Johnson, Reading and Re-Reading Ansel Adams
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Friedlander Dog's Best Friend PR March 2019
Andrew Smith Gallery Arizona, LLC. Masterpieces of Photography LEE FRIEDLANDER SHOW TITLE: Dog’s Best Friend Dates: April 27 - June 15, 2019 Artist’s Reception: DATE/TIME: Saturday April 27, 2019 2-4 p.m. “I think dogs are happy because people feed them fancy food, treat them nicely, pedicure and wash them, take them into their homes.” Lee Friedlander Andrew Smith Gallery, in its new location at 439 N. 6th Ave., Suite 179, Tucson, Arizona 85705, opens an exhibit by the eminent American photographer Lee Friedlander. The exhibit, Dog’s Best Friend, contains 18 prints of dogs and their owners, one of Friedlander’s ongoing “pet projects.” Lee and Maria Friedlander will attend the opening on Saturday, April 27, 2019 from 2 to 4 p.m., where the public is invited to visit with America’s most celebrated photographer and view “the dogs.” The exhibit continues through June 15, 2019. Lee Friedlander is one of America’s legendary photographers. Now in his eighties, he still photographs and makes his own prints in the darkroom as he has been doing for 60 years. In the 1950s he began documenting what he called “the American social landscape,” making pictures that showed how the camera sees reality (different from how the eye sees). In his layered compositions, what are normally understood to be separate objects; buildings, window displays, people, cars, etc., are perpetually interacting with reflective, opaque and transparent surfaces that distort, fragment and bring about surprising, often humorous conjunctions. Friedlander has been photographing virtually non-stop these many decades, expanding the vocabulary of such traditional artistic themes as family, nudes, gardens, trees, self-portraits, landscapes, cityscapes, laborers, artists, jazz musicians, cars, graffiti, statues, parks, advertising signs, and animals. -
Ansel Adams by Ross Loeser February 2010
Ansel Adams By Ross Loeser February 2010 Ansel Adams is one of the most fascinating people of the 20th Century… a photography pioneer whose art captured the imagination of millions of ordinary people. Most of the information in this paper is from his autobiography – written in the last five years of his life. I found the book a joy to read. Adams (1902-1984) was born in San Francisco and lived most of his life in that area. For his last 22 years he lived in Carmel Highlands. Some key formative events in his early life were: In 1916, when he was 14, he influenced his family to go on vacation in Yosemite after reading the book, In the Heart of the Sierras by J.M. Hutchens. During that trip, he received his first camera – a Kodak Box Brownie. He returned to Yosemite every year of his life thereafter.1 He was hired as a “darkroom monkey” by a neighbor who operated a photo finishing business in 1917, which enabled him to learn about making photographic prints. As he grew up, one major focus was music – the piano. “By 1923 I was a budding professional pianist…”2 On a bright spring Yosemite day in 1927, Adams made a photograph that was to “change my understanding of the medium.” The picture was of Half Dome, and titled “Monolith, The Face of Half Dome.” The full story is included later in this paper, but, in a nutshell, he captured how he felt about the scene, not how it actually appeared (e.g. -
Jacob Lawrence
Jacob Lawrence September 23, 2019 Left: Jacob Lawrence, Street Orator, 1936. Tempera on paper. Above: Jacob Lawrence (second from left) making block prints at the Harlem Art Workshop, 1933. Near right: Jacob Lawrence, The Life of Toussaint L’Ouverture #20: General Toussaint L’Ouverture, Statesman and military genius, esteemed by the Spaniards, feared by the English, dreaded by the French, hated by the planters, and reverenced by the Blacks, 1937. Tempera on paper. Far right: Jacob Lawrence, The Life of Frederick Douglass #31: An appointment to important and lucrative office under the United States Government usually brings its recipient a large measure of praise and congratulations on the one hand and much abuse and disparagement on the other. With these two conditions prevailing, Frederick Douglass was appointed by President Rutherford B. Hayes to be United States marshal of the District of Columbia, 1877, 1939. Casein tempera on hardboard. Clockwise from lower left: Jacob Lawrence, Migration Series #16: Although the Negro was used to lynching, he found this an opportune time for him to leave where one had occurred, 1941. Casein tempera on hardboard. Photo of Jacob Lawrence at work on the Migration Series, 1941. Right: Jacob Lawrence, Migration Series #58: In the North the Negro had better educational facilities, 1941. Casein tempera on hardboard. Jacob Lawrence, Pool Parlor, 1942. Gouache & watercolor on paper. Jacob Lawrence, Tis is Harlem, 1943. Gouache on paper. Jacob Lawrence, Going Home, 1946. Gouache on paper, 22” x 30 ¼”. Jules and Connie Kay. Jacob Lawrence, The Lovers, 1946. Gouache on paper. Photograph of Black Mountain College’s Summer Arts Institute faculty, 1946: (from left to right) Leo Amino, Jacob Lawrence, Leo Lionni, Ted Dreier, Nora Lionni, Beaumont Newhall, Gwendolyn Lawrence, Ise Gropius, Jean Varda (in tree), Nancy Newhall (sitting at base of tree), Walter Gropius, Mary “Molly” Gregory, Josef Albers, & Anni Albers. -
Black Mountain Research
