Notice Biographique : Bibliographie Arthur Lavine
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The Museum of Modern Art 11 West 53 Street, New York 19, N
YELLOW AND BUFF THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONIt CIRCLE 5-8900 $iol*25 - zh PRESS PREVIEW: TUESDAY, 7*2-5 P.M. FOR WEDNESDAY RELEASE ABSTRACT PHOTOGRAPHY OF MANY TYPES TO BE SHOWN AT MUSEUM "Abstraction in Photography," an exhibition of photographs organized by Edward Steichen, will be on view on the first floor of the Museum of Modern Art, 11 West 53 Street, from May 2 through July l*. Mr. Steichen, Director of the Museum's Department of Photography, has selected 150 photographs, both in color and black and white, by 75 photographers, to illustrate abstract images ranging from the scientific document to contrived arrangements and from mechanical pattern to organic design. The abstract phase exhibited as part of "In and Out of Focus," shewn at the Museum in 19^8, and in the "Color photography" exhibition in 1950, is expanded in this survey, in some cases utilizing later work by the same photographers. The present exhibition follows the Museum's Korean war exhibition, just terminated, with a definite intention of contrasting the reality of sensitive reportorial photography of the impact of war on human beings with the scientistts penetrating camera findings through microscope and telescope, coupled with a record of the work of photogra phers concerned with evolving another reality by probing into the realm of the abstract. The historical survey of abstract photography presented begins with Matthew Brady's famous photograph of the silhouette of Richmond's ruins in 1865 and then the chronophotography studies of Marey's made between l883~l886. -
Avery Architectural & Fine Arts Library Department of Drawings & Archives
Avery Architectural & Fine Arts Library Department of Drawings & Archives Columbia University FINDING AID FOR THE GORDON BUNSHAFT (1909‐1990) ARCHITECTURAL RECORDS AND PAPERS, 1909‐1990 (bulk 1950‐1979) Collection Dates: 1909‐1990 (bulk 1950‐1979) Size: 8 linear feet (including oversize material) 8 manuscript boxes, 5 print boxes, 4 postcard boxes 10 volumes of bound material 160 drawings 5 archives boxes of printed materials Preferred Gordon Bunshaft architectural records and papers, Department of Citation: Drawings & Archives, Avery Architectural & Fine Arts Library, Columbia University. Acquisition This collection was a gift to Avery Library from Gordon Bunshaft in Information: 1988. Accession No.: 1988.005. Terms of Access: This collection is available for use by qualified readers by appointment in the Department of Drawings & Archives Reading Room, Avery Architectural and Fine Arts Library at Columbia University. For further information and to make an appointment, please call (212) 854‐4110. Restrictions on Columbia University is providing access to the materials in the Use or Access: Libraryʹs collections solely for noncommercial educational and research purposes. The unauthorized use, including, but not limited to, publication of the materials without the prior written permission of Columbia University is strictly prohibited. All inquiries regarding permission to publish should be submitted in writing to the Director, Avery Architectural and Fine Arts Library, Columbia University. For additional guidance, see http://www.columbia.edu/cu/lweb/services/preservation/publicationsPolicy.html In addition to permission from Columbia University, permission of the copyright owner (if not Columbia University) and/or any holder of other rights (such as publicity and/or privacy rights) may also be required for reproduction, publication, distributions, and other uses. -
Llegat I Vigència De Les Aportacions De L'exposició the Family of Man En La Representació Fotogràfica De La Identitat
Llegat i vigència de les aportacions de l'exposició The Family of Man en la representació fotogràfica de la identitat Mar Redondo i Arolas ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
