A Necessary Condition for Photographic Art
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The Steerage
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz (editor/publisher) after Various Artists Alfred Stieglitz American, 1864 - 1946 The Steerage 1907, printed 1911 photogravure image: 19.3 × 15.1 cm (7 5/8 × 5 15/16 in.) Alfred Stieglitz Collection 1949.3.1278.37 Key Set Number 310 Image courtesy of the Philadelphia Museum of Art KEY SET ENTRY Related Key Set Photographs The Steerage 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz Alfred Stieglitz Alfred Stieglitz The Steerage The Steerage The Steerage 1907, printed in or before 1913 1907, printed 1915 1907, printed 1911 photogravure photogravure photogravure Key Set Number 312 Key Set Number 313 Key Set Number 311 same negative same negative same negative Alfred Stieglitz The Steerage 1907, printed 1929/1932 gelatin silver print Key Set Number 314 same negative Remarks On 14 May 1907 Stieglitz and his family sailed to Europe aboard the fashionable Kaiser Wilhelm II. This photograph was most likely taken several days later while The Steerage 2 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set the ship was moored in Plymouth, England (see Beaumont Newhall, “Alfred Stieglitz: Homeward Bound,” Art News 87:3 [March 1988], 141–142). Lifetime Exhibitions A print from the same negative—perhaps a photograph from the Gallery’s collection—appeared in the following exhibition(s) during Alfred Stieglitz’s lifetime: 1913, New York (no. 21, as The Steerage, 1907) 1916, New York (no. -
The President's Corner 1
VOLUME 41 NUMBER 2 JAN-MAR 2015 The President’s Corner vision, craftsmanship, and art, have influ‐ enced the photography of many of us at the Thinking About club and across the photosphere. Spring, (continued on next page) Influencers, and Gestures By David Marshak In This Issue page As we all try to The President's Corner 1 endure this end‐ by Dave Marshak less winter (and SW Trek II 3 wish we were in Florida with our esteemed by Joe Kennedy treasurer), my thoughts turn to spring. Results of the Newsletter Survey 7 by Ellen Berenson I am thinking of a spring that will not only be the end of winter, but also the calling of New Member Interviews 9 new photo opportunities that will get us out by Janet Casey of the house and back in the woods, by the Reflections on Vivian Maier 11 shore, or on the street. by Deb Maynard Exploring Portrait Photography 12 For SBCC, spring will bring an exciting set of by Orin Siliya guest speakers including three who have SBCC Holiday Banquet 16 presented to us multiple times before – Ron by Kirsten Torkelson Rosenstock, Joe LeFevre, and Mark Bowie – SBCC Programming: What's Next? 19 and whom I personally have seen speak in other venues many times. It is exactly for by Janet Casey the same reason that I’ve seen them before Meeting Schedule 27 that I am very excited to see them again. It’s List of Club Officers and Committees 28 because I put them in the category of Influ‐ encers—people who, with their unique (continued from previous page) Gesture makes the photo interesting. -
Vivian Maier: a Photographer Found Free Ebook
FREEVIVIAN MAIER: A PHOTOGRAPHER FOUND EBOOK John Maloof,Howard Greenberg,Marvin Heiferman,Laura Lippman | 288 pages | 20 Nov 2014 | HarperCollins Publishers Inc | 9780062305534 | English | New York, United States About Vivian Maier Vivian Dorothy Maier was an American street photographer whose work was discovered and recognized after her death. She worked for about 40 years as a nanny, mostly in Chicago's North Shore, while pursuing photography. She took more than , photographs during her lifetime, primarily of the people and architecture of Chicago, New York City, and Los Angeles, although she also traveled and photographed worldwide. During her lifetime, Maier's photographs were unknown and unpublished; many of her. This month, Vivian Maier: A Photographer Found will be published— the largest collection of her work to date. On October 30, a new exhibit of her photographs will open at the Howard Greenberg. John Maloof, who bought most of it, put up a selection of scans on a website, which immediately went viral; Maier posthumously became a media sensation. Maloof’s VIVIAN MAIER: A Photographer Found. Photography This was created in dedication to the photographer Vivian Maier, a street photographer from the s - s. Vivian's work was discovered at an auction here in Chicago where she resided most of her life. Often regarded as the Emily Dickinson of photography – since united by the same reticence in life and posthumous popularity as the American poetess – Vivian Maier was a street photographer before this term was even coined and has today secured her place in photography’s pantheon. Information about the discovery of Vivian Maier's photographs at an auction in Chicago and how research about her was conducted. -
VIVIAN MAIER: out of the SHADOWS Kill Date – March 23
