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University of Texas Press Fall 2016 & Spring 2017
fall 2016 & spring 2017 frankfurt university of texas press | Index by Title | contents About Antiquities, Books for the Trade ........................4–59 Çelik ............................. 112 Trade Backlist ......................... 13, 61–63 The American Idea of Home, Friedman .....................38–39 Books for Scholars......................64–123 Arresting Development, Award Winners...........................124–125 Pizzino............................96 Sales Information ........................... 126 At the Crossroads, Paquette ...................... 78–79 Sales Representatives ...................... 127 Batos, Bolilos, Pochos, and Pelados, Staff List................................. 128–129 Richardson & Pisani .............123 Index by Author..............................129 Becoming Belafonte, Smith .. 18–19 Blood of the Earth, Young . .84 Infrastructures of Race, Picturing the Proletariat, The Burden of the Ancients, Nemsey ...........................86 Christenson .......................73 Lear .............................. 81 Inka History in Knots, Cattle in the Backlands, The Portuguese-Speaking Diaspora, Wilcox ........................... .82 Urton . .94–95 Sadlier........................ 70–71 Chrissie Hynde, Sobsey.......54–55 Iowa, Rexroth.................34–37 Practicing Transnationalism, Lundy & Lundy..................116 Classics from Papyrus to the Internet, It Starts with Trouble, Hunt, Smith, Stok . .121 Davis.........................20–21 A Pure Solar World, Youngquist....................10 –11 Connecting with -
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. -
The Museum of Modern Art in Queens Presents Last Chance to View Ansel Adams Centennial Exhibition
THE MUSEUM OF MODERN ART IN QUEENS PRESENTS LAST CHANCE TO VIEW ANSEL ADAMS CENTENNIAL EXHIBITION Exhibition Presents Critical Re-evaluation of Adams as an Artist and Photographer Ansel Adams at 100 July 11—November 3, 2003 MoMA QNS, Long Island City, Queens NEW YORK, July 9, 2003—The Museum of Modern Art presents the final opportunity to see Ansel Adams at 100, on view from July 11 to November 3, 2003, at MoMA QNS, the last venue on the international tour. Although Adams’s work has been more widely exhibited than that of perhaps any artist in the twentieth century, his oeuvre has not been fundamentally re-evaluated since his death in 1984. This centenary exhibition presents an aesthetic reappraisal of Adams (1902–1984) as an artist and working photographer by bringing together 113 of his finest photographs, represented by exemplary prints drawn from important public and private collections. The exhibition was organized for the San Francisco Museum of Modern Art by guest curator John Szarkowski, Director Emeritus of MoMA’s Department of Photography. Ansel Adams at 100 has been organized with the cooperation of The Ansel Adams Publishing Rights Trust and the Adams family. The international tour is made possible by Hewlett-Packard. According to Mr. Szarkowski, “Ansel Adams was one of the great photographers of the twentieth century. He was also one of the best-loved spokesmen for the obligations we owe to the natural world. It has been easy to confuse the related but distinct achievements that earned him these twin honors. The subject of the exhibition and catalogue is Adams the artist.” Ansel Adams at 100 situates photographer’s iconic works, such as Mount Williamson, from Manzanar (c. -
RAY K. METZKER When Hands Weave the Light
LES DOUCHES LA GALERIE PRESS KIT RAY K. METZKER When hands weave the light EXHIBITION FROM MARCH 19 TO JULY 31, 2020 © Estate of Ray K. Metzker / Courtesy Les Douches la Galerie, Paris Les Douches la Galerie is pleased to present When hands weave the light, our second exhibition dedicated to the work of Ray K. Metzker. Composed of some fifty prints taken from various series, this exhibition highlights his sustained interest in experimentation. A virtuoso of light and absolute master of his prints, Metzker pushes the formal boundaries of the photographic medium as well as those of American urban space. These photographs, taken between 1957 and 1982, offer a unique visual journey through the streets of Chicago, Philadelphia, Atlantic City and several European cities. Les Douches la Galerie Contact : Françoise Morin Du mercredi au samedi 5, rue Legouvé 75010 Paris 01 78 94 03 00 de 14h à 19h lesdoucheslagalerie.com [email protected] ou sur rendez-vous When hands weave the light PRESS RELEASE In twenty-five years, Ray Metzker has produced more than a dozen series of photographs, each series radically different from the others. He has steadily sought new vision, asking, “Why does new vision matter? Do I need this? Does it increase my capacity to care? No, but it increases my capacity to think.”1 For Metzker, the struggle for new vision is an act against inertia and stillness and toward intensity and knowledge. (…) Each new series of photographs begins with a change in his preoccupations about photography or with a change in what – or where – he is photographing. -