Notice Biographique : Bibliographie Arthur Lavine
Collections du Musée de Nouvelle-Calédonie MNC 2008.10.50 "Soldats français devant la caserne (...)" Collection MNC Désignation "Soldats français devant la caserne (...)" Tirage photographique n&b Création/Exécution Nouvelle-Calédonie : Pays ; 1946 ; Lavine Arthur ; Nom : Lavine Prénom : Arthur Notice biographique : Bibliographie Arthur Lavine : 1923 : naissance d’Arthur Lavine à Trenton, New Jersey, se familiarise avec la photographie dès l’âge de 10 ans grâce à l’appareil photo familial. 1943 : après des études d’art dramatique à l’université de Caroline du Nord, Arthur Lavine entre dans l’armée américaine. 1944 : arrivée en Nouvelle-Calédonie, en tant que technicien du laboratoire photographique de l’armée américaine. 1945 : formation de photographe professionnel de quelques mois à Guadalcanal, lui permettant de superviser le laboratoire photographique de l’armée américaine en Nouvelle-Calédonie. 1946 : de retour aux États-Unis, Arthur Lavine opte pour une carrière de photographe professionnel. 1947 : il complète ses études dans le Maine les années suivantes sous la direction de grands photographes américains, dont Clarence H. White Jr. Après de nombreux aller-retour vers New-York, pour répondre à des commandes provenant de magazines ou d’agences, il s’y installe en 1950, où il prend part au dynamisme et à la créativité de la photographie de reportage. Cette année là et les suivantes, il rejoint les équipes photographiques de plusieurs grands établissements américains, la Western Electric Compagny, la Chase Manhattan Bank’s dont il dirige le département photographique. Expositions choisies : 2008 : Arthur Lavine photographe. Nouvelle-Calédonie : première source d’inspiration. Arthur Lavine’s Pacific Inspiration : Early Photographs in New Caledonia. -
Finding Aid for the Helen Gee / Limelight Gallery Archive, 1919-2004 AG 74
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 Helen Gee / Limelight Gallery archive, 1919-2004 AG 74 Finding aid updated by Paloma Phelps, 2017 AG 74: Helen Gee / Limelight Gallery archive - page 2 Helen Gee / Limelight Gallery archive, 1919-2004 AG 74 Creator Gee, Helen, 1919-2004 Abstract Papers, 1919-2004, of Helen Gee, (1919-2004), photographer, writer, gallery owner, and independent art consultant; and records, 1953-1961, of her New York City coffee house and photography gallery, Limelight. The papers include correspondence, “daybooks,” printed materials, legal documents, photographs, and audiotapes related to the personal and business activities of Gee, her husband the painter Yun Gee (1906-1963), and their daughter the painter Li-lan Gee (b. 1943). The records of Limelight include correspondence and office files relating largely to exhibitions at the gallery. The collection also contains records of Gee’s activities as an independent art agent after the closing of Limelight. Her exhibition and book projects later in her life are documented through manuscripts, correspondence, and ephemera. Quantity/ Extent 28 linear feet Language of Materials English, Japanese, Vietnamese Biographical/ Historical Note Helen Gee (1919-2004) began studying art when she was fifteen. She met painter Yun Gee (1906-1963) in New York. They were married in 1942. Their daughter Li-lan Gee was born in 1943. Gee and her husband were divorced in 1947. She married Columbia University professor, Kevin Sullivan, in 1959. -
Notice Biographique : Bibliographie Arthur Lavine
