DOCSLIB.ORG

Edward Weston Edward Front Cover: Cecelia Rooney Front Cecelia Rooney “A Photographisthe Pause Buttononlife.” Ty Holland

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Edward Weston Edward Front Cover: Cecelia Rooney Front Cecelia Rooney “A Photographisthe Pause Buttononlife.” Ty Holland Group F.64: Pure Photography of the 21st Century Cecelia Rooney Master of Arts in Graphic Design Maryland Institute College of Art May 2021 Edward Weston Edward Front Cover: Cecelia Rooney Front Cecelia Rooney “A photograph is the pause button on life.” Ty Holland Cecelia Rooney Table of Contents 01 Introduction 02 Problem Definition 03 Research 04 Design Process 05 Final Products 06 Conclusions & Further Research 07 Works Cited 08 Acknowledgments Edward Weston Bill Cunningham Alma Lavenson Consuelo Kanaga Sonya Noskowiak Introduction “You don't have to sort of enhance reality. There is nothing stranger than truth.” Annie Leibovitz RaMell Ross Telling stories through the camera how they present themselves to the has become a passion. I love world. Gender, sexuality, ethnicity, finding the authentic moments of educational, socioeconomic, raw human experience through cultural, and so many other factors observation, recording reality in contribute to how one is identified. a way my eyes cannot. Whether These are represented in how through facial expression, we dress, wear our hair, speak, clothing, body positioning, or what we eat, or any other outward taking the subject in as a piece of symbol claiming our individuality. their surroundings, there are so Photography is the chance to capture many ways to tell their story. not only these symbols, but the environment that showcases and In my undergraduate studies at honors the pieces that join together St. Lawrence University, I studied to make up our jigsaw identities. Sociology. At the time I did not comprehend how this field would I share this to give context as to assist me in future, but it has given why I chose Group F.64 for a thesis me the ability to look at people project. I have been fascinated in a deeper sense. We experience with photography and how people others through their identity, in represent themselves, but how can 1 Introduction I find a deeper purpose there? I had never stopped to consider present our true selves to the world. I met with Tony Venne, Head that what I like could be valuable Popular apps like Face Tune and of Design at The Walters Art in and of itself. This got me the rise of Photoshop were created Museum in Baltimore, MD. At thinking. I began researching to bring major editing and image this point, I had been through photography exhibitions, finding manipulation to the masses solely 3 ideas and was struggling. He out about photographers who were to make images look better. How asked me a simple question; breaking the mold of photography can we see the truth in photography at the time, and eventually wound if every image is manipulated in up investigating Group F.64. post production? By revitalizing “What do this group, I hope to continue the Group F.64’s mission was to create conversation both on and off ine you like?” a space in the serious art world for for photographers and artists alike pure photography, meaning non to discuss the importance of truth manipulated images. In today’s in art. If photographs are used as world, we can be almost certain references and documentation, any image we see Online, in an how can they be pillars of truth advertisement, or on social media when it so often does not reflect has been edited in some way unless reality? I want to bring integrity explicitly stated. Today it is "brave" back to photography, and carry to not edit a photograph and on the work Group F.64 began. 2 “You don’t take a photograph, you make it.” Ansel Adams Renata Romeo Abstract Group F.64 began in 1932 as an elite Group F.64 brings the original photography group created on the mission into the 21st century by foundation of a shared photographic challenging its members to reject style; sharp, clear images. The digital manipulation of images to style was achieved using the f.64 create false reality in photography, setting on SLR cameras, a small specifi cally in social media. aperture that brought everything visible to the camera into focus, The new era of F.64 is split thus inspiring the group name. The into 3 categories: The Human group originated in opposition to Experience (portrait and street the pictorialist photography style photography), Making Statements popular at the time, one in which (photojournalism, documentary, the photographer manipulates the political statement photography), photo rather than just recording and Redefi ning Landscapes what is in fr ont of them. Group F.64 (moving beyond perfect nature aimed to prove photography as an art landscape to look at human habitat form, and photographers as artists as a landscape). Each section of rather than machine operators. the overall exhibit includes its own material and signage. The Future exploration for this group book, created for the exhibition, will be to create a digital presence refl ects the overall shift in and connect with social media. photography for Group F.64. 