DOCSLIB.ORG

Robert Frank • Cindy Sherman • Robert Mapplethorpe • Eugene Atget • Paul Graham Robert Frank B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Robert Frank • Cindy Sherman • Robert Mapplethorpe • Eugene Atget • Paul Graham Robert Frank B Where to begin? Robert Frank • Cindy Sherman • Robert Mapplethorpe • Eugene Atget • Paul Graham Robert Frank b. 1924 How Frank Prepared his Trip to Photograph “The Americans” Frank prepared his trip with a rough itinerary: • Gathered maps and itineraries from the American Automobile Association • Collected letters of reference from the Guggenheim Foundation and friends in the press (in-case people questioned his photographing intentions) • Introductions to representatives to industries around the country (to capture a wide variety of images) • Suggestions from fellow photographers of places to visit Walker Evans: The South Ben Schultz and Todd Walker: Los Angeles Wayne Miller: San Francisco Source: Eric Kim Street Photography, http://erickimphotography.com/blog Frank prepared some symbols that he wanted to pursue/capture: 1. Flags 2. Cowboys 3. Rich Socialites 4. Juke-boxes 5. Politicians Frank also numbered his rolls of film in chronological order and labeled according to location. He also sometimes labeled his film according to subject Source: Eric Kim Street Photography, http://erickimphotography.com/blog Subject matter that Frank Ended up Photographing Below are some re-occurring subjects that he ended up photographing in his trips around the U.S. 1. Cars (photos. 77, 78, 80) 2. American Lunch Counters (photo. 69) 3. Consumerism 4. Suburbs 5. Public parks 6. Cemeteries (photos. 80, 74) 7. Juke-boxes (photos. 17, 65, 67, 43) Source: Eric Kim Street Photography, http://erickimphotography.com/blog Robert Frank, Drugstore lunch counter, Detroit, 1955 Robert Frank, Store Window, Washington DC, 1955-56 Robert Frank, Drive-in movie, Detroit 1955 Robert Frank, Public Park, Cleveland, Ohio, 1955-56 Robert Frank, from The Americans, 1958 Robert Frank, Bar, NYC, 1955-56 Robert Frank, Charleston, South Carolina, 1956 Robert Frank, from The Americans, 1958 Robert Frank, from The Americans, 1958 Cindy Sherman b. 1954 Cindy Sherman, Untitled Film Still # 6, 1977 Cindy Sherman, Untitled Film Still # 10, 1978 Cindy Sherman, Untitled Film Still #7, 1978 Cindy Sherman, Untitled Film Still #7, 1978 Cindy Sherman, Untitled Film Still #28, 1979 Cindy Sherman, Untitled Film Still #82, 1980 Cindy Sherman, Untitled, 2008 Cindy Sherman, Untitled, 2008 Cindy Sherman, Untitled, 2008 Cindy Sherman, Untitled, 2008 Robert Mapplethorpe 1946-1989 Robert Mapplethorpe, Derrick Cross, 1983 Robert Mapplethorpe, Self-portrait, 1980 Robert Mapplethorpe,1984 Robert Mapplethorpe, Armpit / Livingston, 1988 Robert Mapplethorpe, Phillip, 1979 Robert Mapplethorpe, Scott (Jockstrap), 1978 Robert Mapplethorpe, Man in Polyester Suit, 1980 Robert Mapplethorpe, from X Portfolio, 1989 Eugene Atget 1857-1927 Eugene Atget Eugene Atget, Hotel de Sens, rue de l’Hôtel de Ville, Paris, early 1900s Eugene Atget, Boulevard de Strasbourg, Corsets, 1912 Eugene Atget, c. 1912 Eugene Atget, Coin de la Rue Valette et Pantheon (1925) Eugene Atget, Rue de la Montagne-Sainte-Geneviève, June 1925 Eugene Atget, Cour du Dragon c. 1920 Paul Graham b. 1956 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from Beyond Caring,1984-1985 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002 Paul Graham, from American Night, 1998-2002.
