Auction Catalog

Total Page:16

File Type:pdf, Size:1020Kb

Auction Catalog 2019 Print Auction The Briar Club 2603 Timmons Ln. Houston, TX 77027 2019 Print Auction Thursday, February 28, 2019 6 PM PROGRAM SCHEDULE Cocktails and Silent Auction Bidding Opens Online and Absentee Bidding 6 pm Auction powered by Seated Dinner Begins All lots will be available for bidding online prior to the 7 pm auction Live Auction with guest auctioneer, Sarah Proceeds benefit HCP’s exhibitions and the renovation of our Learning Center Krueger, Head of Department, Photographs at Phillips For more information visit 7:45 pm www.hcponline.org/print-auction Silent Auction will close following Lot 28 (approximately 15 Exhibition on View at HCP minutes before the completion of the Live Auction) January 25–February 24, 2019 Auction Sponsorship Auction Exhibition Opening Reception $7,500—Underwriters Table Friday, January 25, 2019 6–8 pm at HCP (Priority table placement for 10) $5,000—Collectors and Creators Table Auction Exhibition Walkthrough (Priority table placement for 10) Monday, February 25, 2019, begins at 6 pm $2,000—Friends Table (Table of 10) Please join us for a tour of HCP’s 2019 Auction Exhibition, led by Anne Wilkes Tucker and Clint Willour. This tour is Individual Tickets free and open to the public $500—Sponsor (Priority seating) $250—Individual Sponsorship Dinner Wednesday, February 27, 2019 Reservations are required At the home and private collection of Bryn Larsen Please contact James Hays at 713.529.4755 or For all sponsors and auction artists [email protected] Gallery Hours Wednesday and Thursday, 11am–9pm Friday, 11am–5pm Saturday and Sunday, 11am–7pm On the Cover Lot 32: Daniel Gordon, Still Life with Bowl of Lemons, 2018, Archival pigment print, 39.75 x 49.75 inches, edition 1 of 3 +1AP AUCTION SPONSORS 2019 AUCTION COMMITTEE Members-at-large Underwriters Table Sponsors Philip Alter Cara Barer Karen Chiao / Bryn Larsen / Libbie Cara and Jorge Barer Lacey Liedtke Brunner Patricia J. Eifel and Jim Belli Kofi Burney Masterson Lacey and Ross Brunner Paul Charles Jereann Chaney Bevin Bering Dubrowski Collectors and Creators Table Karen and Leroy Chiao Patricia Eifel Sponsors Rebecca Roof Bryn Larsen Catherine Couturier Carol Liman Patricia J. Eifel and Jim Belli Bevin and Dan Dubrowski Libbie Masterson Elizabeth and James Whitehead Krista and Mike Dumas Susana Monteverde Cindy Fitch Celia Munisteri Friends Table Sponsors Betty Pecore and Howard Hilliard Meg Murray Frazier King Kheli Willetts Philip Alter Barbara and Georey Koslov Cara and Jorge Barer Bryn Larsen Advisory Council Lacey and Ross Brunner Stephanie Larsen Edward R. Allen, III Catherine Couturier Mickey and Mike Marvins Chris Bailey Catherine Masterson Fred Baldwin Bevin and Dan Dubrowski Libbie Masterson Gay Block Frazier King / Betty Pecore and Tiany and Charles Masterson Peter Brown Howard Hilliard Susana Monteverde Keith Carter Cindy Fitch Joan Morgenstern Fernando Castro Celia and Jay Munisteri Jereann Chaney Stephanie Larsen Meg King Murray and Nelson Murray Catherine Couturier Barbara and Georey Koslov / Mickey Shelley Calton and Stuart Nelson Malcolm Daniel and Mike Marvins Sue and Bob Schwartz Jerey DeBevec Tiany and Charles Masterson JoAnn Williams Steven Evans Stephan Hillerbrand Celia and Jay Munisteri Auction Catalog Coordinator Howard Hilliard Krista and Mike Dumas / Shelley Erin Miller Tracy Xavia Karner Calton and Stuart Nelson Jean Karotkin Jereann Chaney / Becky Roof Auctioneer Mavis Kelsey, Jr. Sarah Krueger, Phillips Frazier King JoAnn Williams Len Kowitz Media Sponsor Nicole Longnecker Individual Sponsor Tickets PaperCity Nena Marsh Mike Marvins Anonymous (2) Framing Sponsors Delilah Montoya Nena Marsh Larson-Juhl Joan Morgenstern Sara and Bill Morgan Artists’ Framing Resource Judy Nyquist Sue and Bob Schwartz Ed