DOCSLIB.ORG

1. Carbon Copy: 6/25 – 6/29 1973

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. Twelve photographs by Coleman of volume contains the bulk of the material Coleman chose the grave of composer-saxophonist Charles Parker, with to preserve in book form from his writings for the Village autobiographical text, all dating from summer 1962. Voice ,the New York Times, Popular Photography, Camera Published under the name Allan D. Coleman.] 35, and assorted other periodicals, produced during the period indicated in the book’s subtitle. Much of this book 3. The Grotesque in Photography. New York: Ridge Press/ tracks the emerging photography scene in the United Summit Books, 1977. [Hardback and paperback: 208 States, with particular emphasis on the east coast and west pages; bibliography. 215 b&w. The first critical survey of coast. Many of the texts included are occasional pieces, this mode of photography, a project for which Coleman but a number of polemics and commentaries on such received a 1975 Art Critics Fellowship from the National matters as censorship and the current states of photography Endowment for the Arts (the first such fellowship ever criticism and photography education appear here, as does given to a photography critic). The book begins with an the critic’s famous “debate” with the late Minor White, historical overview but concentrates on twentieth-century along with longer, germinal pieces on Roy DeCarava and imagery; included are over 200 duotone illustrations of Manuel Alvarez Bravo, two public lectures, and Coleman’s works by Alexander Gardner, Brassaï, Hannah Höch, Jerry most widely cited essay,“The Directorial Mode in N. Uelsmann, Robert Heinecken, Eikoh Hosoe, Clarence Photography.”The book’s second edition contains an John Laughlin, Adal Maldonado, Allen A. Dutton, Les introduction by independent scholar and critic Shelley Krims, Paul Diamond, Michael Martone, M. Richard Rice, a new preface by the author, and an appendix con- Kirstel, and many others. The book contains an introduc- taining four essays cut for reasons of space from the first tion and four sections:“Roots of the Grotesque,”“Realities,” edition and here restored, including a previously unpub- “Constructed Realities,”and “Unrealities.”Recipient of the lished response to Susan Sontag’s On Photography. Chicago ’77 award for “distinguished achievement in the Reprinted from 136, 137, 139, 140, 141, 143, 148, 149, 153, communicating arts.”] 158, 166, 178, 421, 807, 809, 811, 814, 819, 822, 826, 834, 4. Lee/Model/Parks/Samaras/Turner: Five Interviews 838, 842, 844, 849, 860, 863, 865, 868, 872, 873, 878, 883, Before the Fact. Boston: Photographic Resource Center, 888, 897, 902, 908, 910, 911, 915, 916, 917, 918, 919, 932, 1979. [Paperback: second edition, Staten Island, New 933, 1093, 1133, 1141, 1146, 1149, 1161, 1163, 1175, 1198, York: CODA Enterprises, 1997; iv + 40 pages. The com- 1214, 1219, 1230, 1249, 1252, 1258, 1261, 1263, 1275, 1278, plete text of the introductory lecture in a spring 1979 lec- 1285, 1299, 1306, 1312, 1323, 1333, 1335, 1339, 1341, 1342, ture series sponsored in Boston by the Photographic 1345, 1347, 1362, 1364, and 1365; second edition, addi- Resource Center, an organization of which Coleman was a tional essays reprinted from 156, 830, and 1347.] founder. The others in the series were Russell Lee, Lisette 6. The Photography A-V Program Directory, co-authored Model, Gordon Parks, Lucas Samaras, and Pete Turner. with Douglas I. Sheer and Patricia J. Grantz. New York: Coleman’s lecture, constructed as a set of “imaginary Photography Media Institute, Inc., 1980. [Hardbound: iii 1 + 220 pages; appendices; indices. 40 b&w. Funded in part Santa Fe. This volume collects “the most provocative and by a grant from the New York State Council on the Arts, durable of Coleman’s shorter essays from 1979 to 1989 on this project constructs the first database concerning various aspects of photography and related subjects—a audio-visual materials related to various aspects of still selection of texts never before published in book form.” photography, from the technical and instructional to the (From the back jacket.) These twenty-seven essays and historical and biographical. Contains listings of over 3300 talks were written in the period between the work covered films, audio- and videotapes, slide-sound