FOR IMMEDIATE RELEASE VIVIAN MAIER: OUT OF THE SHADOWS Kill Date – March 23 Exhibition Title: Vivian Maier: Out of the Shadows Exhibition Dates: February 1 - March 23, 2013 Opening Reception: Friday, February 15, 6-8PM for immediate release Gallery Hours: Monday - Thursday 11 am – 10 pm, Friday – Sunday 12 pm – 8 pm VIVIAN MAIER: Location: Photo Center NW, 900 12th Avenue, Seattle, 98122 OUT OF THE SHADOWS More info & images: Erin Spencer, [email protected], 206.720.7222 Lecture & Book Signing: Richard Cahan, co-author of Vivian Maier: Out of the Shadows February 8, 6:30 pm @ Photo Center NW CONTACt RAFAEL SOLDI The Photo Center NW is proud to present Vivian Maier: Out of the Shadows, an Marketing Director exhibition of photographs by Vivian Maier (1926-2009) from the Jeffrey Goldstein collection. This exhibition of posthumous silver gelatin prints puts Maier’s work in Phone the context of her life during her highly creative period from the 1950s through the 206.720.7222 x20 1970s. This is the first time Maier’s impressive body of work and unique story will e-mail be shared in Seattle. [email protected] online Maier’s work was discovered in Chicago in 2007 when boxes of abandoned prints, www.pcnw.org negatives and undeveloped film were sold at auction. Born in New York, Maier spent much of her youth in France. Starting in the late 1940s, she shot an average of a roll of film a day. She moved to Chicago in the mid-1950s, and spent the next 40 years Photo Center northwest working as a nanny to support her passion for photography. -
F14 US Catalogue.Pdf
HARPERAUDIO You Are Not Special CD ...And Other Encouragements Jr. McCullough, David Summary A profound expansion of David McCullough, Jr.’s popular commencement speech—a call to arms against a prevailing, narrow, conception of success viewed by millions on YouTube—You Are (Not) Special is a love letter to students and parents as well as a guide to a truly fulfilling, happy life Children today, says David McCullough—high school English teacher, father of four, and HarperAudio 9780062338280 son and namesake of the famous historian—are being encouraged to sacrifice On Sale Date: 4/22/14 passionate engagement with life for specious notions of success. The intense pressure $43.50 Can. to excel discourages kids from taking chances, failing, and learning empathy and self CDAudio confidence from those failures. Carton Qty: 20 Announced 1st Print: 5K In You Are (Not) Special, McCullough elaborates on his nowfamous speech exploring Family & Relationships / how, for what purpose, and for whose sake, we’re raising our kids. With wry, Parenting affectionate humor, McCullough takes on hovering parents, ineffectual schools, FAM034000 professional college prep, electronic distractions, club sports, and generally the 6.340 oz Wt 180g Wt manifestations, and the applications and consequences of privilege. By acknowledging that the world is indifferent to them, McCullough takes pressure off of students to be extraordinary achievers and instead exhorts them to roll up their sleeves and do something useful with their advantages. Author Bio David McCullough started teaching English in 1986. He has appeared on and/or done interviews for the following outlets: Fox 25 News, CNN, NBC Nightly News, CBS This Morning, NPR’s All Things Considered, ABC News, Boston Herald, Boston Globe, Wellesley Townsman, Montreal radio, Vancouver radio, Madison, WI, radio, Time Magazine and Epoca (Brazilian magazine). -
INNOVATION and EXPERIMENTATION: NINETEENTH-CENTURY PHOTOGRAPHY (The Emergence of Photographic Techniques) EARLY PHOTOGRPAHY
INNOVATION and EXPERIMENTATION: NINETEENTH-CENTURY PHOTOGRAPHY (The Emergence of Photographic Techniques) EARLY PHOTOGRPAHY Online Links: Early Photography - Smarthistory (no video) Daguerre's Paris Boulevard - Smarthistory (No Video) Making Daguerreotypes - Video on Smarthistory The Wet Collodion Process - Video on Smarthistory Julia Margaret Cameron's Mrs. Herbert Duckworth - Smarthistory (No Video) Clementina Hawarden's Photographs – Smarthistory Timothy O'Sullivan's Ancient Ruins in the Canon de Chelle - Smarthistory (No Video) Emerson's Naturalistic Photography - Video on Smarthistory TWENTIETH-CENTURY PHOTOGRAPHY Online Links: Early Modern Photography – Smarthistory August Sander's Portraits - Smarthistory Cartier-Bresson Behind the Gare St. Lazare – Smarthistory Stieglitiz's The Steerage - Smarthistory (no video) The “first” photograph, or more specifically, the world's first permanent photograph from nature, was taken by Joseph Nicéphore Niépce in 1826 or 1827. The image depicts the view from an upstairs window at Niépce's estate, Le Gras, in the Burgundy region of France. Niépce's invention represents the origin of today's photography, film, and other media arts. Niépce developed an interest in science when he began working with his brother, Claude, on various experiments and inventions. This photograph was only discovered in 2002 and is now known to be the very first permanent photograph ever taken by Nicéphore Niépce – the father of photography. It is an image of an engraving of a man walking a horse and it was made using a technique known as heliogravure. The method involves a piece of copper covered with light sensitive bitumen. This metal plate is exposed to light and creates an image which is then transferred to paper. -
Finding Vivian Maier Discussion Guide