Load more

Recommended publications
  • Pressemappe American Photography
    Exhibition Facts Duration 24 August – 28 November 2021 Virtual Opening 23. August 2021 | 6.30 PM | on Facebook-Live & YouTube Venue Bastion Hall Curator Walter Moser Co-Curator Anna Hanreich Works ca. 180 Catalogue Available for EUR EUR 29,90 (English & German) onsite at the Museum Shop as well as via www.albertina.at Contact Albertinaplatz 1 | 1010 Vienna T +43 (01) 534 83 0 [email protected] www.albertina.at Opening Hours Daily 10 am – 6 pm Press contact Daniel Benyes T +43 (01) 534 83 511 | M +43 (0)699 12178720 [email protected] Sarah Wulbrandt T +43 (01) 534 83 512 | M +43 (0)699 10981743 [email protected] 2 American Photography 24 August - 28 November 2021 The exhibition American Photography presents an overview of the development of US American photography between the 1930s and the 2000s. With works by 33 artists on display, it introduces the essential currents that once revolutionized the canon of classic motifs and photographic practices. The effects of this have reached far beyond the country’s borders to the present day. The main focus of the works is on offering a visual survey of the United States by depicting its people and their living environments. A microcosm frequently viewed through the lens of everyday occurrences permits us to draw conclusions about the prevalent political circumstances and social conditions in the United States, capturing the country and its inhabitants in their idiosyncrasies and contradictions. In several instances, artists having immigrated from Europe successfully perceived hitherto unknown aspects through their eyes as outsiders, thus providing new impulses.
    [Show full text]
  • Street Seen Teachers Guide
    JAN 30–APR 25, 2010 THE PSYCHOLOGICAL GESTURE IN AMERICAN PHOTOGRAPHY, 1940–1959 TEACHERS GUIDE CONTENTS 2 Using This Teachers Guide 3 A Walk through Street Seen 10 Vocabulary 11 Cross-Curricular Activities 15 Lesson Plan 18 Further Resources cover image credit Ted Croner, Untitled (Pedestrian on Snowy Street), 1947–48. Gelatin silver print, 14 x 11 in. Howard Greenberg Gallery, New York. ©Ted Croner Estate prepared by Chelsea Kelly, School & Teacher Programs Manager, Milwaukee Art Museum STREET SEEN: The Psychological Gesture in American Photography, 1940–1959 TEACHERS GUIDE 1 USING THIS TEACHERS GUIDE This guide, intended for teachers of grades 6–12, is meant to provide background information about and classroom implementation ideas inspired by Street Seen: The Psychological Gesture in American Photography, 1940–1959, on view at the Milwaukee Art Museum through April 25, 2010. In addition to an introductory walk-through of the exhibition, this guide includes useful vocabulary, discussion questions to use in the galleries and in the classroom, lesson ideas for cross-curricular activities, a complete lesson plan, and further resources. Learn more about the exhibition at mam.org/streetseen. Let us know what you think of this guide and how you use it. Email us at [email protected]. STREET SEEN: The Psychological Gesture in American Photography, 1940–1959 TEACHERS GUIDE 2 A WALK THROUGH STREET SEEN This introduction follows the organization of the exhibition; use it and the accompanying discussion questions as a guide when you walk through Street Seen with your students. Street Seen: The Psychological Gesture in American Photography, 1940–1959 showcases the work of six American artists whose work was directly influenced by World War II.
    [Show full text]
  • Street Photography
    Columbia College Chicago Framing ideas street Photography Curriculum guide Aimed at middle school and high school and college age students, this resource is aligned with Illinois Learning Standards for English Language Arts Incorporating the Common Core and contains questions for looking and discussion, information on the artists and artistic traditions and classroom activities. A corresponding image set can be found HERE. The MoCP is a nonprofit, tax- exempt organization accredited by the American Alliance of Museums. The Museum is generously supported by Columbia College Chicago, the MoCP antonio Perez A Man Dressed as Charro on his Horse Waits for his Take-Out Food before the Start of the Annual Cinco de Mayo Parade Down Advisory Committee, individuals, Cermak in Chicago, September 2000. Museum purchase private and corporate foundations, and government agencies including the Illinois Arts Council, a state agency. The museum’s education work is additionally supported by After School Matters, the Lloyd A. Fry Foundation, and the National Endowment for the Arts. Special funding for this guide was provided by the Terra Foundation for American Art. 1 street Photography That crazy feeling in America when the sun is hot on the streets and the music comes out from a jukebox or from a nearby funeral, that’s what Robert Frank has captured in tremendous photographs taken as he traveled on the road around practically all forty-eight states in an old used car…Long shot of night road arrowing forlorn into immensities and flat of impossible-to- believe America in New Mexico under the prisoner’s moon… -Jack Kerouac, (from the introduction Robert Frank’s book The Americans) robert Frank robert Frank San Francisco, 1956 Political Rally, Chicago, 1956 Gift of Mr.
