the years in between, Hofer created a body of work that both looked back to the tradition of August Sander and anticipated the color work of William Eggleston, causing her to be called "the most famous unknown photographer in America" by New York Times art critic Hilton Kramer – a devout supporter of her work. Hofer's work has influenced such photographers as Thomas Struth, Joel Sternfeld, Adam Bartos, Rineke Dijkstra, Judith Joy Ross, and Alex Soth. There have been retrospectives of her work at the Musée de l'Elysée in Lausanne (1994); the Aarggauer Kunsthaus in Switzerland (2004); and the Fotomuseum The Hague (2006). Last year her work was shown in Munich's Villa Stuck as part of the Goetz Collection in the exhibition "Street Life and Home Stories" alongside the work of the photographers William Eggleston, August Sander, Diane Arbus, Thomas Struth, and Nan Goldin. When Hofer was eleven her family fled Nazi Germany for Switzerland. She decided she wanted to be a photographer and set about it methodically. She began with an apprenticeship at the Studio Bettina, a portrait studio, and took private lessons with Hans Finsler, one of the pioneers of the "New Objectivity" movement. Hofer's studies covered everything from photographic technique to art theory. She didn't just learn composition and the underlying theories of aesthetics, she also learned the chemistry involved in producing prints. Beginning in the early 1960s she became one of the first fine art photographers to adopt the use of color film and the complicated dye transfer printing process as a regular practice. -
Notable Photographers Updated 3/12/19
Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius -
The Radical Camera: New York's Photo League, 1936-1951 a N ED
The Jewish Museum TheJewishMuseum.org 1109 Fifth Avenue [email protected] AN EDUCATOR’S RESOURCE New York, NY 10128 212.423.5200 Under the auspices of The Jewish Theological Seminary teachers. These materials can be used to supplement and enhance enhance and supplement to used be can materials These teachers. students’ ongoing studies. This resource was developed for elementary, middle, and high school school high and middle, elementary, for developed was resource This 1936-1951 New York’s Photo League, York’s New The Camera: Radical Acknowledgments This educator resource was written by Lisa Libicki, edited by Michaelyn Mitchell, and designed by Olya Domoradova. At The Jewish Museum, Nelly Silagy Benedek, Director of Education; Michelle Sammons, Educational Resources Coordinator; and Hannah Krafcik, Marketing Assistant, facilitated the project’s production. Special thanks to Dara Cohen-Vasquez, Senior Manager of School Programs and Outreach; Mason Klein, Curator; and Roger Kamholz, Marketing Editorial Manager, for providing valuable input. These curriculum materials were inspired by the exhibition The Radical Camera: New York’s Photo League, 1936-1951 on view at The Jewish Museum November 4, 2011–March 25, 2012. This resource is made possible by a generous grant from the Kekst Family. PHOTO LEAGUE: an EDUCator’S guIDE ACKNOWLEDGMENTS 2 Introduction Overview members were inspired by this social climate to make inequity and discrimination a subject of their work. The Photo League was a New York City–based organization of professional and amateur photographers. A splinter group The early 1940s witnessed the country’s rapid transition from of the Film and Photo League, it was founded in 1936 by New Deal recovery to war mobilization. -
Extra ORDINARY Photographic Perspectives on Everyday Life
PRESS RELEASE Lisette Model, Woman with Veil, San Francisco, 1949 © Estate of Lisette Model, Courtesy Baudoin Lebon and Keitelman Gallery extra ORDINARY Photographic perspectives on everyday life Exhibitions, workshops, events 12 October — 15 December 2019 PUBLIC OPENING ON 11 OCTOBER INSTITUT POUR LA PHOTOGRAPHIE INSTITUT POUR LA PHOTOGRAPHIE On 11 October 2019, the Institut pour la photographie will inaugurate its first cultural programme on in Lille with extraORDINARY: Photographic perspectives on everyday life. Seven exhibitions, an installation open to the public, as well as events and experimental workshops, will cover the history of photography from the end of the 19th century to today. This new programme reflects different photographic approaches and styles, with a selection of works from around the world that explore everyday life and its banality. Throughout her career, photographer Lisette Model never ceased to affirm the importance of the individual perspective, in both her work and her teaching. The Institut pour la photographie pays tribute to her with a new exhibition bringing together four great figures of American photography around of her work: Leon Levinstein, Diane Arbus, Rosalind Fox Solomon and Mary Ellen Mark. Since 2017, Laura Henno has immersed herself in the lost city of Slab City in the heart of the Californian desert. The Institute supports the artist, who comes from the Region, with the production of previously unpublished prints for this new exhibition project Radical Devotion. Thomas Struth gives us a glimpse of our relationship to everyday life through a documentary approach that is carefully crafted to reveal the complexity of the ordinary. Begun in 1986, his psychological and sociological portraits of families revisit the traditional genre of family portraiture. -
Where Diane Arbus Went
"PTOTOGRAPHY Where Diane Arbus Went A comprehensive retrospectiveprompts the author to reconsiderthe short yetpowerfully influential career of aphotographer whose 'Yfascinationwith eccentricity and masquerade brought her into an unforeseeable convergence with her era, and made her one of its essential voices." BY LEO RUBINFIEN _n Imagesfrom Diane Arbus's collage wall, including a number ofplctures tornfrom the pages of newspapers, magazines and books, several of her own roughprintsand a framedE.J. Bellocqphotograph printed by Lee Friedlander(center, at right). © 2003 The Estate ofDlaneArbus,LLC. All works this articlegelatin silver,prints. "I .1 or almostfour decades the complex, profound dedicated herself to her personal work, and by She described her investigations as adventures vision ofDianeArbus (1923-1971) has had an the decade's end she and her husband separated, that tested her courage, and as an emancipa- enormous influence on photographyand a broad though they remained married until 1969, and tion from her childhood's constrainingcomfort. one beyond it and the generalfascination with were close until the end of her life. Her essential At the same time, she worked as she wandered her work has been accompanied by an uncommon interestswere clear ofler 1956, andfor the next six freely in New York City, where ordinarypeople interest in her self Her suicide has been one, but years she photographedassiduously with a 35mm gave her some of her greatestpictures. Proposing just one, reasonfor the latter yetfor the most part camera, in locations that included Coney Island, projects to the editors of magazines that ificluded the events of her life were not extraordinary. carnivals, Huberts Museum and Flea Circus of Harper's Bazaar, Esquire and Londons Sunday Arbus's wealthy grandparentswere the found- 42nd Street, the dressing rooms offemale imper- 'Times Magazine, she was able to publish many of ers of Russek0, a Fifth Avenue department store.