Uta Barth’S Photographic Practice Is Fuelled by Untitled 2015.AA, UTA BARTH the Question of How We Perceive, Versus What 2015 Inkjet Print on Heavy- We See

Total Page:16

File Type:pdf, Size:1020Kb

Uta Barth’S Photographic Practice Is Fuelled by Untitled 2015.AA, UTA BARTH the Question of How We Perceive, Versus What 2015 Inkjet Print on Heavy- We See Uta Barth’s photographic practice is fuelled by Untitled 2015.AA, UTA BARTH the question of how we perceive, versus what 2015 Inkjet print on heavy- we see. For the past thirty years, Uta Barth has Born weight matte paper taken photography as a means to conceptually 22 x 28 inches Berlin, Germany, 1958 and formally explore the phenomenology of perception, vision and conventions of picture- Edition of 1, 2 APs. Education Commissioned for making. Barth typically empties images of what BA, University of California, solo exhibition at Art would often be considered a traditional subject Institute of Chicago. Davis, 1982 matter or narrative to challenge the purported MFA, University of California, equivalence between content and subject Los Angeles, 1985 in photography. Engaging with the ambient, ephemeral and subliminal of everyday life, she Proceeds from this sale directly instead uses photography to create images that support SFAI’s new Graduate Center trace light, duration and time. at Fort Mason Center for Arts & Culture, opening Fall 2017. Visit sfai.edu/art_sale Ruth Bernhard began her career as a commercial Receding Tide, 1970 RUTH photographer in the late 1920s in Manhattan. Gelation silver Print 7 3/4 x 9 3/4 inches BERNHARD She was deeply inspired by Edward Weston, eventually becoming a part of the Modernist Signed on front and West Coast Photographic Movement. In the verso with date and title Born 1940s, Bernhard joined Weston, Ansel Adams, Berlin, Germany, 1905 Minor White, Imogen Cunningham, Wynn Bullock, and Dorothea Lange in Group f.64. Died San Francisco, CA, 2006 Bernhard primarily photographed in her studio and in black and white, making compositions Education of still lifes and dramatically lit nude fgures. Berlin Academy of Art, 1925-27 Although she is most often recognized for her photographs of nude women, Bernhard’s main Proceeds from this sale directly aspirations revolved around the formal discipline support SFAI’s new Graduate Center at Fort Mason Center for Arts & of creating abstract shapes and sculptural Culture, opening Fall 2017. masses using composition, light, and shadow. Visit sfai.edu/art_sale LINDA CONNOR Born New York, NY, 1948 Education BFA, Rhode Island School of Design, 1967 MS, Illinois Institute of Design, 1969 Since the late 1960s, Linda Connor has been teaching in the Photography department at SFAI and exhibiting, publishing, and teaching nationally and internationally. In 2002, she founded PhotoAlliance, a Bay Area non-proft organization dedicated to the understanding, appreciation, and creation of contemporary photography, and currently serves as its president. She has had a long and distinguished career in photography, and has traveled extensively to produce her work, including to India, Turkey, Peru, Iceland, and South East Asia. Recipient of a Guggenheim fellowship, Connor was also given the Society of Photographic Education’s Honored Educator Award in 2005. September 3,1895, 2015 Printed on aluminum 10 x 8 inches Proceeds from this sale directly support SFAI’s new Graduate Center at Fort Mason Center for Arts & Culture, opening Fall 2017. Visit sfai.edu/art_sale IMOGEN CUNNINGHAM Born Portland, OR, 1883 Died San Francisco, CA, 1976 Education University of Washington, 1907 Imogen Cunningham was a true artistic pioneer in 20th-Century photography. While her early work was made in the tradition of Pictorialism, by the 1920s she was experimenting with the sharp defnition and detailed study of natural forms and plant life associated with the West Coast Modernist movement. Cunningham was a founding member of Group f.64 together with Willard Van Dyke, Ansel Adams and others. In 1945, she joined the faculty of the frst