6 Introduction Ansel Adams Problem Defi nition “Photography can put a human face on a situation … It is a way to remember history and to try not to relive the mistakes of the past.” James Nachtwey Robert Cohen Problem Definition In the early 20th century, photography was After initial exhibitions at M. H. de Young not considered a high art form. Photographers Memorial Museum in San Francisco, CA in were closer to equipment operators than to the early 1930's, there was little activity with artists in the art world, and any photography the group. The work of this group was the that was considered art fell into the catalyst of photography becoming its own Pictorialist style, meaning the images were art form and honoring the camera’s ability highly manipulated, blurry, and closer to to capture life sharply and authentically. resembling paintings or an idealized view of However, what does this mean in the 21st the world. A group of like-minded “straight” century? Since Group F.64’s creation, photographers, meaning to capture the photography has become accessible to everyone world as it appears to the camera with little in our back pockets with a smart phone. Even to no manipulation, got together and created with this growth, social media and advertising Group F.64. In the words of a founding have continued to modify photography, member, Ansel Adams, Group F.64 was “an changing the integrity of the image and organization of serious photographers without altering reality. Apps like Face Tune, Snapchat, formal ritual of procedure, incorporation, and filters on Instagram encourage changing or any of the limiting restrictions of artistic one’s body and features to build a more secret societies, Salons, clubs or cliques.” desired outcome and display an altered reality Online. In an effort to combat this, bringing back the mission of Group F.64 would have a new purpose today. The pure photography mentality of capturing the world as we see it, and truth not needing to be changed gives Group F.64 a place in the modern world. 10 This project is not... A judgment or critique of photography that utilizes heavy digital manipulation A comment on social media. A biographical study of the founding members of Group F.64 in 1932. RaMell Ross 11 Antecedents Many modern day photographers pure photography in his project, continue to pursue pure photography Humans of New York. Stanton in the sense that photography created a Facebook page to post captures the truth of life. In the portraits of everyday people in 1930's it was uncommon to view New York City with a caption photographs of everyday life, not about the subject's story. Topics identifying day to day activities, as range from humorous to serious, a valuable subject of art. However, light hearted to heavy, or simple modern photographers continue to complex. He expresses the true to challenge what is considered human experience in his quantity art by finding the beautiful in of stories by not attempting to the mundane. Bill Cunningham dictate the subjects. Stanton's work practices pure photography in his finds beauty in all parts of life. focus on capturing the street life of New York City. His photos have become famous for observation of fashion as an art form off he runway. Brandon Stanton continues 12 Problem Definition Above: Bill Cunningham Left: Brandon Stanton posts on Facebook page, "Humans of New York" 13 Precedents Curating a photographic exhibition is a very physical process. However, I conducted this project in the midst of a global pandemic, so I had to fi nd photographs through digital archives. The International Center of Photography (ICP), Museum of Modern Art (MoMA), and The Metropolitan Museum of Art (The MET) were wonderful examples of digitally displaying photography. They utilized clean structures with little distraction to give the photos room to breathe and shine. I referred to these styles as I created the visual direction for a Group F.64 exhibition. 14 Problem Defi nition MoMA Online archive of past photography exhibitions. The MET Online exhibition of Group F.64 International Center of Photography (ICP) Online archive 15 Research “Actually, it’s nature itself that creates the most beautiful pictures, I’m only choosing the perspective.” Katja Michael Richard Choi Research A thesis project is the exploration of many sub- problems within one category. In this project, the sub- problems lead to new ideas that gave me my final concept. I went through a variety of concepts, but all were necessary to end up with reviving Group F.64. In a conversation with my professor recently, she shared that it was a challenge on whether or not to support the pivot within my project.