Osowski Catalog Design Michael Pearson Field of Study, Houston, TX Madeline Yale Preston Auction Co-Chairs Christopher Rauschenberg Karen Chiao, Bryn Larsen and Libbie Printing Bob Schwartz Masterson Masterpiece Litho Linda Shearer Laura Torgerson Vintage Print Photographer Anne Wilkes Tucker Will Michels Wendy Watriss Clint Willour Del Zogg BOARD OF DIRECTORS HCP STAFF Ocers Ashlyn Davis, Executive Director & Curator Stuart Nelson, President James Hays, Director of Development Keliy Anderson-Staley, Vice President Jan Rattia, Director of Education Tom Flaherty, Treasurer Theresa Marshall, Administrative Manager Paul Smead, Secretary Erin Miller, Exhibitions and Programs Georey Koslov, Parliamentarian Coordinator Natalie Rodgers, Access and Community Education Coordinator Francis Almendarez, Education Assistant Kristina Brosig, Finance Manager Zitlaly Valenzuela Jimenez, Membership and Gallery Assistant Martin Ivy, Gallery Associate Valerie Chiang, Marketing Coordinator Special thanks to Acknowledgements Anne Wilkes Tucker, Curator Emerita of HCP gratefully acknowledges the generosity of the photographers whose donations to Photography at the Museum of Fine Arts, our auction make this fundraising event a success. Houston, and Clint Willour, former Curator, Galveston Arts Center HCP deeply appreciates the contributions of our sponsors, participating galleries, collectors and individual donors. Their support helps HCP oer high-quality exhibitions, Also educational classes and lectures, community education programs, publications, and PaperCity special events to its members and the community. Artists’ Framing Resource Larson-Juhl Special thanks to all of the galleries that donated their time and contributed to this auction: Burnet Fine Art and Advisory Catherine Couturier Gallery ClampArt, NYC Foto Relevance Heidi Vaughan Fine Art Hooks-Epstein Galleries, Inc. James Fuentes Gallery Klompching Gallery Kopeikin Gallery Moody Gallery HEIDI VAUGHAN FINE ART Rick Wester Fine Art (New York, NY) Ro2 Art Robert Mann Gallery Houston Center for Photography is generously supported by the The Phillip and Edith Leonian Foundation; H-E-B Tournament of Champions; The Houston Endowment; City of Houston through the Houston Arts Alliance; The Brown Foundation; The Eleanor and Frank Freed Foundation; The Joy of Giving Something Foundation; Artists' Framing Resource; Patricial Eifel and Jim Belli; Larson-Juhl; Antonio Manega; Nena Marsh; Texas Commission on the Arts; The Anne Levy Fund; Jean Karotkin, Krista and Mike Dumas; Poppi Massey; Celia and Jay Munisteri; QUE Imaging, The Wortham Foundation; The National Endowment for the Arts; The Alice Kleberg Reynolds Foundation; The Albert and Ethel Herzstein Foundation; Julie and Drew Alexander; Amegy Bank; The JBD Foundation; Susan and Patrick Cook; The Greater Houston Community Foundation; Catherine Couturier Gallery; Marybeth and Tom Flaherty; Sherry and James Kempner; Frazier King; James Maloney; Cameron International Corporation; Cara Barer; Shlenker Block Fund at the Houston Jewish Community Foundation; Lillian H. & C.W. Duncan Foundation; Jereann Chaney; Elizabeth Anders; Eddie and Chinhui Allen; The Beth Block Foundation; Shelley Calton and Stuart Nelson; The Chaney Foundation; Michael Deal; Bevin and Dan Dubrowski; Exxon Mobil Foundation; James R. Fisher; Betty Pecore and Howard Hilliard; Carol Liman; Mickey and Mike Marvins; The Mavis Kelsey Fund; Barbara and Georey Koslov; Bryn Larsen; Libbie Masterson; Mr. and Mrs. Alexander McLanahan; Anna B. McCullough; Joan Morgenstern; J. Andrew Nairn; The Robertson-Finley Foundation; Sue and Bob Schwartz; Scott Sparvero; Laura Torgerson; Paul Smead; Joan and Stanford Alexander; Charles Butt; Thomas Damsgaard; Burt Nelson; Tom Bacon; Lee Huber; James Pomerantz; Adrienne Vachon and Ken Anderson; Deborah Bay and Edgar