fne art photography department at the California School of Fine Arts (now SFAI) where she continued to teach and be an important mentor to students and faculty through the 1970s. Agave Design I, 1920 Gelatin silver print from the original on December 10, 1997 22 x 28 inches Proceeds from this sale directly support SFAI’s new Graduate Center at Fort Mason Center for Arts & Culture, opening Fall 2017. Visit sfai.edu/art_sale JUDY DATER Born Hollywood, CA, 1941 Education BA, San Francisco State University, 1963 MFA, San Francisco State University, Judy Dater’s early interest in painting, drawing, flm, and photography took her to UCLA where she majored in Art. At the age of 20 she moved north to fnish her education at San Francisco State University. Here she embraced photography as her chosen medium, and used it to explore the Bohemian counter culture life that now surrounded her. This led to an enduring interest in photographing people from all walks of life, drawing on their humanity and soulfulness. Dater has exhibited widely and has been the recipient of a Guggenheim Fellowship and two National Endowment for the Arts Grants. Woman Warrior (Maxine Hong Kingston) 2015 Archival pigment Print 20 x 16 1/4 inches Proceeds from this sale directly support SFAI’s new Graduate Center at Fort Mason Center for Arts & Culture, opening Fall 2017. Visit sfai.edu/art_sale KATY GRANNAN Born Arlington, MA, 1969 Education BA, University of Pennsylvania MFA, Yale School of Art Katy Grannan, originally from Arlington, MA, discovered a passion for photography early in life, after her grandmother gave her a Kodak Instamatic 124. She never aspired to be an artist until she discovered Robert Frank and his indelible photographs in The Americans. This work changed her life. Grannan was frst recognized for an intimate series of portraits depicting strangers she met through newspaper advertisements. Since moving to California in 2006, Grannan has explored the relationship between aspiration and delusion—where our shared desire to be of worth confronts the uneasy prospect of anonymity. Anonymous, San Francisco, 2009 Printed in 2015 Pigment print 18 7/8 x 14 1/16 inches Edition 1/1. Gifted to Proceeds from this sale directly San Francisco Art Institute. support SFAI’s new Graduate Center at Fort Mason Center for Arts & Signed and dated verso Culture, opening Fall 2017. on label in ink. Visit sfai.edu/art_sale CATHERINE OPIE Born Sandusky, Ohio, 1961 Education BA, San Francisco Art Institute, 1985 MFA, California Institute of the Arts, 1988 Catherine Opie’s photographs include series of portraits and American urban landscapes, ranging in format from large- scale color works to smaller black and whiteprints. Moving from the territory of the body to the framework of the city, Opie’s various photographic series are linked together by a conceptual framework of cultural portraiture. In 2000, she was appointed Professor of Fine Art at Yale University, and in 2001 she accepted the position of Professor of Photography at the University of California, Los Angeles, which she currently holds. The Falls, 2015 Pigment Print 22 x 14 inches Special print for San Francisco Art Institute. Signed verso. Proceeds from this sale directly support SFAI’s new Graduate Center at Fort Mason Center for Arts & Culture, opening Fall 2017. Visit sfai.edu/art_sale NIGEL POOR Born Boston, MA, 1963 Education BA, Bennington College, 1986 Before moving to California, SFAI’s reputation loomed large for Nigel Poor, and in 1992, after arriving in San Francisco, she got in touch with professor Linda Connor, who kindly welcomed her to the photography community. She taught at SFAI for several semesters, and remains a committed supporter of the school and art community it fosters. Poor’s work has been shown at San Jose Museum of Art, Friends of Photography, SF Camerawork, SFMOMA, the San Diego Museum of Contemporary Art, Museum of Photographic Arts, San Diego, Corcoran Gallery of Art, and the Haines Gallery. She is a Professor at California State University, Sacramento and