www.influencefilmclub.com Finding Vivian Maier Discussion Guide Directors: John Maloof, Charlie Siskel Year: 2014 Time: 83 min You might know this director from: FINDING VIVIAN MAIER is the first feature-length film from these directors. FILM SUMMARY Mysterious, eccentric, caring, cruel, paranoid, reclusive, loner, pack rat, spinster. Viv, Vivian, Miss Maier, Mrs. Mayers. The elusive Vivian Maier went by many names. She was many things to many people. Attempting to comprehend who this prolific street photographer really was, FINDING VIVIAN MAIER reaches out to the many lives Vivian touched. Where did she come from and what drove her to create so much, and yet reveal so little? After discovering Vivian’s work at a Chicago auction house, historian and director John Maloof became determined to uncover the tale of this woman who touched so many lives but disclosed so little of her own. Through interviews with her employers and an extensive treasure hunt which took him from a tiny village in the French Alps to Southampton, New York and all across the greater Chicago area, Maloof pieces together the puzzle of Vivian’s creative, solitary life. As he develops her unexposed negatives and exhibits her art, the extent of Vivian’s previously unknown life unfolds in full color. A tale of opposites, FINDING VIVIAN MAIER dares to open a Pandora’s box to those who lived with her, while unveiling extensive imagery of the world between the 1950s and early 2000s. Ultimately, the film reveals the true story of one woman’s quest to capture the dark side of existence and to expose the stories of the downtrodden while living under the roof of the well-to-do. -
Alfred Stieglitz and the 19Th Century at the Art Institute of Chicago
Alfred Stieglitz and the 19th Century at The Art Institute of Chicago Alfred Stieglitz (American, 1864–1946) tirelessly promoted photography as a fine art. Through his own photographic work over the course of a half-century, the photographic journals he edited and published, and the New York galleries at which he organized exhibitions of photographs, paintings, and sculpture, Stieglitz showed photography to be an integral part of modern art in America. In a search for artistic ancestors, he looked intently at photography of the 19th century, most notably that of Julia Margaret Cameron and the Scottish duo David Octavius Hill and Robert Adamson. Their work resonated for Pictorialism, a movement that valued painterly, handcrafted images, and these earlier photographs were exhibited and reprinted for new audiences. Stieglitz’s fledgling interest to create a history of photography as an art form was also evidenced in his decision, later in his career, to revisit his own prior output, reprinting earlier images in a high modernist style. The Stieglitz collection at the Art Institute includes several later Cameron and Hill and Adamson prints along with important works by Stieglitz himself, Edward Steichen, and other Pictorialist artists. Drawn entirely from the permanent collection, this exhibition examines how 19th-century photographs influenced Pictorialist practice. Fostering close looking at different photographic processes—from salt and albumen prints of the 19th century, to carbon prints and photogravures of turn-of-the-century reproduction, to crisp gelatin silver prints of the modernist period—it shows Stieglitz and his circle in the context of a changing photographic history. Alfred Stieglitz. -
Vivian Maier the Color Work
LES DOUCHES LA GALERIE PRESS KIT VIVIAN MAIER THE COLOR WORK OPENING ON SATURDAY, JANUARY 19TH FROM 2 TO 7 PM FROM JANUARY 19TH TO MARCH 30TH, 2019 ©Estate of Vivian Maier, Courtesy Maloof Collection; Howard Greenberg Gallery, New York; Les Douches la Galerie, Paris Les Douches la Galerie 5, rue Legouvé 75010 Paris lesdoucheslagalerie.com From Wednesday to Saturday, 2-7 pm and by appointment Contact: Françoise Morin 01 78 94 03 00 [email protected] VIVIAN MAIER: THE COLOR WORK One of photography's truths is that the best street photographers learn to be invisible or, at the very least, to convince themselves that they are. Over the years, I've walked the streets with Henri Cartier- Bresson, Garry Winogrand, Tony Ray-Jones, Diane Arbus. Lee Friedlander, Tod Papageorge, and some of today's younger shooters—Gus Powell, Melanie Einzig, Ben Ingham, and Matt Stuart—and we have all developed our own sleight-of-hand street act. We dodge, feint, twirl, two-step, and eye-shift our way through crowds and rallies, along avenues and backstreets, in parks and on beaches, anywhere that ordinary life draws our attention and desire. It is our invisibility that helps us get away with stealing fire from the gods. In 2009, into the well-established history of street photography flashed the unexpected comet of Vivian Maier. In October of that year I received an email from John Maloof, a young artist I didn't know. He in- troduced himself and told me the story of how he had purchased a cache of negatives, slides, and some prints at a storage-warehouse auction. -
Exhibit Unearths Long-Long Photos by Vivian Maier
