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Friedlander Dog's Best Friend PR March 2019
Andrew Smith Gallery Arizona, LLC. Masterpieces of Photography LEE FRIEDLANDER SHOW TITLE: Dog’s Best Friend Dates: April 27 - June 15, 2019 Artist’s Reception: DATE/TIME: Saturday April 27, 2019 2-4 p.m. “I think dogs are happy because people feed them fancy food, treat them nicely, pedicure and wash them, take them into their homes.” Lee Friedlander Andrew Smith Gallery, in its new location at 439 N. 6th Ave., Suite 179, Tucson, Arizona 85705, opens an exhibit by the eminent American photographer Lee Friedlander. The exhibit, Dog’s Best Friend, contains 18 prints of dogs and their owners, one of Friedlander’s ongoing “pet projects.” Lee and Maria Friedlander will attend the opening on Saturday, April 27, 2019 from 2 to 4 p.m., where the public is invited to visit with America’s most celebrated photographer and view “the dogs.” The exhibit continues through June 15, 2019. Lee Friedlander is one of America’s legendary photographers. Now in his eighties, he still photographs and makes his own prints in the darkroom as he has been doing for 60 years. In the 1950s he began documenting what he called “the American social landscape,” making pictures that showed how the camera sees reality (different from how the eye sees). In his layered compositions, what are normally understood to be separate objects; buildings, window displays, people, cars, etc., are perpetually interacting with reflective, opaque and transparent surfaces that distort, fragment and bring about surprising, often humorous conjunctions. Friedlander has been photographing virtually non-stop these many decades, expanding the vocabulary of such traditional artistic themes as family, nudes, gardens, trees, self-portraits, landscapes, cityscapes, laborers, artists, jazz musicians, cars, graffiti, statues, parks, advertising signs, and animals. -
Another Kind of Life: Photography on the Margins
Another Kind of Life: Photography on the Margins Barbican Art Gallery, Barbican Centre, UK 28 February – 27 May 2018 Media View, Tuesday 27 February, 10am – 1pm The exhibition is supported by The Great Britain Sasakawa Foundation and The Swiss Arts Council Pro Helvetia. Media Partner: AnOther Magazine #AnotherKindofLife Another Kind of Life: Photography on the Margins looks at the continuing fascination of artists with those on the margins of society through the photographic medium. Some of the most powerful images of the 20th and 21st century are the result of a determined and often prolonged engagement with communities seemingly at odds with, or on the fringes of, the mainstream. Another Kind of Life explores photography’s relationship with this compelling subject through the work of 20 exceptional image-makers, including Bruce Davidson, Paz Errázuriz, Casa Susanna, Larry Clark, Mary Ellen Mark, Boris Mikhailov, Daido Moriyama and Dayanita Singh. Part of the Barbican’s 2018 season The Art of Change, which reflects on the dialogue between art, society and politics, the exhibition directly – and at times poetically – addresses difficult questions about what it means to exist in the margins, the role artists have played in portraying subcultures and the complex intermingling between artistic and mainstream depictions of the outsider. Another Kind of Life opens at Barbican Art Gallery on 28 February 2018. Jane Alison, Head of Visual Arts, Barbican, said: ‘Barbican Art Gallery has always championed groundbreaking photography, placing it at the heart of our programme with recent highlights including Constructing Worlds: Photography and Architecture in the Modern Age (2014) and Strange and Familiar: Britain as Revealed by International Photographers(2016). -
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. -
Vik Muniz N./B. 1961, São Paulo, Brazil Vive E Trabalha/Lives and Works in Rio De Janeiro and New York