programs, slide by the critic’s first monograph, Light Readings,and that in sets, and computer programs on photographic subjects: his subsequent volume, Critical Focus. Originally, they information on formats, sources, content, prices, etc. The appeared in a diversity of art, photography, and general- book also includes an assortment of commentaries by audience publications (some of them obscure, and many Sheer on the state of audio-visual production and presen- of them long since defunct). A few are occasional pieces. tation technologies, and three essays by Coleman, includ- Several have a scholarly premise. Most of them, however, ing “A Hard Look at Software,”on the use of such audio- are meditations on the state of photography in our time, visual materials in the classroom.] viewed from a diversity of perspectives. Among the topics: the waning hegemony of the Museum of Modern Art’s 7. Looking at Photographs: Animals. San Francisco: Department of Photography; the relationship between Chronicle Books, 1995. [Hardback: 40 pages; glossary of photography and performance art; the art market’s con- terms. 12 color; 25 b&w. Coleman describes this book as flation of different approaches to photographic printmak- “an experiment in teaching children how to interpret, ing; the inherent corruption of the grants system for the analyze and think critically about photographs.”Written arts; the emergence of color in contemporary photographic for children eight to twelve years of age, the book com- practice; the state of photography education, and of pho- prises an introduction and a series of eighteen two-page tography criticism as well; mass-media manipulation of layouts, each layout including one full-page reproduction still images; the limitations of the “snapshot aesthetic”; of a photograph, a brief essay by Coleman examining that and photography’s capacity to evoke the censorial impulse. photograph, and a smaller inset photograph with a short Recipient of Honourable Mention in the 1996 Kraszna- caption. Some of the captions were not written by Krausz Photography Book Awards. Reprinted from 95, 97, Coleman. Photographers represented include Alfred 140, 141, 169, 173, 194, 207, 217, 224, 226, 238, 246, 271, Stieglitz, Mary Ellen Mark, Peter Beard, Garry Winogrand, 387, 457, 512, 513, 423, 458, 1030, 1032, 1055, 1058, 1353, and Jacques-Henri Lartigue.] 1357, 1362, 1364, 1365, 1380, and 1381.] 8. Critical Focus: Photography in the International 10. Depth of Field: Essays on Photography, Mass Media Image Community. Munich: Nazraeli Press, 1995. and Lens Culture. Albuquerque: University of New Mexico [Paperback: 184 pages; indices. 24 b&w. Introduction by Press, 1998. [Hardback and paperback: xxii+197 pages; Bill Jay.A selection of Coleman’s commentaries on the endnotes, indices. 20 b&w. A selection of eleven essays— United States and international photography scenes from several of them previously unpublished, and most of the 1988 through 1993, drawn from Coleman’s column in the rest considerably revised versions of earlier published New York Observer and other material, as converted into essays—on a wide range of issues and subjects: criticism his series of “Letters from,”published regularly in Photo itself; documentary, photojournalism, and press photog- Metro, a west coast periodical. This volume contains dis- raphy; the ethics of street photography; the work of cussions of recent exhibitions and publications by such William Mortensen and Edward S. Curtis; the impact of figures as Sally Mann, Jock Sturges, Cindy Sherman, the lens on western culture; the “vanishing borderline” Andres Serrano, Christian Boltanski, Sebastião Salgado, between high and low art, and the relation thereto of Laurie Simmons, John Baldessari, and many others, along photography and the computer. A number of these essays with accounts of such events as Houston FotoFest and the are research papers, reflecting the more scholarly aspects Arles photo festival, responses to prominent instances of of Coleman’s activities between 1978 and the present. censorship, and other matters. Recipient of the International Reprinted from 241, 252, 385, 516, 943, 1378, 1379, and Center of Photography’s Twelfth Annual Infinity Award 1384.] for Writing on Photography in 1995, and Honourable Mention in the 1996 Kraszna-Krausz Photography Book 11.