Collections du Musée de Nouvelle-Calédonie MNC 2008.10.39 "Un petit garçon surpris" Collection MNC Désignation "Un petit garçon surpris" Tirage photographique n&b Création/Exécution Nouvelle-Calédonie : Pays ; 1945 ; Lavine Arthur ; Nom : Lavine Prénom : Arthur Notice biographique : Bibliographie Arthur Lavine : 1923 : naissance d’Arthur Lavine à Trenton, New Jersey, se familiarise avec la photographie dès l’âge de 10 ans grâce à l’appareil photo familial. 1943 : après des études d’art dramatique à l’université de Caroline du Nord, Arthur Lavine entre dans l’armée américaine. 1944 : arrivée en Nouvelle-Calédonie, en tant que technicien du laboratoire photographique de l’armée américaine. 1945 : formation de photographe professionnel de quelques mois à Guadalcanal, lui permettant de superviser le laboratoire photographique de l’armée américaine en Nouvelle-Calédonie. 1946 : de retour aux États-Unis, Arthur Lavine opte pour une carrière de photographe professionnel. 1947 : il complète ses études dans le Maine les années suivantes sous la direction de grands photographes américains, dont Clarence H. White Jr. Après de nombreux aller-retour vers New-York, pour répondre à des commandes provenant de magazines ou d’agences, il s’y installe en 1950, où il prend part au dynamisme et à la créativité de la photographie de reportage. Cette année là et les suivantes, il rejoint les équipes photographiques de plusieurs grands établissements américains, la Western Electric Compagny, la Chase Manhattan Bank’s dont il dirige le département photographique. Expositions choisies : 2008 : Arthur Lavine photographe. Nouvelle-Calédonie : première source d’inspiration. Arthur Lavine’s Pacific Inspiration : Early Photographs in New Caledonia. -
Making a Photograph Iconic Images and Their Origins
MAKING A PHOTOGRAPH ICONIC IMAGES AND THEIR ORIGINS THE UNIVERSITY OF ARIZONA MAKING A PHOTOGRAPH ICONIC IMAGES AND THEIR ORIGINS The Center for Creative Photography houses many notes, contact sheets, source material—casting iconic masterpieces, such as Edward Weston’s Pepper images in a new light and expanding our sense of No. 30 and Ansel Adams’s Moonrise, Hernandez, photography’s expressive potential. In addition, the New Mexico. Seen from a historical distance, these exhibition suggests the breadth and depth of the landmarks appear in splendid isolation. Yet this per- Center’s archival collections and their value as essen- spective neglects the lived experience—the artist’s, tial resources for the study of photography. the subject’s, and the viewer’s—that is essential to The exhibition’s title comes from Ansel Adams, photography. Each individual photograph is part of who used it in 1935 for the first of many books outlin- a process, the result of experimentation, persistence, ing his conviction that a photograph is crafted and research, accident, and luck. Making a Photograph designed by an artist rather than simply taken or presents evidence of this process—negatives, field recorded by a machine. Making a Photograph does not present a chronological history of photography but instead examines photographic creativity. Seven thematic sections identify different arenas, either physical or conceptual, where decisions are made and meanings are determined. While perhaps we cannot definitively chart the path from idea to object, the signs left along the way can instruct and even inspire. Frederick Sommer (United States, 1905–1999). Cut Paper, 1970. -
The Family of Man: a Camera Testament; the UNESCO Courier: A
He *5. ( ,q<?. £ m FEBRUARY 19 5 6 (9th yeor) Price : 9d. (U. K.) 40 francs (France) Iff FAMILY OF MAN A camera testament TECHNICAL ASSISTANCE Pitfalls, snags and a look at human side iThe earthworm, our N° 1 farmer -"lift! mu S K v !Wä J *""" I >\ iite mai - HS?~Jki: < P » <S#Jfc Wt «H l&e- A ¿JP %Wé f- ""*n» m. ,î,'*l'.