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Golden Decade Info Sheet
THE GOLDEN DECADE Photography at the California School of Fine Arts 1945-1955 Shortly after World War II the California School of Fine Arts (now the San Francisco Art Institute) in San Francisco hired renowned photographer Ansel Adams to establish one of the rst ne art photography departments in the United States. The CSFA's photography program, established by Adams and taught by Minor White, also included as guest instructors, some of the great photographers of the time. Top names such as Edward Weston, Dorothea Lange, Imogen Cunningham, Lisette Model, Nancy and Beaumont Newhall, and Homer Page. The newly enacted G.I. Bill enabled all veterans to attend the college or trade school of their choice. For many this opened the door to an educational opportunity which would have otherwise been unavailable to them. This exhibition showcases the work of some of those early students. The accompanying book The Golden Decade focuses on CSFA’s photography department between 1945 and 1955, and is the result of a collaboration between three former students of Adams and White, William Heick, Ira H. Latour, C. Cameron Macauley, and editors (and local residents) Ken Ball and his wife Victoria Whyte Ball (whose father, Don Whyte, had bequeathed them an abundance of negatives and contact prints from his student years at CSFA). Together this team embarked on an important journey into photography’s past that is embodied in this book. The Golden Decade presents imagery from over 32 photographers, among them Pirkle Jones, Ruth Marion Baruch, Philip Hyde, Rose Mandel, David Johnson, Gerald Ratto and John Upton. -
1. Carbon Copy: 6/25 – 6/29 1973
The online Adobe Acrobat version of this file does not show sample pages from Coleman’s primary publishing relationships. The complete print version of A. D. Coleman: A Bibliography of His Writings on Photography, Art, and Related Subjects from 1968 to 1995 can be ordered from: Marketing, Center for Creative Photography, The University of Arizona, Tucson, AZ 85721-0103, or phone 520-621-7968. Books presented in chronological order 1. Carbon Copy: 6/25 – 6/29 1973. New York: ADCO interviews” with those five notable figures, serves also as Enterprises, 1973. [Paperback: edition of 50, out of print, “a modest model of critical inquiry.”This booklet, printed unpaginated, 50 pages. 17 monochrome (brown). Coleman’s on the occasion of that opening lecture, was made available first artist’s book. A body-scan suite of Haloid Xerox self- by the PRC to the audiences for the subsequent lectures in portrait images, interspersed with journal/collage pages. the series.] Produced at Visual Studies Workshop Press under an 5. Light Readings: A Photography Critic’s Writings, artist’s residency/bookworks grant from the New York l968–1978. New York: Oxford University Press, 1979. State Council on the Arts.] [Hardback and paperback: Galaxy Books paperback, 2. Confirmation. Staten Island: ADCO Enterprises, 1975. 1982; second edition (Albuquerque: University of New [Paperback: first edition of 300, out of print; second edition Mexico Press, 1998); xviii + 284 pages; index. 34 b&w. of 1000, 1982; unpaginated, 48 pages. 12 b&w. Coleman’s The first book-length collection of Coleman’s essays, this second artist’s book. -
Finding Aid for The
1 FINDING AID FOR THE ANSEL ADAMS ARCHIVE AG31 Center for Creative Photography The University of Arizona Tucson, AZ 85721-0103 For further information about the archives at the Center for Creative Photography, please contact the Archivist: phone 520-621-6273; fax 520-621-9444 TABLE OF CONTENTS page number Description, Provenance, Restrictions 2 Scope and Content 2-3 Organization of the Collection 3-4 Correspondence 5-25 Correspondence Index 25-30 Biographical materials 30-33 Music related materials 34-36 Activity Files 36-97 Clippings 97 Publications 97-101 Audio-visual Materials 101-106 Memorabilia 106-107 Photographic Materials 107-118 Photographic Equipment 118-122 Appendix A: Periodicals and miscellaneous, by and about Adams Appendix B: Monographs by and about Adams Appendix C: Personal library: monographs by others Appendix D: Index to photographs in the Ansel Adams Archive Ansel Adams Archive, Center for Creative Photography, The University of Arizona 1 2 DESCRIPTION Papers, photographic materials, and memorabilia, 1920s -1984, of Ansel Adams (1902 - 1984), photographer, author, teacher and conservationist. Includes correspondence (1906 - 1984) between Adams and his family, friends, business associates, and other