Black Mountain Research ein Buchprojekt von Annette Jael Lehmann unter Mitarbeit von Verena Kittel und Anna-Lena Werner / a book project by Annette Jael Lehmann with the assistance of Verena Kittel and Anna-Lena Werner introduction Annette Jael Lehmann and Anna-Lena Werner The practice-based research project Black they unite theoretical and curatorial endeavors tions outside North America. At the threshold of eventually successful and became a worldwide Mountain Research was a collaborative project into – well…what exactly? In other words: How art and pedagogy, liberal and pioneering in their architectural model only a few decades later. by Freie Universität Berlin and Hamburger could students, scholars, curators and artists curriculum, the educational institution revolu- Trial and error or even failure became at times Bahnhof – Museum für Gegenwart – Berlin cooperate within one project? As a small team tionized models of academic teaching and lear- liberating forces at the college, opposing a pre- (2013-2015) that was developed along the muse- based at the Institute for Theater Studies at ning and fostered crucial strategies to contribute determined path towards knowledge, actions um exhibition ‘Black Mountain. An Interdiscip- Freie Universität Berlin – namely Verena Kittel, to a development that could now be described or results. The necessity of making mistakes, as linary Experiment 1933 – 1957’ (from 05.06. to Annette Jael Lehmann, and Anna-Lena Werner as practice-based research. Having an extensive Buckminster Fuller has prominently -
He Museum of Modern Art No
he Museum of Modern Art No. 2? West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart March 1965 NEW EDWARD f. LICHEN PHOTOGRAPH* CENTER AT THE MUSEUM OF MODERN ART May 196^ Opening When the Edward Jf. Steichen Photography Center at The Museum of Modern Art opened in May 196^, photography assumed increased prominence in the Museum's program. The Mueeum initially exhibited photographs in 1952, three years after the insti tution was founded,and began to acquire them for the Collection in 1953. *n 19^0> *c became the first art museum to establish a curatorial department devoted exclusively to this medium. But it is only now with the addition of the new Photography Center that the Department has permanent exhibition space and accessible study-storage so that its outstanding collection of photographs can be consulted and viewed as a back ground to the program of temporary loan shows. Describing the role of the Museum in this medium, John Szarkowski, Director of the Department since 1962 says: "The...photography program of The Museum of Modern Art is as unpredictable as the outcome of the searches and experiments of a thousand serious photographers. The Museum will try to remain alertly responsive to these searches, and to seek out and publish that work which makes a relevant human state ment with the intensity that identifies a work of art." The Photography Collection, unique in the world, consists of about 7,000 prints ty 1,000 photographers, ranging from the 18^'s to the present, with emphasis on 20th century work. -
Oral History Interview with Beaumont Newhall, 1965 Jan. 23
Oral history interview with Beaumont Newhall, 1965 Jan. 23 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Beaumont Newhall on January 23, 1965. The interview was conducted at the George Eastman House in Rochester, New York by Joseph Trovato for the Archives of American Art, Smithsonian Institution. Interview JOSEPH TROVATO: This interview with Mr. Beaumont Newhall is taking place at George Eastman House, Rochester, New York, January 23, 1965. Mr. Newhall, your name has been associated with the best in the field of photography for many years, or just about as long as I can remember, from the early days of the Museum of Modern Art, your writings on photography, such as The History of Photography, which has gone through several editions, I think, and on through to your present directorship here at Eastman House. How long have you held your present post here? BEAUMONT NEWHALL: Actually my present post as director I assumed the first of Sept. 1958. Previous to that I held the title of curator and worked as the associate and assistant to the first director, General Oscar N. Solbert. I came to Rochester for the specific purpose of setting up Eastman House as a museum, bringing to it my knowledge of museum practice, as well as photography. We opened as a museum to the public on the 7th of November, 1949. JOSEPH TROVATO: Well I was about to ask you in addition to my question regarding your career and while we’re on the subject of your career – I think you have already begun to touch upon – we would like to have you give us a sort of resume of your background, education, various positions that you have held, and so forth. -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. -
The Curriculum
Intergenerational Digital Photography Workshop Curriculum About this Curriculum With funding from The Brookdale Foundation, Generations United worked with professional photographer, Annie Levy to pilot the intergenerational photography workshop during the summer of 2007 with two organizations in New York – the Carter Burden Center for the Aging and DOROT. This curriculum is based on the lessons learned from the two pilot projects. About Generations United Generations United (GU) is the national membership organization focused solely on improving the lives of children, youth, and older people through intergenerational strategies, programs, and public policies. GU represents more than 100 national, state, and local organization and individuals. Since 1986, GU has served as a resource for educating policymakers and the public about the economic, social, and personal imperatives of intergenerational cooperation. GU acts as a catalyst for stimulating collaboration between aging, children, and youth organizations providing a forum to explore areas of common ground while celebration the richness of each generations. For more information, visit www.gu.org. About Annie Levy Annie Levy is a photographer and creative director who documents, and brings to life, the experience and stories of ordinary people through the art of portraiture in its variety of forms – image/text, exhibit/installation, presentation/performance. With a special focus on the lives of older and young people, she is committed to creating works for both innovative and traditional venues that inspire, educate and influence public opinion and perception. Examples of Ms. Levy’s work have been featured at the United Nations and The Frick Collection for their “Art of Observation” program. -