Browning; and The GE Foundation. Live Auction Robert Calafiore received his MFA in Photography from the State University of New York at Bualo and his BFA in Photography from Hartford Art School. Currently, he lives and works in West Hartford, Connecticut, exhibiting his work nationally and internationally. Calafiore recently was awarded a Connecticut Artist Fellowship Grant for 2018 and is represented by Clamp Art, NYC. MANUAL is the artistic collaboration of Suzanne Bloom & Ed Hill, the established pioneers of Digital Art Photography, and early practioners of conceptual photography in Texas. Their work is held in many public, private and corporate collections including the LIVE AUCTION LOT 1 LIVE AUCTION LOT 2 Museum of Fine Arts Houston, Los ROBERT CALAFIORE (WEST HART- MANUAL (HOUSTON, TX) Angeles County Museum of Art, San FORD, CT) Raggedy Ann (2017) Francisco Museum of Modern Art, Hood Untitled (2018) From the series The Book Project Museum of Art, the International Center From the series Objects of Glass Archival pigment print of Photography, NYC, and the AT&T, Pinhole camera C-Print Edition 1 of 5 Frito-Lay, and Atlantic Richfield Corpora- Unique Print 23.75 x 17 inches tions. Recipients of numerous 10 x 8 inches Courtesy of the artists and Moody Gallery grants, including 4 NEA Fellowships, Courtesy of the artist & Clamp Art, NYC (Houston, TX) their work has been seen in 47 solo and robertcalafiore.com manualart.net over 200 group shows held in 12 Signed on verso in ink Signed on recto in pencil countries, 29 states, and 82 cities. Retail value $1,500 Retail value $1,800 Abelardo Morell was born in Havana, Cuba in 1948. Morell received his undergraduate degree from Bowdoin College and his MFA from The Yale University School of Art. He has received a number of awards and grants, which include a Guggenheim fellowship in 1994 and an Infinity Award in Art from ICP in 2011. In November 2017, he received a Lucie Award for achievement
Recommended publications
  • Our Choice of New and Emerging Photographers to Watch
    OUR CHOICE OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH TASNEEM ALSULTAN SASHA ARUTYUNOVA XYZA BACANI IAN BATES CLARE BENSON ADAM BIRKAN KAI CAEMMERER NICHOLAS CALCOTT SOUVID DATTA RONAN DONOVAN BENEDICT EVANS PETER GARRITANO SALWAN GEORGES JUAN GIRALDO ERIC HELGAS CHRISTINA HOLMES JUSTIN KANEPS YUYANG LIU YAEL MARTINEZ PETER MATHER JAKE NAUGHTON ADRIANE OHANESIAN CAIT OPPERMANN KATYA REZVAYA AMANDA RINGSTAD ANASTASIIA SAPON ANDY J. SCOTT VICTORIA STEVENS CAROLYN VAN HOUTEN DANIELLA ZALCMAN © JUSTIN KANEPS APRIL 2017 pdnonline.com 25 OUR CHOICE OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH EZVAYA R © KATYA © KATYA EDITor’s NoTE Reading about the burgeoning careers of these 30 Interning helped Carolyn Van Houten learn about working photographers, a few themes emerge: Personal, self- as a photographer; the Missouri Photo Workshop helped assigned work remains vital for photographers; workshops, Ronan Donovan expand his storytelling skills; Souvid fellowships, competitions and other opportunities to engage Datta gained recognition through the IdeasTap/Magnum with peers and mentors in the photo community are often International Photography Award, and Daniella Zalcman’s pivotal in building knowledge and confidence; and demeanor grants from the Pulitzer Center on Crisis Reporting altered and creative problem solving ability keep clients calling back. the course of her career. Many of the 2017 PDN’s 30 gained recognition by In their assignment work, these photographers deliver pursuing projects that reflect their own experiences and for their clients without fuss. Benedict Evans, a client interests. Salwan Georges explored the Iraqi immigrant says, “set himself apart” because people like to work with community of which he’s a part. Xyza Bacani, a one- him.
