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PR Milton Rogovin.Pages
! SAN JOSE MUSEUM OF ART TO PRESENT MILTON ROGOVIN’S PHOTOGRAPHS OF THE WORKING CLASS AUGUST 18 ‒ MARCH 19 SAN JOSE, California (August 2016)— The San Jose Museum of Art will showcase the work of American photographer Milton Rogovin in an exhibition on view August 18, 2016 – March 19, 2017. Life and Labor: The Photographs of Milton Rogovin comprises thirty-eight black-and-white photographs by the self-proclaimed social documentary photographer. Rogovin photographed “the forgotten ones,” as he called them, including people from working class neighborhoods and multi-ethnic communities. Drawn entirely from the permanent collection of the San Jose Museum of Art, this exhibition presents photographs from three series: “Lower West Side, Buffalo” “Working People” and “Family of Miners” Life and Labor marks the public debut of these photographs, which were given to the Museum’s collection in 2011. Rogovin shed light on important social issues of the time: the plight of miners, the decline of the steel industry in upstate New York, and the everyday struggles of the poor and working class in Buffalo, New York, where he lived. While working as an optometrist in the 1930s, he was distressed by the widespread poverty caused by the Great Depression and became increasingly involved in leftist political causes. He began attending classes at the New York Workers School and reading the Communist newspaper The Daily Worker. He was influenced by the social- documentary photographs of Jacob Riis and Lewis Hine. In 1957, with the prevalence of cold war anti-Communism in the United States, Rogovin was called before the House Un-American Activities Committee, but refused to testify. -
Finding Aid for the Milton Rogovin Collection, 1988-2007 AG 210
Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Milton Rogovin Collection, 1988-2007 AG 210 Finding aid updated by Meghan Jordan, June 2016 AG 210: Milton Rogovin Collection, 1988-2007 - page 2 Milton Rogovin Collection, 1988-2007 AG 210 Creator Rogovin, Milton (1909-2011) Abstract This collection contains miscellaneous materials documenting the life and career of Milton Rogovin (1909 - ), photographer and social activist. The collection is active. Quantity/ Extent 1 linear foot Language of Materials English Biographical Note Milton Rogovin was born in New York City in 1909 where he graduated from Columbia University in 1931 with a degree in optometry. He soon after moved to Buffalo, New York. Rogovin purchased his first camera in 1942 and later taught documentary photography at the University of Buffalo from 1972-1974, where he also received an MA in American Studies in 1972. His photographic work focused on social activism, and in 1983 he won the prestigious W. Eugene Smith Award for Documentary photography, which allowed him to travel internationally to continue his “Family of Miners” series. Rogovin died in 2011. Scope and Content Note There are three boxes that have not yet been arranged and described at the series level. Materials include correspondence, publications, transcripts, and a wide variety of audiovisual materials, including mostly U-matic tapes and audiotapes. Names and Subject Terms Rogovin, Milton, 1909-2011 Photography Restrictions Conditions Governing Access Access to this collection requires an appointment with the Volkerding Study Center. -
Coney Island: Visions of an American Dreamland, 1861–2008 Jan
Coney Island: Visions of an American Dreamland, 1861–2008 Jan. 31 – May 31, 2015 Exhibition Checklist DOWN AT CONEY ISLE, 1861-94 1. Sanford Robinson Gifford The Beach at Coney Island, 1866 Oil on canvas 10 x 20 inches Courtesy of Jonathan Boos 2. Francis Augustus Silva Schooner "Progress" Wrecked at Coney Island, July 4, 1874, 1875 Oil on canvas 20 x 38 1/4 inches Manoogian Collection, Michigan 3. John Mackie Falconer Coney Island Huts, 1879 Oil on paper board 9 5/8 x 13 3/4 inches Brooklyn Historical Society, M1974.167 4. Samuel S. Carr Beach Scene, c. 1879 Oil on canvas 12 x 20 inches Smith College Museum of Art, Northampton, Massachusetts, Bequest of Annie Swan Coburn (Mrs. Lewis Larned Coburn), 1934:3-10 5. Samuel S. Carr Beach Scene with Acrobats, c. 1879-81 Oil on canvas 6 x 9 inches Collection Max N. Berry, Washington, D.C. 6. William Merritt Chase At the Shore, c. 1884 Oil on canvas 22 1/4 x 34 1/4 inches Private Collection Wadsworth Atheneum Museum of Art Page 1 of 19 Exhibition Checklist, Coney Island: Visions of an American Dreamland, 1861 – 2008 12-15-14-ay 7. John Henry Twachtman Dunes Back of Coney Island, c. 1880 Oil on canvas 13 7/8 x 19 7/8 inches Frye Art Museum, Seattle, 1956.010 8. William Merritt Chase Landscape, near Coney Island, c. 1886 Oil on panel 8 1/8 x 12 5/8 inches The Hyde Collection, Glens Falls, N.Y., Gift of Mary H. Beeman to the Pruyn Family Collection, 1995.12.7 9. -