The Museum of Modern Art Dedicates Erna and Victor Hasselblad Photography Study Center
)** The Museum of Modern Art For Immediate Release THE MUSEUM OF MODERN ART DEDICATES ERNA AND VICTOR HASSELBLAD PHOTOGRAPHY STUDY CENTER October 21, 1985, New York King Carl XVI Gustaf of Sweden, Officers of the Museum and of the Erna and Victor Hasselblad Foundation, and members of the Museum's Trustee Committee for Photography today were among the guests at the formal dedication of the Erna and Victor Hasselblad Photography Study Center. "Today...is an important day for Sweden and for the Hasselblad Foundation," said Alf Akerman, chairman of the Board of the Hasselblad Foundation. "A new channel has been formed for contacts and a cultural gate has been opened which we hope will be of importance for further development of good relations between our countries." William S. Paley, chairman of the Board of Trustees, The Museum of Modern Art, stated, "We are both grateful and proud that the Hasselblad Foundation has made this extraordinary gift. We are grateful for what it enables our Study Center to do. We are proud of the international recognition it represents. And we are also proud that our Study Center now bears so distinguished a name." Although the Department of Photography has maintained a study center since 1964, its greatly expanded new facility is named in honor of the Hasselblads, as a gesture of gratitude to the Foundation that bears their names. An unprecedented gift from the Foundation will enable the Department of Photography to sustain and expand its capacity for sharing its rare resources and research materials with the larger photography community. John Szarkowski, director of the Department of Photography, has described this community as "an international audience, transcending national or regional perspectives." Since the Department of Photography first made its collection, library, and supporting archives available to the public for study, it has devoted an increasing amount of thought and attention to its study center. -
Historic Photogs Presentation 4.Key
& Weegee (Arthur Fellig) A photographer and photojournalist, known for his stark black and white street photography. Weegee worked in Manhattan, New York City's Lower East Side as a press photographer during the 1930s and '40s, and he developed his signature style by following the city's emergency services and documenting their activity. Weegee (Arthur Fellig) Gary Winogrand Gary Winograd was a street photographer from the Bronx, New York, known for his portrayal of American life, and its social issues, in the mid-20th century. Though he photographed in Los Angeles and elsewhere, Winogrand was essentially a New York photographer Gary Winogrand Gordon Parks Parks, born in 1912, was the first African-American photographer hired at Life and Vogue magazines. Focusing on race relations, civil rights, poverty and urban life, his body of work documented controversial aspects of American culture from the early 1940s until his death in 2006. He was a self- taught artist who purchased his first camera at the age of 25. Ansel Adams American photographer and environmentalist. His black-and-white landscape photographs of the American West, especially Yosemite National Park Ansel Adams Manuel Álvarez Bravo Often cited as Mexico's most celebrated fine art photographer, Manuel Álvarez Bravo, whose life almost spanned the entire 20th century, relentlessly captured the history of the country's evolving social and geopolitical atmosphere. His early work was based on European influences, but he was soon influenced by the Mexican muralism movement and the general cultural and political push at the time to redefine Mexican identity. Lola Álvarez Bravo Lola Álvarez Bravo was one of Mexico’s most important photographers. -
Ansel Adams in the Human and Natural Environments of Yosemite
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Journal of the National Collegiate Honors Council --Online Archive National Collegiate Honors Council Spring 2005 Seeing Nature: Ansel Adams in the Human and Natural Environments of Yosemite Megan McWenie University of Arizona, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/nchcjournal Part of the Higher Education Administration Commons McWenie, Megan, "Seeing Nature: Ansel Adams in the Human and Natural Environments of Yosemite" (2005). Journal of the National Collegiate Honors Council --Online Archive. 161. https://digitalcommons.unl.edu/nchcjournal/161 This Article is brought to you for free and open access by the National Collegiate Honors Council at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Journal of the National Collegiate Honors Council --Online Archive by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Portz-Prize-Winning Essay, 2004 55 SPRING/SUMMER 2005 56 JOURNAL OF THE NATIONAL COLLEGIATE HONORS COUNCIL MEGAN MCWENIE Portz Prize-Winning Essay, 2004 Seeing Nature: Ansel Adams in the Human and Natural Environments of Yosemite MEGAN MCWENIE UNIVERSITY OF ARIZONA allace Stegner once hailed the legacy of Ansel Adams as bringing photography Wto the world of art as a unique “way of seeing.”1 What Adams saw through the lens of his camera, and what audiences see when looking at one of his photographs, does indeed constitute a particular way of seeing the world, a vision that is almost always connected to the natural environment. An Ansel Adams photograph evokes more than an aesthetic response to his work—it also stirs reflections about his involvement in the natural world that was so often his subject. -
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.