a producer for the San Quentin Prison Report Radio Project. Remainders: god, sex & animals talking, 2012 Inkjet Print 20 x 16 inches Edition 2/3. From Remainders: god, sex & animals talking. Proceeds from this sale directly support SFAI’s new Graduate Center at Fort Mason Center for Arts & Culture, opening Fall 2017. Visit sfai.edu/art_sale ELISABETH SUNDAY Born Cleveland, OH, 1958 Education BA, Humboldt State University, 1980 Elisabeth Sunday has been photographing indigenous people across the African continent for the last 26 years. Using a fexible mirror she created for the purpose (and hand carries unaccompanied to some of the most remote and dangerous spots on earth), Sunday has created her own analog process that prefgured Photoshop that she calls “Mirror Photography.” Her method of photographing her subjects emphasizes and enhances their grace, elongating the body and the folds of their garments, creating an impressionistic effect. Although Sunday herself is never visible in the frame, she is as much actor as she is director within the drama of these photographs. Emerge, 2007 Silver print 16 x 20 inches Edition 1/10. Image of Tuareg Woman Proceeds from this sale directly The Sahara Desert, support SFAI’s new Graduate Center at Fort Mason Center for Arts & Mali. Culture, opening Fall 2017. Visit sfai.edu/art_sale CATHERINE Catherine Wagner is an active international artist Artemis/Diana, 2014 working in photography and installation and site- Archival pigment print 27 3/4 x 20 3/4 inches WAGNER specifc public art, and lectures extensively. Her process involves the investigation of what art critic From the Rome Works David Bonetti calls “the systems people create, collection. Born our love of order, our ambition to shape the world, Artist prototype print. San Francisco, CA, 1953 the value we place on knowledge, and the tokens we display to express ourselves.” Education San Francisco State University, 1977 Wagner is a recipient of the Rome Prize, a Guggenheim Fellowship, NEA Fellowships, and the Ferguson Award, and was named one of Time Proceeds from this sale directly Magazine’s Fine Arts Innovators of the Year.
Recommended publications
  • Identity in the Landscape Essay
    JP Alvarez, Emma Kimbrough, Veronika Lubeck Professor Pappas ARTH 140 16 March 2021 de Saisset Museum Exhibition: Identity in the Landscape Abstract: In this essay, we discuss a selection of landscape and landscape-adjacent photography from the western United States, focusing on how different photographers represent different kinds of relationships between people and the landscape. We look specifically at the photographers’ identities and analyze how they could factor into the meanings of the photographs, either intentionally or unintentionally, with the goal of making traditionally invisible identities like whiteness and maleness more visible. We begin by looking at the role of gender in photography, contrasting Ansel Adams with Judy Dater, who have very different approaches to including people in their landscapes. Then, we focus on the role of cultural identity, specifically Native American identity, contrasting Laura Gilpin, who was not Native, with Dugan Aguilar, who was. We then discuss Mark Klett, a more contemporary white man whose work is in the middle; he breaks down some norms while reinforcing others. We conclude with Dorothea Lange and Anthony Hernandez, emphasizing more non-traditional and socially conscious landscapes depicting poverty and a lack of rootedness. Essay: Our exhibition attempts to show the intersection of human influence and landscape photography through the analysis of photos from photographers with various backgrounds. There are competing ideas of what role humans have in the environment, and we can clearly see this in the different perspectives of the landscape photos. Our exhibition focuses on men and women photographers as well as Native American identities. All of the photos in the exhibition were taken in the western part of the United States, which lays a common foundation for our analysis.