artists; activity files documenting his commercial projects (1930s - 1977); exhibitions (1936 - 1983); his associations with the Sierra Club (1937 - 1984), Friends of Photography (1967 - 1984), and Images and Words Workshop (1967 - 1972); writings, lectures, and interviews (1931 - 1982); publications with Morgan and Morgan (1950 - 1975), 5 Associates (1952 - 1979), and New York Graphic Society (1973 - 1983); photographic materials including work, reproduction, and exhibition prints; printed materials including reproductions of his work in periodicals and a portion of his personal library; audio and visual materials relating to interviews with him; and memorabilia including awards, certificates, equipment, and clothing. -
4 Pirklejones.Pdf
PIRKLE JONES BIOGRAPHY Noted photographer and educator Pirkle Jones died on Sunday, March 15, 2009 in San Rafael, California at the age of 95. The passing of photographer Pirkle Jones marks the end of an era. He was one of the few remaining artists who studied with Ansel Adams and became known for his exquisite black-and-white prints whose subject matter ranged from the beauty of the California landscape to the politics of the Black Panthers. Pirkle’s photographs defined the Bay Area. San Francisco skylines with the fog rolling in and cloudscapes appear. Pirkle honored the working man: grape pickers, migrant farm workers, and cattle herders. He was attracted to the abstract compositional elements he saw in construction where he photographed workers dancing with concrete and I-beams. Pirkle’s love affair with the San Francisco Bay Area began when he came through San Francisco on his way to the Pacific during World War II. After the war, he returned to San Francisco to enroll in the new photography department at California School of Fine Arts headed by Ansel Adams. This brought him into the circle of Ansel Adams, Edward Weston, Dorothea Lange and Minor White. The creative energy of the time was electric. Pirkle met Ruth-Marion Baruch who was also a student in the photography program and a poet. They were married in 1949 at the Yosemite Valley home of Ansel and his wife Virginia. Adams said “I think that Pirkle Jones is an artist in the best sense of the term. His statement is sound and resonant of the external world as well as of the internal responses and evaluations of his personality. -
Vanguard Revisited: Poetic Politics & Black Futures
FOR IMMEDIATE RELEASE Vanguard Revisited: Poetic Politics & Black Futures An exhibition revisiting the 1968 photographic essay Black Panthers by Pirkle Jones and Ruth-Marion Baruch including never-before-seen work and a selection of contemporary works by four African-American artists and art collectives that connect the past and present of the Black political imagination January 22 – April 7, 2019 Opening reception: Saturday, January 26, 5-8pm (San Francisco, CA, January 9, 2019) San Francisco Art Institute (SFAI), in conjunction with the University of California, Santa Cruz (UCSC), presents Vanguard Revisited: Poetic Politics & Black Futures, an exhibition that revisits the controversial 1968 showing at the de Young Museum of the photographic essay Black Panthers by Pirkle Jones (1914-2009) and Ruth-Marion Baruch (1922-1997). The 30 photographs on view include many of the major works from the original exhibition 50 years ago, as well as never before printed works from the archive at UCSC. Vanguard Revisited: Poetic Politics & Black Futures places the archival photographs in dialogue with the work of four contemporary African- American artists and art collectives—Kija Lucas, Tosha Stimage, Chris Martin, and 5/5 Collective—whose work assembles a new understanding of the Black political imagination. The exhibition is the culmination of SFAI’s fall 2018 Collaborative Practices class, led by SFAI Librarian and Archivist Jeff Gunderson, who was good friends with Jones. The students selected the photographs on display and, in an important effort to connect the past to the present, invited current SFAI Guest Lecturer Leila Weefur to curate a collection of contemporary works that present a range of creative and radical resistance to augment the display of the historic photographs. -
The Artistic Legacy of the Black Panther Party in the San Francisco Bay