Load more

Recommended publications
  • Vol. 15, No. 5 May 2011 You Can’T Buy It
    ABSOLUTELY FREE Vol. 15, No. 5 May 2011 You Can’t Buy It Betty Anglin Smith Scott Upton Leo Twiggs Eva Carter Images from the exhibit, Contemporary Carolinas, an invitational exhibition by a dynamic group of contemporary artists in the Carolinas, on view at Smith Killian Fine Art in Charleston, SC, on view from May 6 through June 12, 2011. A reception will be held on May 6, from 5-8pm. (See article on Page 14). Carolina Arts, is published monthly by Shoestring Publishing Company, a subsidiary TABLE OF CONTENTS of PSMG, Inc. Copyright© 2011 by PSMG Inc. It also publishes the blogs Carolina This index has active links, just click on the Page number and it will take you to that page. Arts Unleashed and Carolina Arts News, Copyright© 2011 by PSMG, Inc. All rights reserved by PSMG, Inc. or by the authors of articles. Reproduction or use without written Page 1 - Cover, work from Smith Killian Fine Art Page 2 - Table of Contents, Contact Info, Facebook Link, Links to blogs and Carolina Arts website permission is strictly prohibited. Carolina Arts is available online at (www.CarolinaArts. Page 3 - Ad by Morris Whiteside Galleries com). Mailing address: P.O. Drawer 427, Bonneau, SC 29431. Telephone: 843/825-3408, Page 4 - Ad by Smith Galleries & The Sylvan Gallery, and Editorial Commentary e-mail at ([email protected]) and on the web at (www.CarolinaArts.com). Page 5 - Ads by Sculpture in the South & Inkpressions/Photographic Page 6 - Article about North Charleston Arts Festival Editor/Publisher/Calendars/Distribution Page 7 - Ads by Peter Scala & Charleston Crafts Co-op, articles cont.
    [Show full text]
  • The Artist and the American Land
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c.
    [Show full text]
  • EDWARD BURTYNSKY 80 Spadina Avenue, Suite 207 Toronto, Ontario, Canada M5V 2J4
    CURRICULUM VITAE • Complete EDWARD BURTYNSKY 80 Spadina Avenue, Suite 207 Toronto, Ontario, Canada M5V 2J4 www.EdwardBurtynsky.com Born St. Catharines, Ontario, 1955 Education 1982 - Bachelor of Applied Arts - Photographic Arts (Media Studies Program), Ryerson University, Toronto, Ontario 1974 - 1976 - Graphic Arts, Niagara College, Welland, Ontario 1985 to present - Photographic artist, entrepreneur, educator, lecturer. Established Toronto Image Works, a darkroom rental facility, custom lab, digital imaging centre and new media computer training centre. SELECTED SOLO EXHIBITIONS 2013 Burtynsky: Water, New Orleans Museum of Art (NOMA) / Contemporary Art Center (CAC), New Orleans, USA, October 5, 2013 - January 19, 2014 Burtynsky: Water, Rena Bransten Gallery, San Francisco, USA, October 24 - December 14 (reception November 6) Burtynsky: Water, Flowers, Cork Street, London, UK, October 16 - November 23 (reception October 15) Burtynsky: Water, Arthur Roger Gallery, New Orleans, USA, October 5 - October 26 (reception October 5) Burtynsky: Water, Bryce Wolkowitz Gallery, New York, NY, USA, September 19 - November 2 (reception September 19) Burtynsky: Water, Howard Greenberg Gallery, New York, NY, USA, September 18 - November 2 (reception September 18) Burtynsky: Water, Nicholas Metivier Gallery, Toronto, Canada, September 5 - October 12 (reception September 12) Edward Burtynsky: The Landscape that we Change, McMichael Canadian Art Collection, Kleinberg, Ontario, Canada, June 29 - September 29 Nature Transformed: Edward Burtynsky’s Vermont
    [Show full text]
  • Annual Report 2013-2014
    The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I.
    [Show full text]
  • 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.
    [Show full text]
  • Aneta Pawłowska Department of Art History, University of Łódź [email protected]
    Art Inquiry. Recherches sur les arts 2014, vol. XVI ISSN 1641-9278 Aneta Pawłowska Department of Art History, University of Łódź [email protected] THE AMBIVALENCE OF AFRICAN-AMERICAN1 CULTURE. THE NEW NEGRO ART IN THE INTERWAR PERIOD Abstract: Reflecting on the issue of marginalization in art, it is difficult not to remember of the controversy which surrounds African-American Art. In the colonial period and during the formation of the American national identity this art was discarded along with the entire African cultural legacy and it has emerged as an important issue only at the dawn of the twentieth century, along with the European fashion for “Black Africa,” complemented by the fascination with jazz in the United States of America. The first time that African-American artists as a group became central to American visual art and literature was during what is now called the Harlem Renaissance of the 1920s and 1930s. Another name for the Harlem Renaissance was the New Negro Movement, adopting the term “New Negro”, coined in 1925 by Alain Leroy Locke. These terms conveyed the belief that African-Americans could now cast off their heritage of servitude and define for themselves what it meant to be an African- American. The Harlem Renaissance saw a veritable explosion of creative activity from the African-Americans in many fields, including art, literature, and philosophy. The leading black artists in the 1920s, 1930s and 1940 were Archibald Motley, Palmer Hayden, Aaron Douglas, Hale Aspacio Woodruff, and James Van Der Zee. Keywords: African-American – “New Negro” – “Harlem Renaissance” – Photography – “African Art” – Murals – 20th century – Painting.