vik muniz n./b. 1961, são paulo, brazil vive e trabalha/lives and works in rio de janeiro and new york formação / education B.A. in Advertising from Fundação Armando Álvares Penteado (FAAP), São Paulo, Brazil exposições (seleção) / exhibitions (selection) individuais em negrito / solo exhibitions in bold 2018 Vik Muniz, Chrysler Museum of Art, Norfolk, USA Vik Muniz: Verso, Belvedere Museum Vienna, Vienna, Austria Plastic Entanglements: Ecology, Aesthetics, Materials, Palmer Museum of Art, Philadelphia, USA 2017 Vik Muniz: Handmade, Rena Bransten Gallery, San Francisco, USA Afterglow (Pictures of Ruin), Palazzo Cini, Venice, Italy Vik Muniz, Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico Vik Muniz: a Retrospective, Eskenazi Museum of Art, Bloomington, USA Troposphere – Chinese and Brazilian Contemporary Art, Beijing Minsheng Art Museum, Beijing, China Look at Me!: Portraits and Other Fictions from the ”la Caixa” Contemporary Art Collection, Pera Museum, Istanbul, Turkey Pledges of Allegiance, Spencer Museum of Art, University of Kansas, Lawrence, USA Ways of Seeing, Fondation Boghossian - Villa Empain, Brussels, Belgium This Is Not a Selfie – Photographic Self-Portraits from the Audrey and Sydney Irmas Collection, San Jose Museum of Art, San Jose, USA Glassstrass, Palazzo Franchetti, Venice, Italy A Vastidão dos Mapas, Museu Oscar Niemeyer (MON), Curitiba, Brazil Trazas simultáneas, Embaixada do BrasilArgentina, Espacio Cultural, Argentin 2016 Handmade, Galeria Nara Roesler, São Paulo, Brazil Vik Muniz, High Museum of Art, -
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. -
How I Learned to See: an (Ongoing) Education in Pictures
For immediate release How I Learned to See: An (Ongoing) Education In Pictures Curated by Hanya Yanagihara Fraenkel Gallery 49 Geary Street, San Francisco June 30 – August 20, 2016 Fraenkel Gallery is pleased to present How I Learned to See: An (Ongoing) Education in Pictures, Curated by Hanya Yanagihara, from June 30 – August 20, 2016, at 49 Geary Street. The exhibition brings together a varied array of photographs that Yanagihara has chosen for their significance to her growth as an artist. The overarching theme is one of a writer looking deeply at other artists’ creative work—specifically, photographs—as a process of learning and discovery. Hanya Yanagihara is an American novelist whose most recent book, A Little Life, was a finalist for the 2015 National Book Award and shortlisted for the 2015 Man Booker Prize and the 2016 Baileys Prize for Fiction. She has been a periodic visitor to Fraenkel Gallery for 17 years. Yanagihara remarked: The challenge for any artist, in any medium, is to find work that inspires her to re-see the things and people and places she thought she knew or understood. So much of my artistic development is directly linked to the images and photographers I encountered through years of visiting Fraenkel Gallery; the work here has, in ways both direct and not, influenced my own fiction. How I Learned to See is organized by six sections or “chapters” on the subjects of loneliness, love, aging, solitude, beauty, and discovery. Yanagihara has selected an idiosyncratic mix, with iconic and less familiar works by 12 artists: Robert Adams, Diane Arbus, Elisheva Biernoff, Harry Callahan, Lee Friedlander, Nan Goldin, Katy Grannan, Peter Hujar, Ralph Eugene Meatyard, Richard Misrach, Nicholas Nixon, Alec Soth, and Hiroshi Sugimoto. -
Street Photography
Columbia College Chicago Framing ideas street Photography Curriculum guide Aimed at middle school and high school and college age students, this resource is aligned with Illinois Learning Standards for English Language Arts Incorporating the Common Core and contains questions for looking and discussion, information on the artists and artistic traditions and classroom activities. A corresponding image set can be found HERE. The MoCP is a nonprofit, tax- exempt organization accredited by the American Alliance of Museums. The Museum is generously supported by Columbia College Chicago, the MoCP antonio Perez A Man Dressed as Charro on his Horse Waits for his Take-Out Food before the Start of the Annual Cinco de Mayo Parade Down Advisory Committee, individuals, Cermak in Chicago, September 2000. Museum purchase private and corporate foundations, and government agencies including the Illinois Arts Council, a state agency. The museum’s education work is additionally supported by After School Matters, the Lloyd A. Fry Foundation, and the National Endowment for the Arts. Special funding for this guide was provided by the Terra Foundation for American Art. 1 street Photography That crazy feeling in America when the sun is hot on the streets and the music comes out from a jukebox or from a nearby funeral, that’s what Robert Frank has captured in tremendous photographs taken as he traveled on the road around practically all forty-eight states in an old used car…Long shot of night road arrowing forlorn into immensities and flat of impossible-to- believe America in New Mexico under the prisoner’s moon… -Jack Kerouac, (from the introduction Robert Frank’s book The Americans) robert Frank robert Frank San Francisco, 1956 Political Rally, Chicago, 1956 Gift of Mr. -