    [Show full text]
  • Diane Cook Carolyn Drake Lynn Johnson Erika Larsen
    DIANE COOK ERIKA LARSEN LYNN JOHNSON Diane Cook is a leading landscape photographer Erika Larsen studies cultures with strong ties A Knight Fellow and passionate advocate for whose work is in numerous collections, including to nature. She published a 2009 story in NGM visual arts education, Lynn Johnson has covered the Museum of Fine Arts, Houston; the San on the Sami reindeer herders of Scandinavia, a wide range of assignments for NGM, producing Francisco Museum of Modern Art; the Museum an assignment which grew out of her own images for 21 stories on subjects including of Photographic Arts in San Diego; and the L.A. documentary work for which she lived and vanishing languages and challenges facing County Museum in Los Angeles. Cook often works worked within the culture for over four years. human populations in Africa and Asia. Johnson collaboratively with her husband, Len Jenshel. Their Larsen received a B.F.A. and an M.F.A. from has also participated in photo camps in Chad, NGM stories have covered New York’s elevated Rochester Institute of Technology and is the Botswana and the Pine Ridge reservation. She park, the High Line; Mount St. Helens; Green recipient of a Fulbright Fellowship and a New has received several awards, including the Roofs; the Na’Pali Coast of Hawaii; the U.S.- Jersey State Arts Council Fellowship. Larsen’s Robert F. Kennedy Journalism Award for Coverage Mexico border; and Grand Staircase-Escalante photography has been exhibited at the National of the Disadvantaged. National Monument. Portrait Gallery and the Sami Ájtte Museum in Sweden.
    [Show full text]
  • Sunday Night with a 6 P.M
    Volume 56, No. 1 109 Lee Hills Hall • Columbia • Missouri • 65211 Viola Edom - 1906 - 2004 The 56th MPW is dedicated to Vi Edom, pictured here with her husband Cliff Edom. Together the two founded the MPW Photo Workshop in 1949 and ran or attended every workshop through the 50th. Cliff also started the photojour- nalism program at the Missouri School of Journalism, Pictures of the Year and the College Photographer of the Year. Cliff and Vi made outstanding contribu- tions to photojournalism education. Hermann, Mo. Prepares for Workshoppers The folks in Hermann, Mo. are used to seeing new faces. After all, their town touts its German heritage and attracts thousands of visitors with Spring and Fall festivals and the annual Kristkindl Market each December. And then there are the wineries, a half-dozen of them in and around Hermann, which also bring many thirsty patrons. The newcomers are a little different this September 19-25 as 40 photographers, a dozen fac- ulty, a score of student workers and photography industry representatives converge in Hermann for the 56th Missouri Photo Workshop. Hermann hosted the third MPW in 1951 and will again be the subject of attention as this band of photojournalists tries to capture the essence of this community in a series of storytelling still images. Once described as “a rollicking river port with a tavern on every corner and he largest gen- eral store between St. Louis and Kansas City,” Hermann has weathered Prohibition and the Great Depression and found a way for its nearly 3,000 citizens to survive.