NATHAN LYONS: Final Chapter
NATHAN LYONS: Final Chapter March 27 - April 2, 2017 Reception: Friday March 31, 7-10pm Affirmation Arts 523 W 37th Street In honor of the renowned photographer, educator, lecturer, author, and curator Nathan Lyons, Bruce Silverstein is pleased to present, in association with Affirmation Arts, Nathan Lyons: Final Chapter. This exhibition marks the first occasion that this legendary artist’s color photographs will be seen by the public. It represents the fifth and final installment of a photographic opus spanning five decades, illustrating the artist’s intention of creating and transmitting a unique visual language through photography. This exclusive first look will be a prelude to his upcoming exhibition at the George Eastman Museum in 2019. Nearly 50 years have passed since the publication of his seminal book, Notations in Passing (1971), born out of his larger, extraordinary body of work bearing the same title. The images comprising this now-iconic compilation would be the artist’s first series of ‘snapshots’. This series sought to document the American ethos of 1962-1974 through the ubiquitous vernacular elements dispersed throughout the suburban landscape. Lyons would often focus on specific advertisements, posters, signage, drawings, and graffiti–lending a voice to the otherwise fading, forgotten script. Notations in Passing was also groundbreaking in its introduction of the artist's keen interest in photographic sequencing, often laying out seemingly disparate images in pairs, allowing a range of meaning to emerge through such juxtaposition. The snapshot, not as product but as process. Unpretentious and yet important, aspiring to nothing but a notation in passing. Things as they are, or what we make of them? In attempting to let objects be, objects and object spaces, to form simultaneously a neutral yet actively observational position, to combine ‘non-photographs’ as photographs. -
Milwaukee Art Museum – Restored. Reinstalled. Reimagined
Milwaukee Art Museum – Restored. Reinstalled. Reimagined. The Milwaukee Art Museum, the largest visual art institution in Wisconsin and one of the oldest art museums in the nation, will reopen its Collection Galleries to the public November 24. The reopening is the culmination of a 6-year, $34 million project to transform the visitor experience through dramatically enhanced exhibition and public spaces and bright, flowing galleries. “The new Milwaukee Art Museum is poised to set the standard for a twenty-first-century museum at the heart of a great city,” said Museum Director Daniel Keegan. “What began as a desire to preserve the space and Collection grew into a significant expansion that rejuvenates and sets the future course for the entire institution.” Lewis Wickes Hine American, 1874?1940 A Carolina Spinner 1908 Gelatin silver print 4 11/16 x 6 5/8 in. (11.91 x 16.83 cm) Milwaukee Art Museum, Gift of the Sheldon M. Barnett Family M1973.83 Photo by John R. Glembin Herzfeld Center for Photography and Media Arts Makes Milwaukee Hub for Growing Art Field As part of its November 24, 2015, grand reopening, the Milwaukee Art Museum will debut the new Herzfeld Center for Photography and Media Arts, a 10,000-square-foot space devoted to a global array of photography, film, video installation, and media art. Unparalleled in size and scope for the region, the Center will present the Museum’s rarely seen photography collection of 3,800 works, and will host exhibitions by world- renowned artists working in photography, film, video and digital media. -
Jan Feb Mar 2018
JAN FEB MAR 2018 FROM THE DIRECTOR A collaborative effort between Findley Elementary School students, their teacher Lisa Hesse, and artist Dave Eppley, whose major site-specific installation is included in the In late September, The Links, Drawing in Space exhibition, resulted in Mile-a-Minute Rainbow Incorporated, a not-for-profit corporation Ivy, 2017, being installed on the Richard Meier building during of African-American women leaders, held the month of November. their 60th anniversary celebration at the Art Center. The evening also showcased the many works by African-American artists in our permanent collections. It was an especially rewarding collaboration for everyone involved. The Links is now continuing this special partnership with a gift of $1,000 to support an education- based internship at the Art Center in 2018 for African-American students. The Art Center, like many museums across the country, is striving to introduce young persons of color