    [Show full text]
  • Uta Barth’S Photographic Practice Is Fuelled by Untitled 2015.AA, UTA BARTH the Question of How We Perceive, Versus What 2015 Inkjet Print on Heavy- We See
    Uta Barth’s photographic practice is fuelled by Untitled 2015.AA, UTA BARTH the question of how we perceive, versus what 2015 Inkjet print on heavy- we see. For the past thirty years, Uta Barth has Born weight matte paper taken photography as a means to conceptually 22 x 28 inches Berlin, Germany, 1958 and formally explore the phenomenology of perception, vision and conventions of picture- Edition of 1, 2 APs. Education Commissioned for making. Barth typically empties images of what BA, University of California, solo exhibition at Art would often be considered a traditional subject Institute of Chicago. Davis, 1982 matter or narrative to challenge the purported MFA, University of California, equivalence between content and subject Los Angeles, 1985 in photography. Engaging with the ambient, ephemeral and subliminal of everyday life, she Proceeds from this sale directly instead uses photography to create images that support SFAI’s new Graduate Center trace light, duration and time. at Fort Mason Center for Arts & Culture, opening Fall 2017. Visit sfai.edu/art_sale Ruth Bernhard began her career as a commercial Receding Tide, 1970 RUTH photographer in the late 1920s in Manhattan. Gelation silver Print 7 3/4 x 9 3/4 inches BERNHARD She was deeply inspired by Edward Weston, eventually becoming a part of the Modernist Signed on front and West Coast Photographic Movement. In the verso with date and title Born 1940s, Bernhard joined Weston, Ansel Adams, Berlin, Germany, 1905 Minor White, Imogen Cunningham, Wynn Bullock, and Dorothea Lange in Group f.64. Died San Francisco, CA, 2006 Bernhard primarily photographed in her studio and in black and white, making compositions Education of still lifes and dramatically lit nude figures.
    [Show full text]
  • Bibliography
    Bibliography Abell, Sam. Stay this Moment : The Photographs of Sam Abell. Rochester, N.Y.; Charlottesville, Va: Professional Photography Division, Eastman Kodak Co; Thomasson-Grant, 1990. Print. Aberth, Susan L., and Leonora Carrington. Leonora Carrington : Surrealism, Alchemy and Art. Aldershot, Hampshire; Burlington, VT: Lord Humphries; Ashgate, 2004. Print. Abram, David. Becoming Animal : An Earthly Cosmology. 1st ed. New York: Pantheon Books, 2010. Print. ---. The Spell of the Sensuous. New York: Pantheon Books, 1996. Print. Using descriptive personal stories of interaction with nature David Abram introduces the reader to phenomenology. This philosophy rejects the separation of the human mind by Descartes and believes all observation is participatory. Abram brings Merleau-Ponty’s theory that the human body is the true subject of experience through examples, often as his outings in nature. I related to this work for I believe humans aren’t superior, that we are interconnected and part of the chain of life with other creatures. I never knew my beliefs were part of an existing philosophy. It is through full sensory interaction with the earth that we realize we must do more to save it. Abram’s book is a call to all humans to join in this activity, reawakening our senses to the rest of the world. Allmer, Patricia, and Manchester City Art Gallery. Angels of Anarchy : Women Artists and Surrealism. Munich ; New York: Prestel, 2009. Print. Anderson, Adrian. Living a Spiritual Year: Seasonal Festivals in Northern and Southern Hemispheres : An Esoteric Study. Rudolph Steiner Press, 1993. Print. Avedon, Richard, et al. Evidence, 1944-1994. 1st ed. New York: Random House, Eastman Kodak Professional Imaging in association with the Whitney Museum of American Art, 1994.
    [Show full text]
  • Australian and International Photography
    Australian and International Photography Josef Lebovic Gallery 34 Paddington Street (PO Box 453) Paddington (Sydney) NSW 2021 Australia Ph: (02) 9332 1840 Fax: (02) 9331 7431 Email: [email protected] www.joseflebovicgallery.com JOSEF LEBOVIC GALLERY 34 Paddington Street (PO Box 453), Paddington, Sydney, NSW 2021, Australia • Established 1977 Tel: (02) 9332 1840 • Fax: (02) 9331 7431 • Intl: (+61-2) Email: [email protected] • Web: joseflebovicgallery.com Open Tues to Fri by appointment, Sat 11-5pm • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. 2. Anon. [George Finey], c1950s. Vintage COLLECTORS’ LIST No. 144, 2010 silver gelatin photograph, 30.7 x 38.2cm. Slight crinkles, minor chips to edges of image. $990 Shows Australian cartoonist George Finey with his self portrait composed of old boots. Australian & International Photography 1. Ansel Adams (American, 1902- 1984). Moon And Half Dome, Yosemite Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Alex Montagnese National Park, California, 1960/later On exhibition from Saturday, 24 July to Saturday, 28 August and on our printing. Silver gelatin photograph, Yosemite National Park authentication website from 30 July. stamp and initialled in ink by printer All items have been illustrated in this catalogue. Prices are in Alan Ross verso, 24.1 x 18cm. Laid Australian dollars and include GST. Exch. rates as at time of printing: down on slightly foxed original present­ AUD $1.00 = USD $0.87¢; UK £0.57p ation backing. $3,800 © Licence by VISCOPY AUSTRALIA 2010 LRN 5523 Stamp includes “Special edition photographs of Yosemite by Ansel Adams.