    [Show full text]
  • Chronology of the Department of Photography
    f^ The Museum otI nModer n Art May 196k 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart CHRONOLOGY OF THE DEPARTMENT OF PHOTOGRAPHY The Department of Photography was established in lQl+0 to function as a focal center where the esthetic problems of photography can be evaluated, where the artist who has chosen the camera as his medium can find guidance by example and encouragement and where the vast amateur public can study both the classics and the most recent and significant developments of photography. 1929 Wi® Museum of Modern Art founded 1952 Photography first exhibited in MURALS BY AMERICAN PAINTERS AND PHOTOGRAPHERS; mural of George Washington Bridge by Edward Steichen included. Accompany­ ing catalog edited by Julian Levy. 1953 First photographs acquired for Collection WALKER EVANS: PHOTOGRAPHS OF 19th CENTURY HOUSES - first one-man photogra­ phy show. 1937 First survey exhibition and catalog PHOTOGRAPHY: I839-I937, by Beaumont NewhalU 1958 WALKER EVANS: AMERICAN PHOTOGRAPHS. Accompanying publication has intro­ duction by Lincoln Firstein. Photography: A Short Critical History by Beaumont Newhall published (reprint of 1937 publication). Sixty photographs sent to the Musee du Jeu de Paume, Paris, as part of exhibition TE.3E CENTURIES OF AMERICAN ART organized and selected by The Museum of Modern Art. 1939 Museum opens building at 11 West 53rd Street. Section of Art in Our Tims (10th Anniversary Exhibition) is devoted to SEVEN AMERICAN PHOTOGRAPHERS. Photographs included in an exhibition of paintings and drawings of Charles Sheeler and in accompanying catalog. 19^0 Department of Photography is established with David McAlpin, Trustee Chairman, Beaumont Newhall, Curator.
    [Show full text]
  • Harry Callahan: Retrospective Free
    FREE HARRY CALLAHAN: RETROSPECTIVE PDF Harry Callahan | 300 pages | 02 Jul 2013 | Kehrer Verlag | 9783868283587 | English, German | Heidelberg, Germany Harry Callahan (photographer) - Wikipedia Harry Callahan American, October 12, —March 15, is known for his work in photography. He was born in Detroit, MI. He Harry Callahan: Retrospective for Chrysler in his youth but left the company to attend Michigan State University to study engineering. Eventually, he dropped out of college Harry Callahan: Retrospective returned to work at Chrysler. Upon his return, he joined the company's camera Harry Callahan: Retrospective, and, byCallahan had begun teaching himself photography. During this time, he became Harry Callahan: Retrospective with another future photographer, Todd Webb American, — Callahan met his wife on a blind date inwhen they were both Chrysler employees, and the two married three years later. His method of photography was very technical and precise; every day, he woke up and walked Harry Callahan: Retrospective city where he lived to take photographs. In the afternoons, he would look over his negatives and choose the best ones to make print proofs. Callahan once estimated that he produced no more than a half dozen finished images each year. He often photographed his wife and daughter, buildings, and streets. His photos showed a strong sense of darkness and light, along with lines and forms. Callahan Harry Callahan: Retrospective experimented with multiple exposures and saw photography as deeply personal. His wife, in particular, held great significance in his work. She was his major subject for a period of 15 years. Callahan gave his photographs simple titles, such as Eleanor, New York, and Chicago.
    [Show full text]
  • Coming Home Again and Again: Caregiver. Memory, Personal Narrative, Documentary Photography, and the Importance of the Image in Storytelling
    Lesley University DigitalCommons@Lesley Lesley University College of Art and Design MFA in Visual Arts Theses (LA+D) Summer 6-2021 Coming Home Again and Again: Caregiver. Memory, Personal Narrative, Documentary Photography, and the Importance of the Image in Storytelling. Nicholas Costopoulos [email protected] Follow this and additional works at: https://digitalcommons.lesley.edu/mfa_visual_theses Part of the Photography Commons Recommended Citation Costopoulos, Nicholas, "Coming Home Again and Again: Caregiver. Memory, Personal Narrative, Documentary Photography, and the Importance of the Image in Storytelling." (2021). MFA in Visual Arts Theses. 13. https://digitalcommons.lesley.edu/mfa_visual_theses/13 This Thesis is brought to you for free and open access by the Lesley University College of Art and Design (LA+D) at DigitalCommons@Lesley. It has been accepted for inclusion in MFA in Visual Arts Theses by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected], [email protected]. Coming Home Again and Again: Caregiver Memory, Personal Narrative, Documentary Photography, and the Importance of the Image in Storytelling. Nicholas Costopoulos MASTER OF FINE ARTS, VISUAL ARTS LESLEY UNIVERSITY, COLLEGE OF ART AND DESIGN CAMBRIDGE, MASSACHUSETTS, USA JUNE, 2021 ABSTRACT Coming Home Again and Again is an ongoing documentary project researching cultural, religious, societal and familial identity. Caregiver, the initial volume, examines my becoming caregiver to my mother after her diagnosis with vascular dementia. The photographs look into our reversal of roles along with changing family dynamics. This undertaking is the beginning my inquiry into my own identity by means of observing my personal relationships, life and death, what is private and public, and a spiritual reawakening.