ÉTATS-UNIS The artistic legacy of the Black Panther Party in the San Francisco Bay AGGREGATION BY CAMILLE REYNAUD From January 20 to April 7, 2019, the San Francisco Art Institute (SFAI) hosted the “Vanguard Revisited: Poetic Politics & Black Futures” exhibition, an initiative by Leila Weefur that invites visitors to rediscover the work of Ruth-Marion Baruch and Pirkle Jones on the Black Panther movement, alongside works by contemporary artists from the Bay area. The Black Panther Party (BPP), also known as Black Panthers, is a revolutionary movement for Afro-American liberation that started in the mid 1960s in California to fight racial segregation in the United States. It was documented from inside by American photographers Ruth-Marion Baruch and Pirkle Jones, who in 1968 spent several months following their fellow members around in public as well as during their intimate moments around the table for The Vanguard: A Photographic Essay on the Black Panthers. Their black and white portraits give a face to the movement, breaking down barriers and revealing nuance while providing a more realist and human vision of the party as opposed to the caricatures circulating in the media at the time. Fifty years later, Kija Lucas, Tosha Stimage, Christopher Martin and Collectif 5/5 illustrate this BPP heritage in their respective works. Kija Lucas explores notions of home and heritage through photography. For her project “In Search of Home”, she uses plants and other artefacts—pieces of rock, metal or wood—to construct a parallel between her family’s migratory patterns and the species classification system established by Swedish naturalist Carl Von Linné. -
Polaroid Corporation, Et Al., Debtors
UNITED STATES BANKRUPTCY COURT DISTRICT OF MINNESOTA Jointly Administered under In re: Case No. 08-46617 Polaroid Corporation, et al., Court Files No.’s: Debtors. 08-46617 (GFK) (includes: Polaroid Holding Company; 08-46621 (GFK) Polaroid Consumer Electronics, LLC; 08-46620 (GFK) Polaroid Capital, LLC; 08-46623 (GFK) Polaroid Latin America I Corporation; 08-46624 (GFK) Polaroid Asia Pacific LLC; 08-46625 (GFK) Polaroid International Holding LLC; 08-46626 (GFK) Polaroid New Bedford Real Estate, LLC; 08-46627 (GFK) Polaroid Norwood Real Estate, LLC; 08-46628 (GFK) Polaroid Waltham Real Estate, LLC) 08-46629 (GFK) Chapter 11 Cases Judge Gregory F. Kishel NOTICE OF MOTION AND MOTION OF THE DEBTOR TO (I) SELL FINE ART PHOTOGRAPHY COLLECTION FREE AND CLEAR OF LIENS, CLAIMS, ENCUMBRANCES AND INTERESTS AND OUTSIDE THE ORDINARY COURSE OF BUSINESS PURSUANT TO 11 U.S.C. § 363; (II) APPROVE TERMS AND CONDITIONS OF CONSIGNMENT AGREEMENT WITH SOTHEBY’S, INC.; (III) GRANT SUPER-PRIORITY LIENS IN CERTAIN SALE PROCEEDS TO SECURE REIMBURSEMENT OF CERTAIN SUMS EXPENDED; AND (IV) GRANT RELATED RELIEF ______________________________________________________________________________ TO: The entities specified in Local Rule 9013-3 1. PBE Corporation, formerly known as Polaroid Corporation (the “Debtor”)1 through its undersigned attorneys, respectfully moves the Court for the relief requested herein and give notice of hearing. 1 On June 19, 2009, the above-captioned Debtors filed documents with the appropriate offices of the Secretary of State for the purpose of changing their corporate names to omit the reference to the word “Polaroid.” The Debtor Doc# 2997416\4 2. The Court will hold a hearing of this Motion before the Honorable Gregory F. -
Photographs We Like: Four
PHOTOGRAPHS WE LIKE: FOUR Photographers from the California School of Fine Arts 1945- 55 A folder labeled “CSFA exchange prints” found in her father’s darkroom propelled Victoria Whyte and her husband, Ken Ball, on a search for a group of almost unknown photographers. Like her father Don Whyte, these photographers had all attended the California School of Fine Arts (now the San Francisco Art Institute) between 1945 and 1955, a decade in which the teachers included Minor White, Ansel Adams, Edward Weston, Dorothea Lange, and Lisette Model. The students regularly exchanged prints among themselves. Don Whyte’s folder held his collection of “exchange prints.” Collaborating with Bill Heick, Ira Latour and Cameron Macauley, themselves students at the CSFA during that decade, Whyte and Ball embarked on a 20-year project that led them to the other photographers whose work was filed away in Don Whyte’s folder. The Golden Decade, their book about these talented CSFA photographers was published by Steidl in October, 2016. Coincidentally, we were searching for these photographers at the same time, and our paths crossed Victoria’s and Ken’s soon enough. Our 2004 catalogue Ten Photographers, 1946-1954: The Legacy of Minor White offered photographs for sale by ten of the students at the California School of Fine Arts students. Since then, Deborah Klochko and Stephanie Comer’s 2006 book, The Moment of Seeing: Minor White at the California School of Fine Arts, delved further into this fertile period of photography. The Golden Decade is the third publication to bring the work of these overlooked photographers to the public’s attention. -