*4 I «F &&>? The Family of Man at work. (See page 18) India Copyright Howard Sochurek-Lifc. / U'KESCO The Unesco Courier. February 1956 archives yJ COVER PHOTO Cover and photo on opposite page are taken from " The Family of Man ", a photographic exhibition which Carl Sandburg, the famous American poet, FEBRUARY - 1956 has called " a drama of the grand canyon 9th YEAR of humanity. " (See page 18) Switzerland. Copyright Jakob Tuggencr CONTENTS PAGE 3 EDITORIAL P I HOTOGRAPHY has been hailed as the most typical art 4 FIVE READERS A MINUTE I I HOURS EVERY DAY of the 20th century. Yet it is hardly more than a Inside Asia's busiest public library hundred years since the invention of "writing with light" opened a new window on the world to mankind. Certain By Frank M. Gardner persons can still remember the time when good pictures were a rarity; when only the most expensive books had 9 GREAT HOPE OF THE 20th CENTURY good illustrations; when only the wealthy could afford Technical Assistance for economic development good pictures in their homes. Today photographs are everywhere around us. We see 12 THE HUMAN SIDE OF PROGRESS them in books and magazines, in newspapers, on posters in shops, and in the high-quality colour reproductions of By Luther H. -
Notice Biographique : Bibliographie Arthur Lavine
Collections du Musée de Nouvelle-Calédonie MNC 2008.10.44 "Centre-ville, Nouméa" Collection MNC Désignation "Centre-ville, Nouméa" Tirage photographique n&b Création/Exécution Nouvelle-Calédonie : Pays ; 1945 ; Lavine Arthur ; Nom : Lavine Prénom : Arthur Notice biographique : Bibliographie Arthur Lavine : 1923 : naissance d’Arthur Lavine à Trenton, New Jersey, se familiarise avec la photographie dès l’âge de 10 ans grâce à l’appareil photo familial. 1943 : après des études d’art dramatique à l’université de Caroline du Nord, Arthur Lavine entre dans l’armée américaine. 1944 : arrivée en Nouvelle-Calédonie, en tant que technicien du laboratoire photographique de l’armée américaine. 1945 : formation de photographe professionnel de quelques mois à Guadalcanal, lui permettant de superviser le laboratoire photographique de l’armée américaine en Nouvelle-Calédonie. 1946 : de retour aux États-Unis, Arthur Lavine opte pour une carrière de photographe professionnel. 1947 : il complète ses études dans le Maine les années suivantes sous la direction de grands photographes américains, dont Clarence H. White Jr. Après de nombreux aller-retour vers New-York, pour répondre à des commandes provenant de magazines ou d’agences, il s’y installe en 1950, où il prend part au dynamisme et à la créativité de la photographie de reportage. Cette année là et les suivantes, il rejoint les équipes photographiques de plusieurs grands établissements américains, la Western Electric Compagny, la Chase Manhattan Bank’s dont il dirige le département photographique. Expositions choisies : 2008 : Arthur Lavine photographe. Nouvelle-Calédonie : première source d’inspiration. Arthur Lavine’s Pacific Inspiration : Early Photographs in New Caledonia. Musée de Nouvelle-Calédonie. -
Harry Callahan Variations on a Theme
OCTOBER 2007 THE ARCHIVE 35 CENTER FOR CREATIVE PHOTOGRAPHY • THE UNIVERSITY OF ARIZONA HarryCallahan Variations on a Theme ,, �� ·--�_,-:;,. ��\�, �;._>: �,.-�;.;;�:: ·-··· .,,. .-.. ... �4-. � � ., . , ',. -� • 'l • . J HarryCallahan Variations on a Theme October �007 THE ARCHIVE 35 Harry Callahan Variations on a Theme CENTER FOR CREATIVE PHOTOGRAPHY • THE UNIVERSITY OF ARIZONA Contents From the Curator 7 Britt Sah·esen The Callahan Gaze, and How We Look Now 9 Peter Schjeldahl Field Notes from a Life: Harry Callahan's Landscape Photographs Katherine Ware Harry Callahan, Street Photography and the Alienating City �l Abigail Solomon Godeau Harry Callahan: There Are Two Sides to Every Picture David TraVIS Talking with Harry 47 Introduction, Douglas R. Nickel Presenter: Harold Jones Callahan as a Teacher: His Legacy Viewed by His Students Moderator: Britt Salvesen Panelists, Linda Connor. Jim Dow. Kenneth Josephson. Ray K. Metzker What It All Means Moderator, Keith F. Davis Panelists, Eleanor Callahan, Barbara Callahan Hollinger. Edith and Emmet Gowin. Peter MacGill 59 Recent Acquisitions 68 Recent Publications by CCP Scholars Archives and Collections 74 Center Board, Ex Officio, and Staff 6 Negatives forEleanor, Chicago, , 949. Images, 5.8 x 5.5 cm. Harry Callahan Archive. From the Curator 7 Harry Callahan has been integral to the Center for Creative Photography since its founding in 1975.LIGHT The Center's first director, Harold Jones-who worked with Callahan in his previous role as director of Gallery,in New York-was instrumental in attracting Callahan to contribute his work as one of the Center's founding archives. In 1980. Sally Stein authored an exhibitionand catalogue devoted to Callahan's color work; a 1981 issue ofTheArchivepresented research on Callahan's early street photographs by John Pultz. -