BILL BRANDT Thames & Hudson
ART+PHOTOGRAPHY SPRING 2013 Shadow & Light BILL BRANDT Thames & Hudson www.state-media.com BOOK SPRING 2013 | 1 THE BEST OF BRANDT FROM THAMES & HUDSON NORMAN CORNISH A SHOT AGAINST TIME The storryy of Norman Cornish’s prodigious career as an arrttist who converrtted his experience as a miner into compelling imagerryy has become justly famous. Born in 1919, in Spennymoorr,, Co Durham, Norman Cornish was apprenticed at the age of 14 at the Dean and Chapter Collierryy (also known as the Butcher’s Shop), and spent the next 33 years working in various pits in the Norrtth East of England. Without diminishing the harsh Bill Brandt realities of life and work during those years, his paintings create a sense Shadow and Light of time and place by depicting the lyrical qualities of his surroundings in Sarah Hermanson Meister which time is defeated. Foreword by Glenn D. Lowry ‘Fantastic … well-written Long before the Angel of the Norrtth, Cornish’s work was loved and and interesting’ admired as a symbol of the Norrtth East. For all that the mines have closed, Amateur Photographer his work continues to be an enduring testament to a community whose ISBN 978 0 500 544242 £34.95 spirit surrvvives triumphantly. Brandt Nudes A New Perspective Preface by Lawrence Durrell Foreword by Mara-Helen Wood Commentaries by Mark Haworth-Booth Essays by William Feaververr,, William Varleyy,, Michael Chaplin and Dr Gail-Nina Anderson 140 of Bill Brandt’s classic and dramatic nudes, brought together Paperback, 160pp with 134 full colour illustrations in one beautiful -
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. -
Eddie Adams Workshop
Jim Colton, Editor at Large, ZUMA Press - I Deanne Fitzmaurice, Documentary Photographer - I Ruth Fremson, Photographer - I MaryAnne Golon, Director of Photography, The Washington Post - I David Griffin, President, D Griffin Studio - I Marco Grob, Photographer/Cinematographer - I Carol Guzy, Photographer - I, P MEDIA ARCHIVE Tom Kennedy, Visual Journalist and Photo Consultant - I Elizabeth Krist, Senior Photo Editor, National Geographic - I Sarah Leen, Director of Photography, National Geographic - I PhotoWings mission is to highlight and help facilitate the power of Chip Maury, Photographer - I photography to influence the world. We help photography to be John Moore, Staff Photographer, Getty Images - I better understood, created, utilized, seen, and saved. Stacy Pearsall, Photographer - I Tim Rasmussen, Director of Photography Digital and Print Media, ESPN - I In that endeavor, we have created hundreds of hours of ad- Howard Schatz, Photographer - I free original interviews, which have been edited in multiple Brad Smith, Director of Photography, ESPN - I ways for educational purposes. Enjoy and be inspired! Michael Williamson, Photojournalist - I, P John H. White, Photojournalist - I, P Daniella Zalcman, Documentary Photographer - I I = Interview P = Presentation A = Audio All media can be found on our website: Foundry photowings.org/videos Photojournalism Workshop Kael Alford, Photojournalist/Documentary, Thematic Compilations Photographer/Videographer - I, P Jodi Bieber, photographer - I, P The Power of Photography – Andrea Bruce, -
Reproduction in Lee Friedlander's Early Photobooks
Emily H. Cohen Arbus, Friedlander, Winogrand Spring 2014 Professor Slifkin “Beautiful to Open and Pleasurable to Leaf Through:”1 The Art and Craft of Reproduction in Lee Friedlander’s Early Photobooks In the 1970s, a photomechanical reproduction revolution was underway as printers, such as Richard Benson of the Meridan Gravure Company in Connecticut, were experimenting with methods to translate the tonal complexities of silver gelatin photographs into ink on paper. In doing so, they would further the role of photobooks as an important component of modern photography. Photographer Lee Friedlander had been shooting film since the 1950s, but it was not until the ‘70s that he became interested in putting his work into book format. For his first solo book project, Self Portrait, he was teamed up with Benson, and as a collaborative team they helped revolutionize offset lithographic printing for the world of photography. Friedlander has prolifically produced photobooks ever since, and his output raises questions about the nature of reproduction, the role of craft in the art of photographs in ink, and how the book format necessarily changes the viewing experience for photography. When photographs are brought together as a collection, they resonate with each other, providing additional information and meaning for each individual image; the whole is greater 1 Parr, 4. “The combination of remarkable images and good design in a book that is beautiful to open and pleasurable to leaf through is an ideal way of conveying a photographer’s ideas and statements.” Cohen, "2 than the sum of its parts. This notion, according to Peter Galassi in his essay for Friedlander’s 2004 monograph publication, is fundamental to modern photography: “Considered one by one, some of the pictures are inevitably better than others, but the sense of the whole depends upon the profusion of its parts.”2 To further the connection, photographs can be literally bound together as pages of a photobook; the physical connection makes the collective meaning paramount. -