    [Show full text]
  • Judy Dater SEEING and BEING SEEN
    E XHIBITION Judy Dater SEEING AND BEING SEEN BY C LAIRE S YKES © JUDY DATER Self-portrait With Stone, 1982 very Saturday morning, five-year-old Judy Dater eagerly went with her father to the movie theater he owned near Hollywood Boulevard in Los Angeles, California. While he put away cartons of candy and popcorn and retreated to his office, she stepped into the blackest space imaginable to her, its rows of red velvet seats empty of peo- Eple. Alone with her fear, she dared herself to walk from the doorway down to the stage, touch it and then run back up the aisle. Sixteen years later — after Gary Cooper and Ingrid Bergman, after Lawrence of Arabia and East of Eden, after movie-theater birthday parties and high school ticket-selling — Dater found herself again in the dark. But instead of films flickering on a screen, her black-and-white images slowly emerged onto paper floating in a tray of developer. While her father’s movie theater set the stage for Dater’s interest in pho- tography, it was her college darkroom that wrote the script for her life calling 10 · PFMAGAZINE.COM | PHOTOGRAPHER’S FORUM | FALL 2012 © JUDY DATER Nehemiah’s back, 1975 FALL 2012 | PHOTOGRAPHER’S FORUM | PFMAGAZINE.COM · 11 Dater arrived as a photographer in the late 60s, at the vital cultural intersection of photography and feminism. © JUDY DATER President Slain, from Memoirs, 2012 as an artist. “I loved the instantaneousness, the mystery of the Argentina, France, Italy, Egypt and the U.S., mainly in California, photographic process.
    [Show full text]
  • Rampaging Driver Leaves Local Scars a Month After Tragedy, One Victim Is Recovering
    NEIGHBORHOOD NEWS FOOD & WINE HOME & GARDEN Hospital plans In the kitchen Cottage gets draw brickbats and on the air a new life Page 3 Page 11 Pages 13 New FILLMORE SAN FRANCISCO ■ OCTOBER 2006 Rampaging Driver Leaves Local Scars A month after tragedy, one victim is recovering B B K R entries for August 29 on Richard Hilkert’s Twell-penciled calendar. One is an appointment for a midday massage — a 78th birthday present from a friend who’s a masseur. 0 e other says simply: Horror. Hilkert, a longtime neighborhood fi xture, was one of more than a dozen local residents run down and injured by an out-of-control driver on August 29. It was a bizarre incident that landed the neighborhood in the national news. Hilkert was returning home from his massage early that Tuesday afternoon when he saw a man lying in the street at Sutter and Steiner. “He was moaning and groaning, and I thought, ‘Oh, there’s some poor fellow who’s down and out,’ ” he says. Others were helping, so Hilkert continued on his way. “I was into the crosswalk, when suddenly this car came right at me — and I joined the other fellow, on my back, in the street,” his glasses and hearing aids scattered, Hilkert recalls. Neighbors and bystanders quickly gathered. “0 en one of them screamed: ‘My God! He’s coming back!’ ” Hilkert says. “I saw the car make a U-turn at Fillmore and come back to fi nish us off .” Selfl ess souls in the crowd dragged Hilkert to safety just as the black SUV sped down the street.