Load more

Recommended publications
  • AG 3 Sonya Noskowiak Archive, 1928-1974
    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 Sonya Noskowiak archive, 1928-1974 AG 3 Finding aid updated by Alexis Peregoy, 2016 AG 3: Sonya Noskowiak archive - page 2 Sonya Noskowiak archive, 1928-1974 AG 3 Creator Noskowiak, Sonya, 1900-1975 Abstract Papers and photographic materials, 1928 - 1974, of Sonya Noskowiak (1900 - 1975), photographer. Includes correspondence with Edward Weston and other photographers; reviews and announcements of photography exhibitions, including two of Group f/64, of which Noskowiak was member; clippings about Noskowiak, Edward Weston, her photography and other topics; negatives and contact prints made by Noskowiak, and reference prints made by the CCP staff. Quantity/ Extent 10 linear feet Language of Materials English Biographical/ Historical Note Sonya Noskowiak (1900–1975) began her photographic career as studio assistant to Johan Hagemeyer in 1925 and within less than a decade exhibited alongside Ansel Adams, Edward Weston, and Imogen Cunningham. Like her Group f/64 counterparts, she produced sharp-focus studies of natural and man-made objects, which emphasized photographic presentation rather than subject matter. Following an intense period as a creative photographer, Noskowiak maintained a portrait studio and pursued documentary photography. Noskowiak was born in Leipzig, Germany, and spent her childhood years in Chile, Panama, and California, as her father sought employment in gardening and landscape design. At age 19 she moved to San Francisco, enrolled in secretarial school, and then worked at photographer and horticulturalist Johan Hagemeyer’s Los Angeles studio.
    [Show full text]
  • Revised Rules & Guidelines!
    REVISED RULES & GUIDELINES! th 5 Annual “Stand in Ansel Adams Footsteps” Juried Competition & Exhibition at The Hudgens Center for Art and Learning The Gwinnett Chapter, Georgia Nature Photographers Association is once again hosting our very successful “Stand in Ansel Adams Footsteps”. This annual competition began as our humble way to pay tribute to the legendry Ansel Adams. It has grown each year with not only more participating photographers, but with the tremendous quality and quantity of the work submitted. BIG IMPROVEMENTS THIS YEAR! This year we are taking it up a Notch! The 5th Annual “Stand in Ansel Adams Footsteps” photographic competition will now for the first time have a 10-week exhibition at The Hudgens Center for Art and Learning. This is to provide recognition to our GNPA members who with their excellent creative work through their effort and skill continue to create wonderful works of art. The exhibit will run from February 15 until April 25, 2020 in The Hudgens Center for Art and Learning, Georgia Galley. What is The Hudgens Center for Art and Learning? Founded over 35 years ago, as the Gwinnett Council for the Arts. Renamed in 2016 as The Hudgens Center for Art and Learning it is a non-profit dedicated to bringing art lovers, leaders, and learners together through quality programs and exhibits. Situated at the south end of the Infinite Energy Center campus with annually more than 13,000 visitors. Presently, the entire Infinite Energy Center campus is undergoing major changes and enhancements. The coveted Hudgens Prize, a $50,000 cash award is one of the largest cash awards given to an individual artist in the entire nation.
    [Show full text]
  • Rkoei, 1992, $85) Reveals a New Chapter Irn the Illumination of Books
    RkoEi, 1992, $85) reveals a new chapter irn the illumination gorgeous monoprints. An incisive interview with Diana of books and manuscripts, showing how calligraphy itself ca~Johnson allows us 10 understand the influences and the become a decoration in Iranian manuscripts and books, bur drives the photogapher Has nurtured, but it is the work itself even moreso, we get a feeling of a culture that loved books, that stimulates the poetic side of our souls as viewers, as that loved beautifd book, md that treasured them. To know participants, as recipients of &is art. Ironically, some of the that the head of the royal library-atelier, Mirak the painter, monoprints from Yugoslavia perhaps have more sig- meam to &ova that the artist and the bookmaker are one. nii5cance now thm when they were done in the ~llid-1980s. The pages are beyond belief in decoration, narration, and Moers teaches us to see in another way. Beautifully designed aesthetic sensitivity. and printed, this catalog has a biography, chronology and 'fhe cultural activities of Herat, where art and society selected bibliography. AvailabIe from David Winton Bell blend into one, make us wonder why this area of art history Gallery, List Art Center, Brown University, 64 College St., is barely touched in classes, in seminars, and in even special- Providence, RI 52912. ized studies. Sufis and Persians, Mongo%aras,Indians all can be studied by their books, including architecture, costume., Camera and Community: A Celebration by Guy R. Crow- landscape, customs and rituals, and so much more. These der documents the work of this Los Angeles photographer pages glowing with gold and a spectrum of coIors illuminate and photojournagst, whose archives provide one of the most our understanding of what books really were--neasures of significant collections of images of the Los Angeles African- memories and layers of meaning--to the courts of the American community.