Abstract Photography of Many Types to Be Shown at Museum
YELLOW AND BUFF THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONIt CIRCLE 5-8900 $iol*25 - zh PRESS PREVIEW: TUESDAY, 7*2-5 P.M. FOR WEDNESDAY RELEASE ABSTRACT PHOTOGRAPHY OF MANY TYPES TO BE SHOWN AT MUSEUM "Abstraction in Photography," an exhibition of photographs organized by Edward Steichen, will be on view on the first floor of the Museum of Modern Art, 11 West 53 Street, from May 2 through July l*. Mr. Steichen, Director of the Museum's Department of Photography, has selected 150 photographs, both in color and black and white, by 75 photographers, to illustrate abstract images ranging from the scientific document to contrived arrangements and from mechanical pattern to organic design. The abstract phase exhibited as part of "In and Out of Focus," shewn at the Museum in 19^8, and in the "Color photography" exhibition in 1950, is expanded in this survey, in some cases utilizing later work by the same photographers. The present exhibition follows the Museum's Korean war exhibition, just terminated, with a definite intention of contrasting the reality of sensitive reportorial photography of the impact of war on human beings with the scientistts penetrating camera findings through microscope and telescope, coupled with a record of the work of photogra phers concerned with evolving another reality by probing into the realm of the abstract. The historical survey of abstract photography presented begins with Matthew Brady's famous photograph of the silhouette of Richmond's ruins in 1865 and then the chronophotography studies of Marey's made between l883~l886. -
Notice Biographique : Bibliographie Arthur Lavine
Collections du Musée de Nouvelle-Calédonie MNC 2008.10.55 "Arthur Lavine au centre ville (...)" Collection MNC Désignation "Arthur Lavine au centre ville (...)" Tirage photographique couleur Création/Exécution Nouvelle-Calédonie : Pays ; 1945 ; Lavine Arthur ; Nom : Lavine Prénom : Arthur Notice biographique : Bibliographie Arthur Lavine : 1923 : naissance d’Arthur Lavine à Trenton, New Jersey, se familiarise avec la photographie dès l’âge de 10 ans grâce à l’appareil photo familial. 1943 : après des études d’art dramatique à l’université de Caroline du Nord, Arthur Lavine entre dans l’armée américaine. 1944 : arrivée en Nouvelle-Calédonie, en tant que technicien du laboratoire photographique de l’armée américaine. 1945 : formation de photographe professionnel de quelques mois à Guadalcanal, lui permettant de superviser le laboratoire photographique de l’armée américaine en Nouvelle-Calédonie. 1946 : de retour aux États-Unis, Arthur Lavine opte pour une carrière de photographe professionnel. 1947 : il complète ses études dans le Maine les années suivantes sous la direction de grands photographes américains, dont Clarence H. White Jr. Après de nombreux aller-retour vers New-York, pour répondre à des commandes provenant de magazines ou d’agences, il s’y installe en 1950, où il prend part au dynamisme et à la créativité de la photographie de reportage. Cette année là et les suivantes, il rejoint les équipes photographiques de plusieurs grands établissements américains, la Western Electric Compagny, la Chase Manhattan Bank’s dont il dirige le département photographique. Expositions choisies : 2008 : Arthur Lavine photographe. Nouvelle-Calédonie : première source d’inspiration. Arthur Lavine’s Pacific Inspiration : Early Photographs in New Caledonia.