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Llyn Foulkes Between a Rock and a Hard Place
LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M. -
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. -
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. -
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. -
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. -
A M I R Z a K I [email protected]
Amir Zaki is a practicing artist living in Southern California. He received his MFA from UCLA in 1999 and has been regularly and actively exhibiting nationally and internationally since. Zaki has had solo shows at the Mak Center Schindler House in West Hollywood, LAXART in Los An- geles, Perry Rubenstein Gallery in New York, James Harris Gallery in Seattle, and Roberts and Tilton in Los Angeles. He has been included in many group exhibitions including The California Biennial: 2006 at the Orange County museum of Art, the Whitney Museum of American Art in New York, Andreas Grimm Gallery in Munich, Germany, Harris Lieberman Gallery in New York, Shane Campbell Gallery in Chicago, the California Museum of Photography, and the San Jose Museum of Art. Zaki’s work is part of numerous public and private collections across the country including the Whitney Museum of American Art, New York New Museum of Contemporary Art, the Henry Art Gallery in Seattle, Washington, the Orange County museum of Art, and the Santa Barbara Museum of Art. He has been included in the Phaidon Press anthology of contemporary photography, Vitamin Ph, and contributed to LACMA’s Words Without Pictures. Zaki recently completed his second monograph, a large format, limited edition fold-out book entitled Eleven Minus One, which was co-published by LAXART and Eighth Veil on the occasion of a solo exhi- bition at LAXART. Zaki has an ongoing interest in the rhetoric of authenticity, as it is associated with photogra- phy as an indexical media. Simultaneously, he is deeply invested in exploring digital technolo- gy’s transformative potential to disrupt that assumed authenticity. -
P H O T O N E W S L E T T
The PHOTO REVIEW NEWSLETTER July / August 2017 Michael Nichols Charger, Bandhavgarh National Park, India, 1996, inkjet print mounted on Dibond (© Michael Nichols/National Geographic) From “Wild” at the Philadelphia Museum of Art Exhibitions PHILADELPHIA AREA T. R. Ericsson The Print Center, 1614 Latimer St., Philadel- phia, PA 19103, 215/735-6090, www.printcenter.org, T–Sat 11–6, Annual Alumni Exhibition The Galleries at Moore, Moore through August 6. College of Art and Design, 20th St. & the Parkway, Philadelphia, PA 19103, 215/965-4027, www.moore.edu, M–Sat 11–5, through Judy Gelles “Fourth Grade Project in Yakima, Washington,” August 19. The Center for Emerging Visual Artists, Bebe Benoliel Gallery at the Barclay, 237 S. 18th St., Suite 3A, Philadelphia, PA 19103, Another Way of Telling: Women Photographers from the Col- 215/546-7775, www.cfeva.org, M–F 11–4, through July 28. lection The Philadelphia Museum of Art, Perelman Building, Julien Levy Gallery, 2525 Pennsylvania Ave., Philadelphia, PA Christopher Kennedy “Re-Imagined,” The Studio Gallery, 19130, 215/684-7695, www.philamuseum.org, T–Sun 10–5, W & 19 W. Mechanic St., New Hope, PA 18930, 215/738-1005, thestu- F 10–8:45, through July 16. dionewhope.com, W–Sun 11–6, through July 30. A Romantic Youth: Advanced Teen Photo Philadelphia Photo Arts Center, 1400 N. American St., Ste. 103, Philadelphia, PA 19122, 215/232-5678, www.philaphotoarts.org, T–Sat 10–6, through July 8. Christopher Kennedy: A Vision of Cubicity, from Impalpable Light at the Bazemore Gallery, Manayunk, PA Christopher Kennedy “Impalpable Light,” The Bazmore Gal- lery, 4339 Main St., Manayunk, PA 19127, 215/482-1119, www. -
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. -
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. -
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. -
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. -
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.