    [Show full text]
  • Not for the Uncommitted: the Alliance of Figurative Artists, 1969–1975 By
    Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 By Emily D. Markert Submitted in partial fulfillment of the requirements for the degree Master of Arts in Curatorial Practice California College of the Arts April 22, 2021 Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 Emily Markert California College of the Arts 2021 From 1969 through the early 1980s, hundreds of working artists gathered on Manhattan’s Lower East Side every Friday at meetings of the Alliance of Figurative Artists. The art historical canon overlooks figurative art from this period by focusing on a linear progression of modernism towards medium specificity. However, figurative painters persisted on the periphery of the New York art world. The size and scope of the Alliance and the interests of the artists involved expose the popular narrative of these generative decades in American art history to be a partial one promulgated by a few powerful art critics and curators. This exploration of the early years of the Alliance is divided into three parts: examining the group’s structure and the varied yet cohesive interests of eleven key artists; situating the Alliance within the contemporary New York arts landscape; and highlighting the contributions women artists made to the Alliance. Keywords: Post-war American art, figurative painting, realism, artist-run galleries, exhibitions history, feminist art history, second-wave feminism Acknowledgments and Dedication I would foremost like to thank the members of my thesis committee for their support and guidance. I am grateful to Jez Flores-García, my thesis advisor, for encouraging rigorous and thoughtful research and for always making time to discuss my ideas and questions.
    [Show full text]
  • The Museum of Modern Art Momaexh 1221 Masterchecklist
    £'Y-h. 1221 The Museum of Modern Art 11 West 53 Street, New York, N. Y.10019 Tel. 956-6100 Cable: Modernart RORS AND WINDOWS: AMERICAN PHOTOGRAPHY SINCE 1960 exhibition circulated by The Museum of Modern Art, New York, and made possible by erous support from Phillip Morris Incorporated and the National Endowment for the Arts. 1 Q;KLIST: 184 framed photographs 3 photographic works mounted in vitrines 1 book MoMAExh_1221_MasterChecklist 1 Wall label (SP) Indicates Security plates on back of works Museum Frame Box Number Artist/Title/Date/Process/Credit HXW No. 313.78 ROBERT ADAMS (born 1937) Burned and Clearcut, East of Arch Ca.,e, 16 x 20" 1 Oregon. 1976. The Museum of Modern Att. Acquired with matching funds from Samuel Wm. Sax and the National Endowment for the Arts. L 314.78 Burned and Clearcut, East of Arch Cape, 16 x 20" 3 Oregon. 1976. The Museum of Modern Art. Acquired with matching funds from Samuel Wm. Sax and the National Endowment for the Arts. 3. 315.78 North of Briggsdale, Colorado. 1973. 14 x 17" (SP) 3 The Museum of Modern Art. Acquired with matching funds from Samuel Wm. Sax and the National Endowment for the Arts. 4. 316.78 North of Briggsdale, Colorado. 1973. 14 x 17" (SP) 1 The Museum of Modern Art. Acquired with matching funds from Samuel Wm. Sax and the National Endowment for the Arts. 5. 321.72 DIfu~E ARBUS (1923-1971) A Child Crying, New Jersey. 1967. 27 x 22" 7 The Museum of Modern Art. Mrs. Douglas Auchincloss Fund.