    [Show full text]
  • The Tanforan Memorial Project: How Art and History Intersected
    THE TANFORAN MEMORIAL PROJECT: HOW ART AND HISTORY INTERSECTED A Thesis submitted to the faculty of San Francisco State University AS In partial fulfillment of 5 0 the requirements for the Degree AOR- • 033 Master of Arts in Humanities by Richard J. Oba San Francisco, California Fall Term 2017 Copyright by Richard J. Oba 2017 CERTIFICATION OF APPROVAL I certify that I have read “The Tanforan Memorial Project: How Art and History Intersected” by Richard J. Oba, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Humanities at San Francisco State University. I Saul Steier, Associate Professor, Humanities “The Tanforan Memorial Project: How Art and History Intersected” Richard J. Oba San Francisco 2017 ABSTRACT Many Japanese Americans realize that their incarceration during WWII was unjust and patently unconstitutional. But many other American citizens are often unfamiliar with this dark chapter of American history. The work of great visual artists like Ansel Adams, Dorothea Lange, Chiura Obata, Mine Okubo, and others, who bore witness to these events convey their horror with great immediacy and human compassion. Their work allows the American society to visualize how the Japanese Americans were denied their constitutional rights in the name of national security. Without their visual images, the chronicling of this historical event would have faded into obscurity. I certify that the Abstract is a correct representation of the content of this Thesis ACKNOWLEDGEMENT I wish to acknowledge the support and love of my wife, Sidney Suzanne Pucek, May 16, 1948- October 16, 2016.
    [Show full text]
  • RULES & GUIDELINES! 5Th Annual “Stand in Ansel Adams Footsteps
    RULES & GUIDELINES! th 5 Annual “Stand in Ansel Adams Footsteps” Juried Competition & Exhibition at The Hudgens Center for Art and Learning The Gwinnett Chapter, Georgia Nature Photographers Association is once again hosting our very successful “Stand in Ansel Adams Footsteps”. This annual competition began as our humble way to pay tribute to the legendry Ansel Adams. It has grown each year with not only more participating photographers, but with the tremendous quality and quantity of the work submitted. BIG IMPROVEMENTS THIS YEAR! This year we are taking it up a Notch! The 5th Annual “Stand in Ansel Adams Footsteps” photographic competition will now for the first time have a 10-week exhibition at The Hudgens Center for Art and Learning. This is to provide recognition to our GNPA members who with their excellent creative work through their effort and skill continue to create wonderful works of art. The exhibit will run from February 15 until April 25, 2020 in The Hudgens Center for Art and Learning, Georgia Galley. What is The Hudgens Center for Art and Learning? Founded over 35 years ago, as the Gwinnett Council for the Arts. Renamed in 2016 as The Hudgens Center for Art and Learning it is a non-profit dedicated to bringing art lovers, leaders, and learners together through quality programs and exhibits. Situated at the south end of the Infinite Energy Center campus with annually more than 13,000 visitors. Presently, the entire Infinite Energy Center campus is undergoing major changes and enhancements. The coveted Hudgens Prize, a $50,000 cash award is one of the largest cash awards given to an individual artist in the entire nation.
    [Show full text]
  • 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 ........................................
    [Show full text]
  • The History of Photography: the Research Library of the Mack Lee
    THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography.