Exhibit unearths long-long photos by Vivian Maier Alex Taylor | Contributor Oct 15, 2014 Alex Taylor | Contributor “A Quiet Pursuit” is an appropriate title for the new exhibit displaying almost 100,000 negatives from an American photographer’s work, which spanned over 50 years and waited silently in storage facilities for years until they were discovered and developed. As a part of the FotoFocus 2014 Biennial event, Vivian Maier’s long-lost photography is being displayed at 1400 Elm Street at Washington Park from Sept. 26 to Nov. 1. In 2007, historian John Maloof brought Maier’s photos out from the files and into galleries. Maier, who died in 2009 at the age of 83, was an American photographer of French and Austrian descent. She lived in New York City then Chicago and worked as a nanny in both cities, but also briefly traveled around the world. Her first camera was a Kodak Brownie box camera that had only one shutter speed and no focus control or aperture dial. Maier eventually graduated to a Rolleiflex camera, in square-medium format, then to a Leica IIIc and various German SLR cameras. For most of her adult life, Maier did not have a dark room or even money to expose her pictures. She would shoot photos that captured herself in reflections, but also captured the people who passed by her. Most of Maier’s’s work is directed to street scenes and portraits of people she never met. Later in her career, Vivian switched to color film and also changed her subject matter. -
Pictorialism As Theory
pictorial– Ism as theory Robin Kelsey Pictorialism as Theory The contours of the category picture are neither as obvious nor as firm as they may seem. Tracking them over time betrays subtle historical shifts, oppositions, and particularities of meaning. As America passed from the nineteenth century to the twentieth, the category took on special importance for those extolling the merits of photography. For some, it rationalized shoehorning the new technology as an art along- side painting, drawing, and engraving. For others, it was a means of hailing the radically new relationship that photography had wrought between viewing and being viewed. Although boosters of both kinds often used the term picture as though it had a settled meaning, their usage was actually predicated on exploiting its plasticity. As I argue in this essay, some fruitful deformations of the term deserve more attention than they have received. Understanding these deformations requires a brief return to the long history of picture and its kindred French term tableau. At critical junctures in the history of the Western tradition, the categories of picture and tableau have allowed writers to work across artistic boundaries to imagine new aesthetic paradigms. Two cases are especially germane to the present argument. Leon Battista Alberti (1404–1472) entitled his prodigious 1435 commentary on the art of painting De pictura. The standard translation of the title as On Painting is eminently Robert Macpherson, Hall of the Candelabra— defensible, but the move from the Latin pictura to the English painting Vatican (detail, see fig. 1). can obscure the work that Alberti had the Latin term perform. -
PHOTOGRAPHY When Chicago-Based Nanny Vivian Maier Died In
PHOPHOTOGRAPHYTOGRAPHY SSTREETTREET LIFE ORIGINAL EYE Vivian Maier, left, in an undated self-portrait. Most of the photographs here are from the 1950s. Her astonishing portfolio of street portraits covers all ages and classes. One woman’s extraordinary images of ordinary lives he story of Vivian Maier is so It was only when the book was finished a few calls her, “a really, really awesome person to hang portraiture and street life, she covers children, “I hope she’s OK with what I’m doing,” he says. When Chicago-based nanny Vivian Maier died in 2009, she left behind incredible that the man who months later that he looked at the negatives out with if you were a kid. To be honest, I wish she covers abstraction and she does them all “She had no love life, no family and really had discovered her says: “If you again and slowly realised he was in possession she had been my nanny. She would take kids on with a style that I think digests the history of nobody that was close to her. The only thing that 100,000 negatives that no one but she had ever seen. Her work was made this up for Hollywood of something unimaginably precious. He began these wild adventures that only the coolest kids photography.” she had was the freedom of her camera to express it would be like, ‘Oh, come on, printing and posting Maier’s photographs to would think of doing.” She was also, he says, extraordinarily prescient: herself and I think the reason she kept it secret is that’s too hard to believe.’ She a blog (vivianmaier.blogspot.com), which he They had no idea, though, that their nanny “There’s work that reminds me of Diane Arbus, because it’s all she had.” discovered by chance by an estate agent who set about putting her pictures is,” he adds, “the most riveting describes as “a snowball that just started rolling spent her days off taking some of the most for example, but they were done before Diane He adds: “I wish I could go back in time to person I have ever encountered.” and has just been building ever since.