Mirrors and Windows American Photography Since 1960
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List of Photographers Mirrors Robert Adams Elliott Erwitt Leslie Krims Sylvia Plachy and Windows Diane Arbus Reed Estabrook William Larson Eliot Porter Larry Fink Helen Levitt Douglas Prince American Bill Arnold Lewis Baltz Lee Friedländer Sol LeWitt Edward Ranney Photography Anthony Barboza William Gedney Jerome Liebling Robert Rauschenberg Joseph Bellanca Ralph Gibson Danny Lyon Leland Rice since 1960 Jim Bengston Frank Gohlke Joan Lyons Edward Ruscha Richard Benson Emmet Gowin Nathan Lyons Lucas Samaras Gary Beydler Jan Groover Michael McLoughlin Naomi Savage The Museum Paul Caponigro Ernst Haas Jerry McMillan Stephen Shore of Modem Art, Walter Chappell Charles Hagen Larry McPherson Art Sinsabaugh Michael Ciavolino Betty Hahn Robert Mapplethorpe Keith A. Smith New York William Clift Gary L. Hallman Roger Mertin Rosalind Solomon July 28-October 2, 1978 Mark Cohen Charles Harbutt Ray K. Metzker Eve Sonneman Linda Connor Chauncey Hare Sheila Metzner Wayne Sorce Marie Cosindas Dave Heath Joel Meyerowitz Lew Thomas Robert Cumming Robert Heinecken Duane Michals George A. Tice Darryl Curran Richard P. Hume Richard Misrach Jerry N. Uelsmann William Current Scott Hyde John Mott-Smith Max Waldman Joseph Dankowski Christopher P. James Nicholas Nixon Todd Walker Judy Dater Ken Josephson Tetsu Okuhara Andy Warhol This exhibition has been made Bruce Davidson Simpson Kalisher Arthur Oilman Henry Wessel, Jr. possible by generous support from Roy DeCarava Colleen Kenyon Bill Owens Geoff Winningham Philip Morris Incorporated and Tod Papageorge Far left: Jerry N. Uelsmann. Untitled. 1964. The Museum of Modem Art, New York. Purchase the National Endowment for the Arts John M. Divola, Jr. Irwin B. Klein Garry Winogrand in Washington, D.C. William Eggleston George Krause Gianni Penati Bill Zulpo-Dane Above: Geoff Winningham. Tag Team Action. 1971. The Museum of Modem Art. New York. John Spencer Fund Mirrors and Windows Mirrors and Windows Lectures Schedule of the Exhibition American Photography since 1960 by John Szarkowski This exhibition attempts a critical overview of the art of sentative photographic works by artists who do not call The word romantic is used not to suggest a similarity to Published on the occasion of the exhibition is this review Tuesday, September 19, 8:30 p.m. The Museum of Modem Art, New York photography as it has evolved in the United States during themselves photographers, but whose work has helped any historic style but to identify the central presence in of American photography in the past two decades. John Robert Adams July 28-October 2, 1978 the past twenty years. With few exceptions, the selection broaden our sense of the medium’s potentials. the picture of its maker, whose sensibility is the picture’s Szarkowski, Director of the Department of Photography Robert Cumming is limited to the work of photographers who have come to The characteristic work of younger photographers ultimate subject, and the standard against which its suc at the Museum, discusses the polarity between photogra Joan Lyons Cleveland Museum of Art public attention during the past two decades. This defini during this period has been committed to a highly per cess is measured. phers of an essentially romantic tendency who see art as a November 13, 1978-January 1, 1979 tion excludes many major contemporary figures whose sonal vision of the world, and to the proposition that The view proposed here is meant to describe a dif mirror, reflecting the self, and those who might be called Tuesday, September 26, 8:30 p.m. work was already a significant force by the 1950s. photography can, in aesthetic terms, clarify that vision. ference, not a dichotomy. It is not intended as a method realists, viewing art as a window, a means of explora John M. Divola, Jr. Walker Art Center, Minneapolis, Minn. The changes in American photography during this Within this broad consensus, a significant but undefined of dividing recent photography into two discrete parts. tion. He analyzes significant changes in photography Jan Groover January 29—March 11, 1979 period have been profound, and reflect mutations in the divergence of view has existed. This divergence might On the contrary, the model is that of a continuous axis, since 1960, including the diminution of opportunities