    [Show full text]
  • Edward Weston Periodical Collection: Finding Aid
    http://oac.cdlib.org/findaid/ark:/13030/c8154ng6 No online items Edward Weston periodical collection: Finding Aid Finding aid prepared by Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Rare Books Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2015 The Huntington Library. All rights reserved. Edward Weston periodical 645289 1 collection: Finding Aid Overview of the Collection Title: Edward Weston periodical collection Dates (inclusive): 1930-1980 Bulk dates: 1950-1980 Collection Number: 645289 Creator: Waltman, Jack, collector.Waltman, Beverly, collector. Extent: 55 items in 3 boxes. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Rare Books Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains fifty-five magazines, exhibition catalogs, brochures, and other printed material related to the career and life of Edward Weston (1886-1958), a pioneering 20th-century American photographer known for his exploration of form in landscapes, still lifes, and nudes. The collection includes published writings by and about Weston; publications containing his photographs; exhibition catalogs and brochures that feature his work and his contemporaries; as well as later tributes and articles about the photographer. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities.
    [Show full text]
  • Willard Van Dyke Archive
    WILLARD VAN DYKE ARCHIVE GUIDE SERIES NUMBER FOURTEEN CENTER FOR CREATIVE PHOTOGRAPHY UNIVERSITY OF ARIZONA WILLARD VAN DYKE ARCHIVE Compiled by Leslie Squyres Calmes GUIDE SERIES NUMBER FOURTEEN CENTER FOR CREATIVE PHOTOGRAPHY UNIVERSITY OF ARIZONA Center for Creative Photography The University of Arizona Copyright© 1992 Arizona Board of Regents All Rights Reserved Photographs by Willard Van Dyke Copyright© 1992 Barbara Van Dyke Designed by Nancy Solomon Palatino Typography Printed by Arizona Lithographers Distributed by Center for Creative Photography The University of Arizona Tucson, Arizona 85721 ISSN 0739-4578 Cover:The Children Photographer Must Learn, unknown Willard Van Dyke filming 1940 Ansel Adams Archive Contents 5 Introductionf 9 Group /64 by Willard Van Dyke 11 Chronology and Filmography WILLARD VAN DYKE ARCHIVE INVENTORY Correspondence, 1925-1987 17 Family Correspondence, 1927-1985 19 Biographical Materials, 1915-1987 20 Writings and Interviews, 1925-1985 21 Activity Files, 1932-1986 23 Museum of Modem Art Files, 1964-1979, 1985 27 Publications and Clippings, 1934-1987 28 Financial and Insurance Records, 1936-1987 29 Photographic Materials, 1929-1982 30 Other Materials, ca. 1940, 1960-1985 31 Related Resources 32 Index to Correspondence 33 Photographs 36 The comercial and docu·nents ry u es of photo­ gra:phy '1ave lone bee-i faml liar to 1e 1)ubl1c, but the l�gitimate use of the med1un as ant art form 1s com­ paratively new. The knowledge that •hotography can record surface texture and tonal gradation better than any other mediu1, has led t? the use o� pure photo­ grap:1y as a means for ;ersonal expression.
    [Show full text]
  • Xx January 2017
    For issue: 17 April 2018 Dorothea Lange: Politics of Seeing Barbican Art Gallery, London, UK 22 June – 2 September 2018 Media View: Thursday 21 June, 10am – 1pm #dorothealange @barbicancentre Important note: The exhibition Dorothea Lange: Politics of Seeing, situated in the lower galleries of Barbican Art Gallery, is on at the same time as Vanessa Winship: And Time Folds on show in the upper galleries. The ticket gains entry to both exhibitions. The exhibition is organized by the Oakland Museum of California with support from the Oakland Museum Women’s Board and the Henry Luce Foundation. The European presentation has been produced in collaboration with Barbican Art Gallery, London and Jeu de Paume, Paris. This summer, Barbican Art Gallery stages the first UK survey of the American documentary photographer Dorothea Lange (1895–1965), one of the most influential photographers of the 20th century. A formidable woman of unparalleled vigour and resilience, the exhibition charts Lange’s outstanding photographic vision from her early studio portraits of San Francisco’s bourgeoisie to her celebrated Farm Security Administration work (1935–1939) that captured the devastating impact of the Great Depression on the American population. The show features the iconic Migrant Mother as well as rarely seen photographs of the internment of Japanese-Americans during the Second World War and several post-war series documenting the changing face of the social and physical landscape of 1950s America, including a collaboration with fellow photographer Pirkle Jones. Working in urban and rural contexts across America and beyond, Lange focused her lens on human suffering and hardship to create compassionate and piercing portraits of people and places in the hope of effecting or influencing social and political reform.