    [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]
  • [Title, Inclusive Dates]
    Grace M. Mayer papers, 1891-1960 (bulk 1932-1958), 48 boxes (21 linear feet) Museum of the City of New York 1220 Fifth Avenue New York, NY 10029 Telephone: 212-534-1672 Fax: 212-423-0758 [email protected] www.mcny.org © Museum of the City of New York. All rights reserved. Processed by Celia Hartmann, 2009; with additions in 2010. Finding aid reformatted by Lindsay Turley, March 2013. Description is in English Descriptive Summary Creator: Grace M. Mayer (1901 - 1996) Dates: 1891-1960 (bulk 1932-1958) Abstract: The Grace Mayer Files include day-to-day external incoming and outgoing correspondence related to researching, acquiring, preserving, exhibiting, and publicizing images of New York while she served as Curator of the Department of Prints, Drawings, and Photography at the Museum of the City of New York; her files documenting exhibitions she organized at the Museum and as loans to other institutions; and documentation of the acquisition, appraisal, preservation, exhibition, research, and publicity of the Harry T. Peters and Gerald LeVino collections of Currier & Ives images at the Museum. Extent: 48 boxes (21 linear feet) Accession numbers: not applicable; institutional archives Language: English Biographical Note Grace M. Mayer was born in New York City in 1901, where she was educated privately and at Columbia University. After working briefly for a physician affiliated with Mt. Sinai Hospital, she began her career at the Museum of the City of New York as a volunteer in 1930. She quickly succeeded Robert Sinclair as Curator of Prints, and headed the renamed Department of Prints, Drawings, and Photography until 1958.
    [Show full text]
  • Spring 2016 Artists in Residence
    Composer Eric Ewazen (March 7-10) Eric Ewazen recieved a B.M. at the Eastman School of Music, and M.M. and D.M.A. degrees from The Juilliard School, where his teachers included Milton Babbitt, Samuel Adler, Warren Benson, Joseph Schwantner and Gunther Schuller. He is a recipient of numerous composition awards and prizes. His works have been commissioned and performed by many soloists, chamber ensembles and orchestras in the U.S. and overseas. Recent works include “Legacy” commissioned for the Bi-Centennial of West Point and performed by the USMA Band in Carnegie Hall and “Flight”, commissioned by the USAF Heritage of America Band at Langley AFB, VA, celebrating the 100th anniversary of powered ight. Recent premieres of his Orchestral and Wind Ensemble works have been given by the Charleston (SC) Symphony, West Virginia Symphony, Orquesta Sinfonica de Tenerife in Spain, Orquesta Sinfonica Carlos Chavez in Mexico City, Orchestre de la Garde Republicaine in Paris, the Jeju Music Festival Wind Ensemble in Korea and the Moment Musicale Orchestra of Taiwan. Ewazen has been lecturer for the New York Philharmonic’s Musical Encounters Series, Vice-President of the League of Composers--International Society of Contemporary Music, and Composer-In-Residence with the Orchestra of St. Luke’s in New York City. He has been a faculty member at Juilliard since 1980. Mar. 7: 9-11 am Mar. 7: 12 pm Mar. 7: 2 pm Workshop with Hendrix students Work with Composition class Brass Area Masterclass Hendrix College, Conway Snow Fine Arts Center Snow Fine Arts Center Mar. 7: 3 pm Mar.