    [Show full text]
  • Completeandleft
    MEN WOMEN 1. JA Jason Aldean=American singer=188,534=33 Julia Alexandratou=Model, singer and actress=129,945=69 Jin Akanishi=Singer-songwriter, actor, voice actor, Julie Anne+San+Jose=Filipino actress and radio host=31,926=197 singer=67,087=129 John Abraham=Film actor=118,346=54 Julie Andrews=Actress, singer, author=55,954=162 Jensen Ackles=American actor=453,578=10 Julie Adams=American actress=54,598=166 Jonas Armstrong=Irish, Actor=20,732=288 Jenny Agutter=British film and television actress=72,810=122 COMPLETEandLEFT Jessica Alba=actress=893,599=3 JA,Jack Anderson Jaimie Alexander=Actress=59,371=151 JA,James Agee June Allyson=Actress=28,006=290 JA,James Arness Jennifer Aniston=American actress=1,005,243=2 JA,Jane Austen Julia Ann=American pornographic actress=47,874=184 JA,Jean Arthur Judy Ann+Santos=Filipino, Actress=39,619=212 JA,Jennifer Aniston Jean Arthur=Actress=45,356=192 JA,Jessica Alba JA,Joan Van Ark Jane Asher=Actress, author=53,663=168 …….. JA,Joan of Arc José González JA,John Adams Janelle Monáe JA,John Amos Joseph Arthur JA,John Astin James Arthur JA,John James Audubon Jann Arden JA,John Quincy Adams Jessica Andrews JA,Jon Anderson John Anderson JA,Julie Andrews Jefferson Airplane JA,June Allyson Jane's Addiction Jacob ,Abbott ,Author ,Franconia Stories Jim ,Abbott ,Baseball ,One-handed MLB pitcher John ,Abbott ,Actor ,The Woman in White John ,Abbott ,Head of State ,Prime Minister of Canada, 1891-93 James ,Abdnor ,Politician ,US Senator from South Dakota, 1981-87 John ,Abizaid ,Military ,C-in-C, US Central Command, 2003-
    [Show full text]
  • FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK at the PICTURES a Film by Fenton Bailey & Randy Barbato
    FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy BArbAto BERLINALE SCREENING SCHEDULE (PREMIERE) Sunday, February 14th at 5:00 PM @ (P&I SCREENING) Sunday, FebruAry 14th At 9:00 PM @ Running Time: 1:48:24 minutes For press materials, please visit: Press ContAct Press ContAct Public Insight Dogwoof Andrea Klasterer Yung Kha Office: +49/ 89/ 78 79 799-12 Office: +44(0)20 7253 6244 Andrea cell: +49 163 680 51 37 Yung cell: +44 7788546706 Email: [email protected] Email: [email protected] InternAtionAl Sales InternAtionAl Press DOGWOOF [email protected] Vesna Cudic [email protected] / +44 7977 051 577 www.mapplethorpefilm.com www.facebook.com/MapplethorpeFilm www.twitter.com/Mapplethorpedoc www.filminc.com MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy Barbato SHORT SYNOPSIS MAPPLETHORPE: LOOK AT THE PICTURES is the first definitive, feature length portrait of the controversial artist since his untimely death in 1989. A catalyst and an illuminator, but also a magnet for scandal, Robert Mapplethorpe had but one goal: to ‘make it’ as an artist and as an art celebrity. He could not have picked a better time: the Manhattan of Warhol’s Factory, Studio 54, and an era of unbridled hedonistic sexuality. His first solo exhibition in 1976 already unveils his subjects: flowers, portraits and nudes. Mapplethorpe quickly gains notoriety through his explicitly sexual photographs from the gay sadomasochistic scene as well as nude pictures of black men. Directors Fenton Bailey and Randy Barbato were given unrestricted access to Mapplethorpe’s archives for their documentary Mapplethorpe: Look at the Pictures, in which this exceptional artist talks candidly about himself in recently discovered interviews.
    [Show full text]
  • IDOLS Gilles Larrain
    Born in Da Lat, Vietnam in 1938, These arresting photographs may Gilles Larrain began an atypical life delight you. Perhaps they will offend that would see him living in Vietnam, you. They will almost certainly inspire Chile, Argentina, Canada, France, and you to ask questions about yourself America, all before the age of 16. He “I moved to New York City because of people like this. I wanted to be around the art crowd and the and your sexuality. They will not leave would have to learn many languages weirdos and the freaks...and here was a full-on book of them. I was like, where do I sign up? I wanted in.” you cold. The Halloween glamour of and integrate each new world, so the transvestite world is captured in it is not surprising that expression, —Ryan McGinley, from the Foreword these superb photographs by Gilles communication, and curiosity became Larrain. And, beneath the glitter and the framework for Larrain’s life pursuit, the pose, you will see the questing and the making of art. From architecture, to vulnerable souls of people you might painting, sculpture, creating happenings never meet outside these pages. People in New York City’s fabulous 60s, and living out their fantasies gallantly, photography, Gilles Larrain learned brilliantly, and desperately—posing the languages of his craft (in part by the disturbing challenge, “Who do you attending l’École Nationale Supérieure think YOU are?” des Beaux-Arts, Paris and MIT) as IDOLS he had those of his ever-changing Idols are revolutionary images environments growing up.
    [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]