    [Show full text]
  • America Through Street Photography
    From the Instructor Sarah wrote this piece for my section of the Genre and Audience WR X cluster. Students had undertaken semester-long research projects and, in the final assignment for the course, were asked to reimagine their academic arguments for a public audience. Deciding to write in the style of The New Republic, which is, in the publication’s own words, “tailored for smart, curi- ous, socially aware readers.” Sarah’s focus on street photography brings her research on classic American images to a non-expert audience with diverse professional and disciplinary perspectives, appealing to their interests in history and the arts while tapping into contemporary culture. — Gwen Kordonowy WR 150: The American Road 135 From the Writer When I enrolled in an experimental writing class entitled “The American Road,” I assumed that the semester would be filled with discussions about the physical American road, its attractions, and its place in American history. While the physical road was an important subject in the class, I learned that this “American Road” was expansive beyond its physical limi- tations, able to encompass topics as broad and abstract as social progress, popular television shows, and, in my case, photography. I ultimately chose to investigate the works of two American street photographers, Robert Frank and Lee Friedlander, whose approaches to photography reveal much about life in America and what it means to be an American. While both photographers frequently feature the road in their pictures, I chose to focus more on the people and culture found alongside it and how they represent America.
    [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]
  • Robert Frank Published by Steidl
    Robert Frank published by Steidl The Robert Frank Project “The Robert Frank Project” is an ambitious long term publishing programme which encompasses Robert Frank’s complete oeuvre – reprints of his classic books, reprints of some less well known small books, the publication of previously unseen projects, newly conceived bookworks, and his Complete Film Works in specially designed col- lector’s DVD sets. This ensures the legacy of this original and seminal artist and that Robert Frank’s work will be available and accessible for many years to come in a sche- me and to a standard that the artist himself has overseen. The publication of a new edition of “The Americans” on 15th May, 2008, the fiftieth anniversary of the first edition, is the fulcrum of The Robert Frank Project. It presages a major touring exhibition and accompanying catalogue from the National Gallery of Art, Washington D.C., “Looking In: Robert Frank’s The Americans”, which opens in January 2009. This brochure contains details of all the books and films which are currently available and those planned for the future. Gerhard Steidl Ute Eskildsen Laura Israel Publisher Editorial Adviser Film Works Adviser Delpire, 1958 Il Saggiatore, 1959 Grove Press, 1959 Delpire, 1993 Aperture, 1969 Christian, 1986 Scalo, 1993 Scalo, 2000 A Short Publishing History of “The Americans” by Monte Packham Robert Frank’s “The Americans” was first published in 1958 by Robert Delpire in Paris. It featured 83 of Frank’s photographs taken in America in 1955 and 1956, accompanied by writings in French about American political and social history selected by Alain Bosquet.
    [Show full text]
  • Robert Frank: the Americans Pdf, Epub, Ebook
    ROBERT FRANK: THE AMERICANS PDF, EPUB, EBOOK Robert Frank,Jack Kerouac | 180 pages | 09 Jul 2009 | Steidl Publishers | 9783865215840 | English | Gottingen, Germany Robert Frank: The Americans PDF Book Tri-X film! On the occasion of the 50th anniversary of the book's original publication 15 May , a new edition was published by Steidl. As he has done for every edition of The Americans , Frank changed the cropping of many of the photographs, usually including more information, and two slightly different photographs were used. Much of the criticism Frank faced was as well related to his photojournalistic style, wherein the immediacy of the hand-held camera introduced technical imperfections into the resulting images. Becker has written about The Americans as social analysis:. Help Learn to edit Community portal Recent changes Upload file. Where are we going? It could seem as if Frank threw his Leica into the world and let it catch what it could, which happened, without fail, to be something exciting—fascination, pain, hilarity, disgust, longing. The show presented the work of Diane Arbus , Lee Friedlander and Garry Winogrand , who at the time were relatively little known younger-generation beneficiaries of Mr. Retrieved 5 July By Philip Gefter. Silverstein died in , Mr. Retrieved She is now known as Mary Frank. Over the next 10 years, Mr. Safe in neutral Switzerland from the Nazi threat looming across Europe, Robert Frank studied and apprenticed with graphic designers and photographers in Zurich, Basel and Geneva. Rizzo has been lighting the stages of Broadway for almost forty years. In , The Americans was finally published in the United States by Grove Press , with the text removed from the French edition due to concerns that it was too un-American in tone.