    [Show full text]
  • Untitled, N.D
    ACQUISITIONS 1975-1977 ; Compiled by Sharon Denton GUIDE SERIES NUMBER FOUR CENTER FOR CREATIVE PHOTOGRAPHY UNIVERSITY OF ARIZONA Preface THIS GUIDE, THE FOURTH in a series of guides to the collections of the Center for Creative Photography, is a listing of photograph and manuscriptCenter for acquisitionsCreative Photography during the Center's first three years, 1975-1977. It is intended to supplement the similar listings which appear in our publication beginning with Issue 9. Those listings, which are now a regular feature of that publication, are concerned with acquisitions from January 1, 1978. This guide in combination with the previously published listings provides a total summary of the Center's photograph and manuscript holdings. Because of space limitations entries of larger collections have been reduced. For collections of between 10 and 100 photographs, only the title and ac­ cession number are listed. For larger collections only brief descriptions of contents are made. This has the unfortunate side-effect of reducing some of the largest and most significant collections to a phrase or two, but this aspect is rectified by the Guide Series, which has already published extensive in­ ventories of the Ernest Bloch Archive, the Paul Strand Archive and the Edward Weston Photographs and Papers. Future guides will be devoted to the Wynn Bullock Archive, the Sonya Noskowiak Archive and the other major archives and collections at the Center. We will be pleased to provide further information about any item which appears in this listing. TERENCE R. PITTS CURATOR AND LIBRARIAN Acquisitions, 1975-1977 ADAMS, ANSEL "Otoe Delegation," Jan. 1881. Ansel Adams Archive Silver print on gaslight paper.
    [Show full text]
  • Photography Workshop with Maggie Steber in Oaxaca, Mexico
    PHOTOGRAPHY WORKSHOP WITH MAGGIE STEBER IN OAXACA, MEXICO PHOTOGRAPHY WORKSHOP WITH MAGGIE STEBER IN OAXACA, MEXICO “Photographing is a privilege. It gives us everything including a new way to consider things. I believe it can save us. It opens a door for us to enter the lives of people who we might not otherwise know, go to places we might otherwise not see, experience life in a way we might otherwise not. It’s exciting and exhausting and bewitching and demanding. It is a universal language and with it, we can begin to understand one another a bit better”. – Maggie Steber TRIP DURATION: ACCOMMODATIONS: Marques del Valle Hotel 10 days, 9 nights DATES: PRICE: $2,695 USD for tuition only. February 7-16, 2016 photoxpeditions.com [ +1.888.741.3974 [email protected] ] 1 PHOTOGRAPHY WORKSHOP WITH MAGGIE STEBER IN OAXACA, MEXICO This workshop is about visual storytelling sequencing each day. There will also be might come next. We will meet as a class in a new way. What story a participant in-class exercises in putting work in midweek to share how everyone is wants to tell is up to them. The main together. Participants may bring a progressing. We will also discuss the purpose of telling a story in one week, portfolio of work for review and business aspects of photography. If whatever shape it takes, is meant to hone discussion. participants are working on longer term skills and give participants a new way to projects, please bring them for Maggie to see the world, to re-see it, if you will.
    [Show full text]
  • Porter, Mynameis Thomas Cooper and I Am a Photographer And
    1708 Griegos N.W. Albuquerque, N.M.871O7 II/17/7I Dear. Dr» Porter, Mynameis Thomas Cooper and I am a photographer and graduate student of photos rapgy at U.N.M. and am currently studying under Beaumont Newhall.. The purpose of this letter,sir, is to see if you might be kind enough to grant me some visit­ ing time so that I might talk with you about your association with Alfred Stieglitz ^receive your impressions of the experience aad work that transpired during ti”eSicxf doin8 thia "'interview« in conjunction with Mr. Newhall's sonî^feîîLpSqï?gl?Î? T his.t^ies'i particular project is (and most pleasurably pîvÆ association with certain later photographers (yourself, Paul Strand, Imogen Cunningham, Edward Weston via Charis Harris, Ansel Adams Minor White and Todd Webb) and their mutual influence, if any, on oneanotSr’. With ïrvîi?::1?11 wo+u? *°tape the p®^®^ of Sr taiî s ranhv +î h felated slidei* as I feel «living« art history of photog­ raphy to be the most interesting and vital experience a devotee can have (outside of course, the actual photographing itself). In any case, these are the practical reasons for my hoped-for visit wi. th yojt. practical Personally, their are selfish motives in the hopes too. Dr. Porter I am a great admirerer of your work and this visit would be an enormous privilege fS me to meet, and perhaps become friends with, one of the few people whom I believe to ÎoS Srk s^hS6^ aChie'eme?îs in a -d art Sich hasTecome £ li£ ho™u?t£ ™ has given me really wonder full joy - I would consider it an +« H îu k*0" yfU* The meeting to°» the proposed tape, might indeed urn out to be the very type of much needed inspiration that this oft-times tired graduate school of photography needs.
    [Show full text]