    [Show full text]
  • CHERIE HISER – “She Is One of the Most Vital Persons of Our Time”
    CHERIE HISER – “She is one of the most vital persons of our time”. Cornell Capa During the last four decades, Cherie Hiser has become widely respected as an innovator and visioneer in the field of photography. She is internationally recognized as a photographer, educator, curator, consultant, writer and net worker. Her own art education began by attending programs at the Portland Art Museum after completion of a university degree in Clinical Psychology. Her first teachers were Minor White, Ruth Bernhard and Imogen Cunningham. Cherie became impassioned with the medium, and in 1968 founded “The Center of the Eye” in Aspen, which at the time, was quoted to be “the most influential photography workshop in the world.” Encouraged by Ansel Adams, she was the first director of the photography program and gallery at the Sun Valley Center for the Arts and Humanities in 1974. In Santa Fe, New Mexico she founded the “Center of the Eye Collaborative Workshops and Gallery”, followed twenty years later in Portland in 1996 with “PhotoWorks NorthWest”, another innovative non- profit photography program. Cherie’s work has been exhibited and published widely from small presses to National Geographic magazine. Her prints are in numerous public and private collections She has received many honors including a residency at the Visual Studies Workshop in New York; a grant from the Polaroid Foundation to work with hospitalized mental patients and photography. In 1998 she was elected one of twelve artists in the United States for the National Photographer/Humanitarian of the Year award. She is a founding Board member of Photolucida and a member of the Photo Council of the Portland Art Museum, and was a trustee of Ansel Adams’ Friends of Photography organization for 5 years.
    [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]
  • Downloaded by [New York University] at 05:47 09 August 2016 20TH CENTURY PHOTOGRAPHERS
    Downloaded by [New York University] at 05:47 09 August 2016 20TH CENTURY PHOTOGRAPHERS This book is a compilation of interviews and essays that cover a broad range of photographers and photographic disciplines. Each photographer profi led made a living by concentrating on a specifi c aspect of the craft, but in doing so transcended their livelihood to become recognized for more than the type of images they cre- ated. Each had a distinct “style,” creative approach, dedication to the craft, and point of view about themselves and the world. These interviews were conducted during a seminal period in the shift from fi lm to digital and from print reproduction to global distribution on the Internet. Just as their photographs continue to inspire today, now these pros’ words can live on as an invaluable reference for the photographers of the future. The truth and wisdom in this collection transcend time and technology. • Features interviews with notable photographers including: Mary Ellen Mark, Carl Mydans, O. Winston Link, and Arnold Newman. • Covers a wide array of photographic fi elds such as photojournalism, fi ne art, and fashion. George Schaub (Editor) is the editor at large at Shutterbug magazine. He has writ- Downloaded by [New York University] at 05:47 09 August 2016 ten more than 20 books on photography and is an associate professor at the Parsons School of Design in New York City. Grace Schaub (Author/Interviewer) was a photographer, artist, and writer who, throughout the latter part of the twentieth century, interviewed many of the most infl uential photographers of the time for various magazines including Photo Pro, Pho- tographer’s Forum, Camera Arts, and View Camera magazine.
    [Show full text]
  • Report of the President, Bowdoin College 1987-1988
    Bowdoin College Bowdoin Digital Commons Annual Report of the President Special Collections and Archives 1-1-1988 Report of the President, Bowdoin College 1987-1988 Bowdoin College Follow this and additional works at: https://digitalcommons.bowdoin.edu/presidents-reports Recommended Citation Bowdoin College, "Report of the President, Bowdoin College 1987-1988" (1988). Annual Report of the President. 97. https://digitalcommons.bowdoin.edu/presidents-reports/97 This Book is brought to you for free and open access by the Special Collections and Archives at Bowdoin Digital Commons. It has been accepted for inclusion in Annual Report of the President by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. Report of the President 1987— 1988 BOWDOIN COLLEGE Brunswick, Maine Digitized by the Internet Archive in 2013 http://archive.org/details/reportofpresiden19871bowd Report of the President 1987— 1988 BOWDOIN COLLEGE Brunswick, Maine Composed by Partners Composition, Utica, New York Printed by Salina Press, East Syracuse, New York Report of the President To the Trustees and Overseers of Bowdoin College: I have the honor of submitting the following report for the academic year 1987— 1988. Last year's report was devoted largely to a discussion of Bowdoin's successful reaccreditation review. I enjoyed the opportunity to pass along the many good things said about Bowdoin, while acknowledging that Bowdoin, like all institutions, had some challenges still to meet. The report concluded with a discussion of those steps being taken to ensure that each challenge would be addressed. This year's report will in part continue to address those concerns as I review the accomplishments of the College.