    [Show full text]
  • Museum of Modern Art in New York Exhibits New Acquisitions in Photography
    Museum of Modern Art in New York exhibits new acquisition... http://www.artdaily.org/index.asp?int_sec=2&int_new=6253... 11:09 am / 16 °C The First Art Newspaper on the Net Established in 1996 Austria Tuesday, May 14, 2013 Home Last Week Artists Galleries Museums Photographers Images Subscribe Comments Search Museum of Modern Art in New York exhibits new acquisitions in photography Lynn Hershman Leeson. Robertaʼs Construction Chart #2. 1976. Chromogenic color print, printed 2003, 22 15/16 x 29 5/8″ (58.3 x 75.3 cm) The Museum of Modern Art, New York. The Modern Womenʼs Fund. © 2013 Lynn Hershman Leeson. NEW YORK, NY.- The Museum of Modern Art presents XL: 19 New Acquisitions in Photography, featuring a selection of major works—often multipart and serial images—by 19 contemporary artists, from May 10, 2013, to January 6, 2014. The exhibition features works, made between 1960 and the present, which have been acquired by the Department of Photography within the past five years and are on view at MoMA for the first time. The exhibition is organized by Roxana Marcoci, Curator; Sarah Meister, Curator; and Eva Respini, Associate Curator; with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, The Museum of Modern Art. Filling five consecutive rooms in the third-floor Edward Steichen Photography Galleries, this installation includes a diverse set of works—from performative photographs to collage and appropriation to political and personal images made in the documentary tradition—that underscore the vitality of photographic experimentation today. The cross-generational group of 19 international artists consists of Yto Barrada, Phil Collins, Liz Deschenes, Stan Douglas, VALIE EXPORT, Robert Frank, Paul Graham, Leslie Hewitt, Birgit Jürgenssen, Jürgen Klauke, Běla Kolářová, Lynn Hershman Leeson, Dóra Maurer, Oscar Muñoz, Mariah Robertson, Allan Sekula, Stephen Shore, Taryn Simon, and Hank Willis Thomas.
    [Show full text]
  • College of Fine Arts Interdisciplinary Courses 1
    College of Fine Arts Interdisciplinary Courses 1 College of Fine Arts Interdisciplinary Courses About Course Numbers: 62-125 Drawing I Each Carnegie Mellon course number begins with a two-digit prefix that Fall: 6 units designates the department offering the course (i.e., 76-xxx courses are 62-125 is an introductory course in free-hand architectural drawing. Its offered by the Department of English). Although each department maintains central learning objective is building a capacity for visualizing three- its own course numbering practices, typically, the first digit after the prefix dimensional space through hand-drawing. A parallel objective is fostering indicates the class level: xx-1xx courses are freshmen-level, xx-2xx courses visual literacy: the ability to use line and tonal values to represent are sophomore level, etc. Depending on the department, xx-6xx courses architectural space. Schedule and Content The course is taught in two may be either undergraduate senior-level or graduate-level, and xx-7xx three-week segments that alternate with the three-week segments of a courses and higher are graduate-level. Consult the Schedule of Classes parallel course Digital Media 1. It concludes with a final project that is (https://enr-apps.as.cmu.edu/open/SOC/SOCServlet/) each semester for shared with 48-100 Introduction to Architecture. The course has three course offerings and for any necessary pre-requisites or co-requisites. themes that bridge over the two three-week segments. The first focuses on contour and cross contour to describe surface and space. At its completion, it addresses the appearance of architectural space in perspective.
    [Show full text]
  • The Whiteness of the Whale a Conversation with Paul Graham
    The Whiteness of the Whale A Conversation with Paul Graham How did you first become interested in photography? I first learned how a camera worked as a teenager in the Scouts, of all things, but no one explained to me what photography could do, so eventually I lost interest. Then, while at university, I discovered some great photography in the magazine Creative Camera—there was a column every month by Robert Frank, for example—along with various books in the university library. In a section called “American Studies,” I found titles by Lee Friedlander, Walker Evans, Robert Frank, Paul Strand, and so on. That’s when I thought, “Wait a minute. You can actually say something with this?” So your first serious exposure to photography came through publications and magazines rather than exhibi- tions? Definitely. I was in a small city in the southwest of England where there was little cultural opportunity to see good photography. Though truthfully, even if you were in London, it was not a lot better in the 1970s. The main chance for me was books—either in libraries or arts bookshops—or, as I said, Creative Camera, the one magazine that would be like Aperture or Blind Spot today. What was the first major project you completed after graduating? I photographed English cafes and modern English housing developments in some of my earliest work, but the first project that ended up published was A1: The Great North Road (1981–82). I would drive along the A1, which starts in London, runs up the entire length of England, and crosses the border into Scotland to end in Edinburgh.