America Through Street Photography
From the Instructor Sarah wrote this piece for my section of the Genre and Audience WR X cluster. Students had undertaken semester-long research projects and, in the final assignment for the course, were asked to reimagine their academic arguments for a public audience. Deciding to write in the style of The New Republic, which is, in the publication’s own words, “tailored for smart, curi- ous, socially aware readers.” Sarah’s focus on street photography brings her research on classic American images to a non-expert audience with diverse professional and disciplinary perspectives, appealing to their interests in history and the arts while tapping into contemporary culture. — Gwen Kordonowy WR 150: The American Road 135 From the Writer When I enrolled in an experimental writing class entitled “The American Road,” I assumed that the semester would be filled with discussions about the physical American road, its attractions, and its place in American history. While the physical road was an important subject in the class, I learned that this “American Road” was expansive beyond its physical limi- tations, able to encompass topics as broad and abstract as social progress, popular television shows, and, in my case, photography. I ultimately chose to investigate the works of two American street photographers, Robert Frank and Lee Friedlander, whose approaches to photography reveal much about life in America and what it means to be an American. While both photographers frequently feature the road in their pictures, I chose to focus more on the people and culture found alongside it and how they represent America. -
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 -
University Microfilms International 300 N
THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS" Item Type text; Thesis-Reproduction (electronic) Authors Alexander, Stuart Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 11:13:03 Link to Item http://hdl.handle.net/10150/277059 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. -
Two Visions of Spain in the 1950S: Eugene Smith and Brassaï
Two Visions of Spain in the 1950s: Eugene Smith and Brassaï In the nineteen fifties Spain caught the interest of a number of international photographers. Two specific projects are recalled here: Eugene Smith’s Spanish Village, a controversial feature with overt political intentions made for Life magazine, and Brassaï’s series Séville en fête made for Harper’s Bazaar, that proposes instead a picture of Spain halfway between the dream-like images indebted to Surrealism and the clichés of a tourist guide. extraordinary formal perfection, thanks to Smith’s painstaking way of composing his pictures in the manner of a stage director, and on the other it revealed the harshest aspects of Spanish reality, the subsist- ence economy, the Roman plough and the handcrafted distaff still in use, or the weight of authority symbolised by the two civil guards reproduced on a large scale by Life. In Spain, however, Spanish Village trig- gered great controversy. Mundo Hispánico review reminded its readers that it was a tendentious article, and that similar scenes The country’s relative opening up after the ten years of autocracy that followed the Span- could be found in the United States if one ish Civil War prompted many of the top photojournalists of the time to travel to the Iberian were to look for them. Arte Fotográfico, the Peninsula in the early fifties. American photographer William Eugene Smith (1918-1978) main photography magazine published at visited Spain early in May 1950 to prepare a feature on ‘the hunger and fear provoked by the time in Spain, declared that Spanish Franco.’ Smith’s assignment was for Life, one of the most important illustrated maga- Village was an ‘outrageous and deplora- zines of the day, each issue of which published a photographic essay, i.e., a picture se- ble’ feature, and that while it was true that quence accompanied by text and devoted to a single theme of special interest.