    [Show full text]
  • The Photographs of Edward Weston [By] Nancy Newhall
    The photographs of Edward Weston [by] Nancy Newhall Author Weston, Edward, 1886-1958 Date 1946 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2374 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art " __ - LIBRAHY THE MUSEUSVf OF MODERN ART Received: ! MCHW£ EDWARD WESTON THE PHOTOGRAPHSOF PORTRAIT OF EDWARD WESTON BY ANSEL ADAMS, 1945 EDWARD WESTON NANCY NEWH THE MUSEUM OF MODERN ART ACKNOWLEDGMENTS I wish especially to thank Edward Weston for the many months of work and the understanding collabora tion, maintained across a continent, which he has contributed to every stage of this book and the exhibition it accompanies. To Beaumont Newhall, for his invaluable aid in preparing the text and the bibliography, to Charis Wilson Weston, to whose writings and suggestions I am much indebted, and to Jean Chariot for permission to quote from his manuscript, I am particularly grateful. I wish also to thank Mrs. Gladys C. Bolt, Mrs. Gladys Bronson Hart, Mrs. Rae Davis Knight, Mrs. Mary Weston Seaman and Mrs. Flora Chandler Weston for lending the chloride, platinum, and palladio prints which represent Weston's earliest work. Nancy Newhall TRUSTEESOF THE MUSEUM OF MODERN ART Stephen C. Clark, Chairman of the Board; Henry Allen Moe, 1st Vice-Chairman; Sam A. Lewisohn, 2nd Vice- chairman; John Hay Whitney, President; Nelson A. Rockefeller, 1st Vice-President; John E. Abbott, Executive Vice-President; Ranald H.
    [Show full text]
  • Press Release
    Press Contact Rachel Eggers Associate Director of Public Relations PRESS [email protected] 206.654.3151 RELEASE AUGUST 11, 2021 IMOGEN CUNNINGHAM RETROSPECTIVE DEBUTS AT SEATTLE ART MUSEUM NOVEMBER 18 First major US retrospective in 35 years for the groundbreaking 20th-century photographer SEATTLE – The Seattle Art Museum (SAM) presents Imogen Cunningham: A Retrospective (November 18, 2021–February 6, 2022), the photographer’s first major retrospective in the United States in more than 35 years. Organized by the J. Paul Getty Museum, Los Angeles, the exhibition is a visual celebration of Cunningham’s immense contribution to the history of 20th-century photography. It features nearly 200 works from her seventy-year career, including portraits of artists, musicians and Hollywood stars; elegant flower and plant studies; poignant street pictures; and groundbreaking nudes. “We are thrilled to open this important retrospective here in Seattle, Cunningham’s first home as an artist,” says Amada Cruz, SAM’s Illsley Ball Nordstrom Director and CEO. “She once said that she ‘photographs anything the light touches’—this is an extraordinary opportunity for our visitors to bask in the glow of her dynamic and expansive body of work and be inspired.” “Imogen Cunningham was underappreciated for most of her career, only finding recognition in her last years—an unfortunately common tale for many women artists, “ says Carrie Dedon, SAM’s Associate Curator of Modern and Contemporary Art. “Her photographs reveal an endlessly curious, innovative, and determined mind that places her as one of the most important photographers of the last century.” BEGINNINGS IN SEATTLE Imogen Cunningham (1883–1976) had deep connections to the Pacific Northwest; born in Portland, she grew up in Port Angeles and Seattle.
    [Show full text]