    [Show full text]
  • Robert Frank Essay
    [An unpublished essay written in 2010 © Sylvia Sukop] Ghosts of Photography—and of Bunker Hill—Past by Sylvia Sukop Call it a homecoming. MOCA’s 2009 exhibition commemorating Nearly half a century after he the 50th anniversary of the publication of photographed the down‐and‐out Bunker the book The Americans, no one had Hill section of Los Angeles on the eve of its written about it. transformation (still unfolding) into the However belatedly, I felt that these high‐rise district we know today, Robert little‐known photographs and the historical Frank donated a rare set of vintage prints moment they document deserved from that series to The Museum of attention. Contemporary Art, Los Angeles. Frank’s gift of five photographs to Subjects were “fragile, soon to be gone” MOCA remains special for a number of reasons. “It was a very sweet gesture,” Robert Frank originally came to Los Angeles MOCA’s grateful chief curator Paul in 1956 in the course of photographing Schimmel told me. what would become “The Americans.” It’s also a rare one: Works of art Traveling across the country on back‐to‐ typically trade hands among dealers and back Guggenheim Fellowships, the then 30‐ private collectors, often over decades, year‐old Swiss‐born artist took more than before finally being sold or donated to a 25,000 pictures. He systematically edited museum. Direct donations of work from this vast pool of images down to the 83 artists are uncommon. photographs published in 1959 as The Making Frank’s gift even more Americans, with an introduction written by unique was the fact that these photographs Jack Kerouac.
    [Show full text]
  • One Hundred Years of Street Photography
    Wright State University CORE Scholar Exhibition and Program Catalogs Robert and Elaine Stein Galleries 2-20-1994 One Hundred Years of Street Photography Ronald R. Geibert Wright State University, [email protected] Wright State University Art Galleries Follow this and additional works at: https://corescholar.libraries.wright.edu/restein_catalogs Part of the Art and Design Commons, Art Practice Commons, and the Fine Arts Commons Repository Citation Geibert , R. R., & Wright State University Art Galleries (1994). One Hundred Years of Street Photography. Dayton, Ohio: Robert and Elaine Stein Galleries, Wright State University. This Program is brought to you for free and open access by the Robert and Elaine Stein Galleries at CORE Scholar. It has been accepted for inclusion in Exhibition and Program Catalogs by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. ONE HUNDRED YEARS 0 STREET PHOTOGRAPHY February 20-April 3, 1994 WRIGHT STATE UNIVERSITY ART GALLERIES CREATIVE ARTS CENTER DAYTON, OHIO Copyright William Klein, Gun 1, New York, 1955 Courtesy Howard Greenberg Gallery, New York ONE HUNDRED YEARS -of STREET PHOTOGRAPHY February 20-April 3, 1994 WRIGHT STATE UNIVERSITY ART GALLERIES CREATIVE ARTS CENTER DAYTON, OHIO with the CD-ROM catalogue THE NEW STREET PHOTOGRAPHY Curated by Ron Geibert Lectures on the history of street photography by • Colin Westerbeck, Art Institute of Chicago • Robert Gurbo, Andre and Elizabeth Kertesz Foundation • Sarah Greenough, National Gallery of Art Sunday, February 27 2- 4 P.M. Creative Arts Center and URBAN SPACES AND FACES A memorial retrospective honoring Jack D. Teemer, Jr. (1948-1992) February 20-March 13, 1994 North Gallery Creative Arts Center Copyright Henry Wessel, Waikiki, 1975 Courtesy Fraenkel Gallery, San Francisco "Life is once, forever, and new all the time.'' Henri Cartier-Bresson, Photographer From a Paris rooftop, Louis Jacques Mande Daguerre trained his camera down upon a busy street in 1838.
    [Show full text]