to employment in the field in an attempt to increase their numbers in the museum career pipeline. This project will help do so. Another exciting partnership occurred in October with the Iowa Civil Rights Commission. The group held a board meeting at the Art Center where the members toured our recent exhibition, I, too, am America, with Assistant Curator Jared Ledesma. Later in October, the Iowa Civil Rights Commission organized a public symposium, which featured a break-out session entitled, I, too, am America, inspired by the show. This is a wonderful example of the power of art to inspire, illuminate understanding, and engage broad audiences. In early November, the Art Center celebrated the creation of a temporary, large-scale mural on the exterior of the Richard Meier building with a public reception. -
Speakers Differ on Iran's Nuclear Aims, Cite US
FORsooth Volume 19, No. 9 A publication of the Louisville Chapter of the Fellowship of Reconciliation www.louisville-for.org November 2008 Speakers differ on Iran’s nuclear aims, Unity fete, cite US coup in ’53 as conflict’s origin Elders are by George Morrison FORsooth editor re-set for Third Thursday Lunch speakers dis- agreed Oct. 16 about whether Iran is likely pursuing a nuclear bomb, but said U.S. past Nov. 22 and present aggressiveness against the Is- The date for the Kentucky Alliance lamic nation is the wrong approach to resolve Against Racist and Political Repression’s the conflict between Washington and Tehran. 11th Annual Unity Dinner has been changed The speakers were David Owen and to Saturday, Nov. 22, from the original Richard Humke — who traveled to Iran in date of Oct. 25. 2006 as part of a peace delegation — and The location and times are the same Allan Atherton of Louisville, who hasn’t and former U.S. Surgeon General Dr. Joycelyn Elders is still to deliver the key- note speech. The dinner will be at the See page two for story on — photo by Cathy Ford Masterson’s Conference Center, 1830 S. From left, David Owen, Terry Taylor, Allan Atherton and Richard Third St. in Louisville, just north of the FOR Iran-USA project University of Louisville campus. Humke, share their thoughts about Iran’s nuclear intentions, human Tickets cost $40 and are available at director Leila Zand’s talk. rights record and history of conflict with the U.S. at the Third the Carl Braden Memorial Center, 3802 Thursday Lunch Oct. -
The Museum of Modern Art
The Museum of Modern Art For Immediate Release January 1988 FACT SHEET TITLE GARRY WINOGRAND DATES May 15 - August 16, 1988 ORGANIZATION John Szarkowski, Director, Department of Photography, The Museum of Modern Art SPONSORSHIP The exhibition and its accompanying publication are part of the Springs Industries Series on the Art of Photography at The Museum of Modern Art and are generously supported by a grant from Springs Industries, Inc. Additional support for the exhibition has been provided for by the National Endowment for the Arts. CONTENT This retrospective of the photography of Garry Winogrand (1930-1984), perhaps the most influential photographer of his generation, is comprised of more than 200 photographs. The exhibition is presented in nine segments: Eisenhower Years; The Street; Women; The Zoo; On the Road; The Sixties, Etc.; The Fort Worth Fat Stock Show and Rodeo; Airport; and Unfinished Work. The last section shows a fragment of the work that was unedited at the time of his death. This work, which exceeded one-third of a million exposures, was developed posthumously, aided by a grant to the Museum from Springs Industries, Inc. The Museum first exhibited a substantial body of Winogrand's work in 1962 in FIVE UNRELATED PHOTOGRAPHERS. This was followed by the influential NEW DOCUMENTS (1967), with Lee Friedlander and Diane Arbus; THE ANIMALS (1969-70), his first one-man show; and PUBLIC RELATIONS (1977), which generated an exceptional range of critical opinion. The complexity of Winogrand's photographs and his disregard for conventional ideas of good design resulted 1n what looked to many like extraordinarily busy snapshots. -
William Gropper's
US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image. -
From the Museum to the Street: Garry Winogrand's Public Relations and the Actuality of Protest
