Edward Weston Periodical Collection: Finding Aid
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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. -
Brett Weston June 2020
#51 June 2020 Cameraderie Brett Weston (1911-1993) Brett Weston and his father, Edward Weston I started this series on great photographers in October 2012 with Edward Weston, the photographer with whom I was then, and now, most impressed. Now, for the beginning of the second set of 50 articles—an anniversary of sorts—I am turning to his son, Brett Weston. Please have a look at his Wikipedia article here: https://en.wikipedia.org/wiki/Brett_Weston From the Wikipedia article: [Brett] Weston began taking photographs in 1925, …. He began showing his photographs with Edward Weston in 1927, was featured at the international exhibition at Film und Foto in Germany at age 17, and mounted his first one-man museum retrospective at age 21 at the De Young Museum in San Francisco in January, 1932. Brett Weston was credited by photography historian Beaumont Newhall as the first photographer to make negative space the subject of a photograph. I am impressed by the younger Weston’s extraordinary versatility in his photography, possibly more so than his father—a difficult decision for me. In the sample images below, I am trying to show that versatility. Street Corner, New York 1944 I am charmed by these two extremely formal compositions. Nude in Pool [1979-1982] Dunes Weston apparently saw similarities between nudes and dunes, and exhibited them together. This is Weston’s famous broken glass image, said by one critic to be the first photograph ever to capture “negative space.” Edward Weston by Brett Weston Manuel Hernández Galván by Edward Weston, 1924 Do you have any doubt that Brett Weston shot this image of his father in the style of his father’s famous shot of General Galván? . -
Transforming Practices
Transforming Practices: Imogen Cunningham’s Botanical Studies of the 1920s Caroline Marsh Spring Semester 2014 Dr. Juliet Bellow, Art History University Honors in Art History Imogen Cunningham worked for decades as a professional photographer, creating predominantly portraits and botanical studies. In 1932, she joined the influential Group f.64, a group of West Coast photographers who worked to pioneer the concept of “Straight Photography,” a movement that emphasized the use of sharp focus and high contrast. Members of Group f.64 included Ansel Adams and Edward Weston, whose works have since overshadowed other photographers in the group. Cunningham has been marginalized in histories of Group f.64, and in the history of photography in general, despite evidence of her development of many important photographic practices during her lifetime. This paper builds on scholarship about Group f.64, using biographical information and analysis of her photographs, to argue that Cunningham influenced more of the ideas in the group than has been recognized, especially in her focus on the simplification of form and the creation of compelling compositions. Focusing on her botanical studies, I show that many of the ideas of f.64 existed in her oeuvre before the formal creation of the group. Analysis of her participation in the group reveals her contribution to developments in art photography in that period, and shows that her gender played a key role in historical accounts that downplay her significant contributions to f.64. Marsh 2 Imogen Cunningham became well known in her lifetime as an independent and energetic photographer from the West Coast, whose personality defined her more than the photographs she created or her contribution to the developing straight photography movement in California. -
Post-Visualization Jerry N. Uelsmann 1967
Post-Visualization Edward Weston, in his efforts to find a language suitable and indigenous to his own life and time, developed a method of working which today we refer to as pre-visualization. Jerry N. Uelsmann 1967 Weston, in his daybooks, writes, the finished print is pre-visioned complete in every detail of texture, movement, proportion, before exposure-the shutter’s release automatically and finally fixes my conception, allowing no after manipulation. It is Weston the master craftsman, not Weston the visionary, that performs the darkroom ritual. The distinctively different documentary’ approach exemplified by the work of Walker Evans and thedecisive moment approach of Henri Cartier Bresson have in common with Weston’s approach their emphasis on the discipline of seeing and their acceptance of a prescribed darkroom ritual. These established, perhaps classic traditions are now an important part of the photographic heritage that we all share. For the moment let us consider experimentation in photography. Although I do not pretend to be a historian, it appears to me that there have been three major waves of open experimentation in photography; the first following the public announcement of the Daguerreotype process in 1839; the second right after the turn of the century under the general guidance of Alfred Stieglitz and the loosely knit Photo-Secession group; and the third in the late twenties and thirties under the influence of Moholy-Nagy and the Bauhaus. In each instance there was an initial outburst of enthusiasm, excitement and aliveness. The medium was viewed as something new and fresh possibilities were explored and unanticipated directions were taken. -
Getty Publications Spring 2014 Getty