San Francisco Museum of Modern Art Regional Oral History Office 75Th Anniversary the Bancroft Library Oral History Project University of California, Berkeley
San Francisco Museum of Modern Art Regional Oral History Office 75th Anniversary The Bancroft Library Oral History Project University of California, Berkeley SFMOMA 75th Anniversary PIRKLE JONES Artist, Photographer Interview conducted by Jess Rigelhaupt in 2007 Copyright © 2008 by San Francisco Museum of Modern Art Funding for the Oral History Project provided in part by Koret Foundation. ii Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Pirkle Jones, dated December 23, 2007. This manuscript is made available for research purposes. All copyrights and other intellectual property rights in the manuscript, including the right to publish, are reserved to the San Francisco Museum of Modern Art. -
Finding Aid for the Friends of Photography Archive, 1964-2005 AG 186
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 Friends of Photography archive, 1964-2005 AG 186 Finding aid updated by Tai Huesgen, 2019 AG 186: Friends of Photography archive - page 2 Friends of Photography archive, 1964-2005 AG 186 Creator Friends of Photography Quantity/ Extent 125 linear feet Language of Materials Predominantly English Historical Note The Friends of Photography was formed in 1967 in Carmel, California of eleven members, including Ansel Adams, Beaumont & Nancy Newhall, Brett Weston, and other figures involved in 20th century photography. After Ansel Adams’s death in 1984, the Friends began searching for gallery space in San Francisco, first moving into office space and eventually opening the Ansel Adams Center in the Yerba Buena cultural district in 1989. In 2001 the Friends moved into a new facility on Mission Street in San Francisco but, facing financial difficulties, decided to close within the year. The Friends’ final exhibitions ended on September 30, 2001 and the group closed its doors to the public in October, 2001. Scope and Content Note The Friends of Photography records measure approximately 125 linear feet and date from 1964 to 2005, although the bulk of the material falls between 1985 and 2001 when the organization was based in San Francisco, California. Files from earlier years when the organization was located in Carmel, California were most likely lost during the group’s gradual move to San Francisco in the years following Ansel Adams death in 1984. -
Polaroid Corporation
SCHEDULES to the ASSET PURCHASE AGREEMENT by and among POLAROID HOLDING COMPANY (“PHC”), POLAROID CORPORATION (“PC”), POLAROID CONSUMER ELECTRONICS, LLC (“PCE”), POLAROID CAPITAL, LLC (“PCAP”) POLAROID LATIN AMERICA I CORPORATION (“PLA”), POLAROID ASIA PACIFIC, LLC (“PAP”), POLAROID INTERNATIONAL HOLDING, LLC (“PINT”), POLAROID NEW BEDFORD REAL ESTATE, LLC (“PNB”), POLAROID NORWOOD REAL ESTATE, LLC (“PNOR”), POLAROID WALTHAM REAL ESTATE, LLC (“PWALT”) (COLLECTIVELY, THE “SELLERS”) and PLR ACQUISITION, LLC (THE “BUYER”) dated as of April 16, 2009 Doc# 2925017\7 These Schedules are being delivered by Sellers pursuant to that certain Asset Purchase Agreement, dated as of April 16, 2009 (the “Agreement”), by and among Sellers and the Buyer, as each such term is defined on the title page hereto. Capitalized terms used herein shall have the meanings set forth in the Agreement unless otherwise defined herein. Disclosure of any fact or item in any schedule to the Agreement referenced by a particular section of the Agreement shall be deemed to have been disclosed with respect to any other applicable section in the Agreement, so long as it is reasonably apparent (by cross-reference or otherwise) that the information contained in such section of such schedule also constitutes a disclosure to a different section or sections of the Agreement. Neither the specification of any dollar amount in any representation or warranty contained in the Agreement nor the inclusion of any specific item in any schedule hereto is intended to imply that such amount, or higher or lower amounts, or the item so included or other items, are or are not material, and no party shall use the fact of the setting forth of any such amount or the inclusion of any such item in any dispute or controversy between the parties as to whether any obligation, item or matter not described herein or included in any Schedule is or is not material for purposes of the Agreement.