arts Article From the Museum to the Street: Garry Winogrand’s Public Relations and the Actuality of Protest Simon Constantine Department of History of Art, University College London, London WC1E 6BT, UK; [email protected] Received: 12 March 2019; Accepted: 16 April 2019; Published: 3 May 2019 Abstract: Focusing on Garry Winogrand’s Public Relations (1977), this article explores the problematic encounter between street photography and protest during the Vietnam War era. In doing so, it considers the extent to which Winogrand’s engagement with protest altered the formalist discourse that had surrounded his practice and the ‘genre’ of street photography more broadly since the 1950s. It is suggested that, although Winogrand never abandoned his debt to this framework, the logic of protest also intensified its internal contradictions, prompting a new attitude towards the crowd, art institution, street and mass media. By exploring this shift, this article seeks to demonstrate that, while the various leftist critiques of Winogrand’s practice remain valid, Public Relations had certain affinities with the progressive artistic and political movements of the period. Keywords: street photography; Winogrand; formalism; protest; Vietnam War; documentary 1. Introduction In her 1981 essay, ‘In, Around and Afterthoughts (on Documentary Photography)’, Martha Rosler sought to reinvent documentary practice through a Marxist critique of its traditions, truth claims and political assumptions. However, in doing so, she also stressed the difference between this project and a second, reactionary attack upon photographic credibility; one conducted by a postwar art establishment, which sought to secure ‘the primacy of authorship’ and avoid the social by isolating images ‘within the gallery–museum–art–market nexus’ (Rosler 1992, p. -
Steidl WWP SS18.Pdf
Steidl Spring/Summer 2018 3 Index Contents Artists/Editors Titles Adams, Shelby Lee 63 1968 99 Paris Reconnaissance 113 3 Editorial 81 Orhan Pamuk Balkon Adams, Bryan 93 200 m 123 Paris, Novembre 95 4 Index 85 Christer Strömholm Lido Adolph, Jörg 14-15 42nd Street, 1979 61 Park/Sleep 49 5 Contents 87 Guido MocaficoLeopold & Rudolf Blaschka, The Bailey, David 103-109 8 Minutes 107 Partida 51 6 How to contact us Marine Invertebrates Baltz, Lewis 159 Abandoned Moments 133 Pictures that Mark Can Do 105 Press enquiries 89 Timm Rautert Germans in Uniform Bolofo, Koto 135-139 Abstrakt 75 Pilgrim 121 How to contact our imprint partners 91 Sory Sanlé Volta Photo Burkhard, Balthasar 71 Andreas Gursky 69 Poolscapes 131 93 Bryan Adams Homeless Callahan, Harry 151 Asia Highway 167 Printing 137 95 Sze Tsung, Nicolás Leong Paris, Novembre Clay, Langdon 61 B, drawings of abstract forms 25 Proving Ground 169 DISTRIBUTION 97 Shelley Niro Cole, Ernest 157 Bailey’s Democracy 104 Reconstruction. Shibuya, 2014–2017 19 99 Robert Lebeck 1968 7 Germany, Austria, Switzerland Collins, Hannah 149 Bailey’s East End 108 Regard 127 101 Andy Summers The Bones of Chuang Tzu 8 USA and Canada Davidson, Bruce 165 Bailey’s Naga Hills 109 Seeing the Unseen 153 103 David Bailey’s 80th Birthday 9 France Devlin, Lucinda 147 Balkon 81 Shelley Niro 97 104 David Bailey Bailey’s Democracy All other territories Dine, Jim 113 Ballet 145 Stories 5–7, Soweto—Dukathole—Johannesburg David Bailey Havana Edgerton, Harold 153 Balthasar Burkhard 71 129 105 David Bailey NY JS DB 62 11 Steidl Bookshops Eggleston, William 37-41 Binding 139 Structures of Dominion and Democracy 73 David Bailey Pictures that Mark Can Do 13 Book Awards 2017 Elgort, Arthur 145 Bones of Chuang Tzu, The 101 Synchrony and Diachrony, Photographs of the 106 David Bailey Is That So Kid Fougeron, Martine 119 Book of Life, The 63 J. -
Reflections in the Helmet Shield
Alec Soth's Archived Blog July 17, 2007 Reflections in the helmet shield Filed under: aesthetics,photo tech,quotes — alecsothblog @ 10:27 pm On the cover of this month’s Vanity Fair is a typical bland celebrity photograph. The only interesting element in the picture is the reflection in the helmet: I’m glad I didn’t have to take this picture. All of that equipment looks like a drag. In the current issue of PDN, Joseph Kudelka talks about making pictures. “For me photography is playing,” he says, “I go out and I play and I try to discover.” Later in the interview he tells this story of showing pictures to John Szarkowski. My sister lived in Canada. I was on my way to visit my sister because my mother had gotten permission to go there. I brought with me little prints that, when I traveled, I would show. I missed my plane and went over to Elliot Erwitt’s place. He said, “You are here, so why not show your pictures to this guy from the Museum of Modern Art who once published one of your photographs, John Szarkowski?” I went there and said I have some pictures that I was going to show my sister and mother so they could see the places I’ve been, and he looked through them and John said – this I’ll never forget – “I feel I’d like to go out and take pictures again. And I would like to make your show.” In Szarkowski’s 1979 book/exhibition, Mirrors and Windows, he divides photographic practice into two categories.