    [Show full text]
  • Photographers We Have Our Eye On
    Photographers We Have Our Eye On By Paddle8 Joslin Van Arsdale combs the aisles at AIPAD, the international contemporary photo fair, for rare finds from established names, new faces, and rediscovered talents. Collectors who want to discover which way the winds are blowing in the photography market would do well to attend the Photography Show put on by the Association of International Photography Dealers—known colloquially as the AIPAD fair—held at the Park Avenue Armory in New York each April. Running this week from April 14–17, the event draws nearly 90 dealers from around the globe (Antwerp, Paris, Buenos Aires), showcasing works from experimental 19th-century albumen prints to digital films to the evolving medium of photobooks. Below, Paddle8’s Los Angeles–based photography specialist, Joslin Van Arsdale, chooses her favorites from this year’s movable feast for the eyes. Hans Breder "Breder's Body Sculptures, which he made between 1969 and 1974, are a mixture of performance, sculpture and photography, using the mirror to capture the space in between. Made over 40 years ago, this work is an important precursor to the themes currently being explored by contemporary photographers today." Sabrina Gschwandtner "Experimenting with materiality and process, Gschwandtner's unique, hand-stitched quilt patterns are made from 16mm films deaccessioned from the Fashion Institute of Technology's collection. As three-dimensional sculptures on lightboxes, they reference storytelling through both the symbol of the quilt as well as the linear, time-based narrative of film." Ray Metzker "A master printer and photographer, Metzker captured the isolation of living in a big city through the juxtaposition of singular figures bisected by precise lines of light and shadows.
    [Show full text]
  • Finding Aid for The
    1 FINDING AID FOR THE ANSEL ADAMS ARCHIVE AG31 Center for Creative Photography The University of Arizona Tucson, AZ 85721-0103 For further information about the archives at the Center for Creative Photography, please contact the Archivist: phone 520-621-6273; fax 520-621-9444 TABLE OF CONTENTS page number Description, Provenance, Restrictions 2 Scope and Content 2-3 Organization of the Collection 3-4 Correspondence 5-25 Correspondence Index 25-30 Biographical materials 30-33 Music related materials 34-36 Activity Files 36-97 Clippings 97 Publications 97-101 Audio-visual Materials 101-106 Memorabilia 106-107 Photographic Materials 107-118 Photographic Equipment 118-122 Appendix A: Periodicals and miscellaneous, by and about Adams Appendix B: Monographs by and about Adams Appendix C: Personal library: monographs by others Appendix D: Index to photographs in the Ansel Adams Archive Ansel Adams Archive, Center for Creative Photography, The University of Arizona 1 2 DESCRIPTION Papers, photographic materials, and memorabilia, 1920s -1984, of Ansel Adams (1902 - 1984), photographer, author, teacher and conservationist. Includes correspondence (1906 - 1984) between Adams and his family, friends, business associates, and other artists; activity files documenting his commercial projects (1930s - 1977); exhibitions (1936 - 1983); his associations with the Sierra Club (1937 - 1984), Friends of Photography (1967 - 1984), and Images and Words Workshop (1967 - 1972); writings, lectures, and interviews (1931 - 1982); publications with Morgan and Morgan (1950 - 1975), 5 Associates (1952 - 1979), and New York Graphic Society (1973 - 1983); photographic materials including work, reproduction, and exhibition prints; printed materials including reproductions of his work in periodicals and a portion of his personal library; audio and visual materials relating to interviews with him; and memorabilia including awards, certificates, equipment, and clothing.
    [Show full text]