for Henry Wessel, Jr. professional circumstances and artistic environment in be described in terms of the difference between the goal the two poles of which might be defined in the terms the professional photographer, the demise of many pic J. B. Speed Art Museum, Louisville, Ky. which the photographer has worked. In the earlier days of self-expression and that of exploration—between the proposed above. ture magazines, the explosive growth of photographic Six photographers from across the country will give April 1-May 15, 1979 of its brief history, photography was considered an eso romantic and the realist visions of artistic possibilities. The two creative motives that are contrasted in this education, and the increasing recognition of the pho illustrated talks about their work. Their diverse attitudes teric craft. In this setting, most photographers performed The distinction might reflect alternative views of the exhibition are each part of a larger, single, plastic tradi tographic potentials of color. toward photography suggest the wide range of work San Francisco Museum of Modem Art tion. The prejudices and inclinations expressed by the June 7—July 29, 1979 a role similar to that of the scribe in illiterate cultures: artistic function of the exterior world. The romantic view 752 pages, 127 plates (17 in color), 7 reference illustra reported in this major exhibition, which examines the they recorded and interpreted things that others found of is that the meanings of the world are dependent on our pictures shown here recall those that are familiar from changes in American photography during the past two tions University of Illinois, Krannert Art Museum interest. As photography became easy, almost everyone own understandings, and that a work of art serves as a older disputes. In the photography of a half century ago, decades. came to make photographs, and the special social func metaphor for the subjective and independent apprehen a similar divergence might be noted between the work of Champaign, Ill. 0475. clothbound $22.50 (members $16.88) Advance tickets may be obtained at the Lobby Informa August 19-September 23, 1979 tion of the serious photographer was progressively sion of meaning experienced by an artist at work. It is the the romantic Alfred Stieglitz and the realist Eugene 0476. paperbound $12.50 (members $9.38) eroded. In these circumstances, his work became in realist view that the world consists of discoverable pat Atget. The distance between them is to be measured not tion Desk at $3, Members $2, Students $1, or by sending creasingly personal, and often increasingly private. terns of intrinsic meaning, and that by discovering these by the relative force or originality of their work, but by To order Mirrors and Windows by mail, write to Cus a stamped, self-addressed envelope with payment to Virginia Museum of Fine Arts, Richmond, Va. Education Department, The Museum of Modem Art, 11 After World War II, the rapid expansion of pho patterns, and forming models or symbols of them with their conceptions of what a photograph is: is it a mirror, tomer Sales Service, The Museum of Modern Art, 11 November 12-December 23, 1979 tographic education in the art schools created a new the materials of his art, the artist is joined to a larger reflecting a portrait of the artist who made it, or is it a West 53 Street, New York, New York 10019. Indicate West 53 Street, New York, New York 10019. intimacy, and a heightened mutual curiosity, between intelligence. window, through which one might better know the clothbound or paperbound edition, cite item number, and These lectures have been made possible by generous support from Milwaukee Art Center photographers and artists working in traditional forms. The word realist is used here to denote an interest not world? enclose check, including 50c postage for the first copy Philip Morris Incorporated and the National Endowment for the Arts. January 10-March 2, 1980 This new rapport resulted in extensive borrowing among only in the surface appearance of things but also in John Szarkowski, Director ordered and 20c for each additional book. New York the various media. Included in this exhibition are repre objective structure, and the logic of process and system. Department of Photography State residents please add applicable sales tax. Copyright © 1978 The Museum of Modem Art. New York.