The J. Paul Getty Museum Getty Research Institute Getty Conservation Institute Getty Foundation Getty Publications Spring 2014 Getty Getty Publications Publications To order Connect with Us A look at the making of a modern American New INDIVIDUALS BOOKSTORES masterpiece and its restoration Visit your local bookstore or call: 800 621-2736 (U.S. and Canada) 800 223-3431 (North America) (44) 01273 603 717 (U.K. and Europe) Titles 310 440-7333 (International) Find us on Facebook www.getty.edu/publications www.facebook.com/GettyPublications [email protected] E-Newsletter Follow us on Twitter For information about Getty Publications and future titles, @GettyPubs sign up for Art Bound, our monthly electronic newsletter at www.getty.edu/artbound Follow us on Tumblr Jackson Pollock’s Mural www.gettypubs.tumblr.com The Transitional Moment Yvonne Szafran, Laura Rivers, Alan Phenix, Tom Learner, Ellen G. Landau, and Steve Martin Jackson Pollock's (1912–1956) first large-scale painting, Mural, in many ways represents the birth of Pollock, the legend. The controversial artist’s creation of this painting has been recounted in dozens of books and dramatized in the Oscar-winning film Pollock. Rumors—such as it was painted in one alcohol-fueled night and at first didn’t fit the intended space —abound. But never in doubt was that the creation of the Mobile App painting was pivotal, not only for Pollock but for the Abstract Expressionists who would follow his radical conception of art —“no limits, just edges.” Sound of One Hand, The J. Paul Getty Museum Highlights of the Collections Mural, painted in 1943, was Pollock’s first major commission. -
Finding Aid for the Dody Weston Thompson Collection, Undated, Circa 1940-1991 AG 258
Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Dody Weston Thompson Collection, undated, circa 1940-1991 AG 258 Finding aid created by Leslie Squyres, August 2016 AG 258: Dody Thompson Weston - page 2 Dody Weston Thompson Collection, circa 1940-1991 AG 258 Creator Dody Weston Thompson Quantity/ Extent 6 linear feet Language of Materials English Biographical/ Historical Note Photographer Dody Weston Thompson, (1923-2012), was a founder of the photographic journal, Aperture and was married and a creative collaborator with the photographer Brett Weston from 1952-1956. Thompson favored creating sharp-focus, realistic photographs of natural objects in the style popularized by Ansel Adams and Edward Weston, both of whom she assisted. In 1952, Thompson was the second photographer to win the San Francisco Museum of Art’s Albert M. Bender Award. Ms. Thompson’s husband of 48 years, aerospace executive Daniel Michael Thompson died in 2008. Dody Weston Thompson died in Los Angeles on October 14, 2012, at the age of 89. Scope and Content Note Photographs and contact prints by Dody Thompson Weston, undated, circa 1940-1991; one photograph by John Sexton and one photograph by Jerome Baker. Arrangement Chronological Restrictions Conditions Governing Access Access to this collection requires an appointment with the Volkerding Study Center. Conditions Governing Use It is the responsibility of the user to obtain permission from the copyright owner (which could be the institution, the creator of the record, the author or his/her transferees, heirs, legates or literary executors) prior to any copyright-protected uses of the collection. -
Carmel Pine Cone, February 12, 2021
New pros, old-timers, First Tee upstarts, Pebble watch-at-home Beach goodies and more ... AT&T PRO-AM 2021 inside this week! VolumeThe 107 No. 7 Carmelwww.carmelpinecone.com Pine ConeFebruary 12-18, 2021 T RUS T ED BYLOCALSANDLOVEDBYVISI T O RSSINCE 1 9 1 5 Moreno, vaccine rollout debated during ‘State of City’ n Adams: Hard to keep up rollout, she said, “I hear so many peo- ple say Dr. Moreno is not the great- with constituent calls est communicator. Dr. Moreno is the most shy person I have ever met, and By MARY SCHLEY this is agony for him to have to speak publicly. He also is very conscious of WHILE THE Carmel Chamber giving precise and correct answers.” of Commerce’s State of the City pre- Unmentioned during the call was sentations Friday might have intended the fact that Moreno’s job description to focus on city issues, it was Mon- requires him to be able to “prepare terey County 5th District Supervisor clear and concise written and oral re- Mary Adams’ comments that had ports,” and “speak effectively before PHOTOS/MICHAEL TROUTMAN, DMT IMAGING some viewers spitting out their coffee. large groups.” In her presentation, Adams men- Clockwise from left: CBS Sports broadcaster Jim Nantz, just days tioned some issues facing the coun- Bad names after calling the Super Bowl in Tampa, Fla., was the announcer for ty, such as $600 million in deferred MacMurdo urged Adams to “get an “Every Shot Counts” charity event on Wednesday, with celebri- maintenance on county roads and ties like Kathryn Newton (“Big Little Lies”), Larry Fitzgerald and Bill back to your constituents, and get Murray. -
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 ........................................ -
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. -
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. -
![The Photographs of Edward Weston [By] Nancy Newhall](https://docslib.b-cdn.net/cover/1770/the-photographs-of-edward-weston-by-nancy-newhall-2611770.webp)
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. -
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.