Accepted Attitudes : Photography's Appearance in Janson's History Of
N ACCEPTED ATTITUDES: PHOTOGRAPHY'S APPEARANCE IN JANSON'S HISTORY OF ART .~ by Adam Shennan B.A. Political Science, Huron College, 2006 A thesis presented to Ryerson University in partial fulfillment for the degree of Masters in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2008 © Adam Sherman 2008 \ AUTHOR'S DE CLARA TION I hereby declare that I am the sole author of this thesis or dissertation. I , 1 i I I authorize Ryerson University to lend this thesis or dissertation to other institutions or i , I individuals for the purpose of scholarly research. I ! w I further authorize Ryerson University to reproduce this thesis or dissertation by I photocopying or by other means, in total or in part, at the request of other institutions or=- individuals for the purpose of scholarly research . III i .~. _. 1 iI; 1, I' I Ii II n l' ;1 ii II r I ! I: Ii .:. ii ./ ABSTRACT ACCEPTED ATTITUDES: PHOTOGRAPHY'S APPEARANCE IN JANSON'S HISTORY OF ART Masters in Photographic Preservation and Collections Management, 2008, Adam Sherman, Ryerson University Horst W. Janson's History ofArt - often known simply as Janson - has been considered the "bible" in the art history textbook market since it was first published in 1962. This thesis ~~nes how mstori.~aLand cOIlt~porary photo~~~~y_~,!s~ consider~ and discussed in the seven editions and three revised editions of History ofArt, published between 1962 and 2007. The thesis provides a description of the successive editions, discusses what changes and what remains constant, and the sketches the larger context in which these changes occurred. -
Spring 2009 Estelle Nabeyrat Has Dual Citizenship in France And
Spring 2009 Estelle Nabeyrat has dual citizenship in France and Germany. For some years, she has been working as an independent art critic and curator within the contemporary art scene, particularly in France, Germany and Austria. While at Dora Maar House, she worked on an exploratory text about a collection of historical works that can not be exhibited, “L’exposition qui ne peut pas avoir lieu.” Since her residency, Nabeyrat has been published in “Ethique et principe iconique” in L'art même, Belgium Art Review, and “La pensée de l’art aujourd’hui” in Hors Série Beaux-Arts Magazine. She is a regular contributor to the reviews 02, artline and n.paradoxa and she will be a curator in residence in Paris at the Palais de Tokyo in 2010-11. Two Months, February 2 – March 29, 2009 Born in Manchester, England, Jane South worked at as set designer in experimental theater before moving to the United States in 1989. She has had recent solo exhibitions at the Knoxville Museum of Art, TN, the Queens Museum, Bulova Center, NY, The Weatherspoon Art Museum, Greensboro, NC, Spencer Brownstone Gallery, NY and Susanne Vielmetter Los Angeles Projects. Site-specific installations include Mass MoCA, North Adams, MA, Nassauischer Kunstverein Wiesbaden, Germany and White Columns, NY. Jane South has been included in numerous exhibitions including those at The Drawing Center, NY, Williams College Museum of Art, Williamstown, MA, Albright-Knox Art Gallery, Buffalo, NY, Pennsylvania Academy of the Fine Arts, Philadelphia, PA and the Telfair Museum of Art, Savannah, GA. Her work was also included in “Burgeoning Geometries: Constructed Abstractions” at the Whitney Museum of American Art at Altria in 2007 and “SLASH: Paper Under the Knife” at MAD (Museum of Arts & Design), New York in 2009/2010. -
Annual Report 2014–2015 MFAH by the NUMBERS July 1, 2014–June 30, 2015
μ˙ The Museum of Fine Arts, Houston annual report 2014–2015 MFAH BY THE NUMBERS July 1, 2014–June 30, 2015 • 908,000 visits to the Museum, Bayou Bend Tuition Attendance Revenue $2.5 Other Collection and Gardens, Rienzi, and the $2.1 4% 3% $7.8 13% Glassell School of Art Membership Revenue $3.1 • 112,000 visitors and students reached 5% through learning and interpretation programs FY 2015 Operating Operating Revenues Endowment • 10,300 local college students received Fund-raising (million) Spending free access to the MFAH $13.7 $33.2 22% 53% • 41,000 schoolchildren and their chaperones received free tours of the MFAH • 98 citywide community partners collaborated Total Revenues: $62.4 million with the MFAH Exhibitions, Curatorial, • 1.8 million visits recorded at mfah.org and Collections $14.2 Auxiliary 23% Activities $3.5 • 134,000 people followed the MFAH on social media 6% Fund-raising $5.2 9% • 191,000+ online visitors accessed the Documents of 20th-Century Latin American FY 2015 Education, and Latino Art Website Operating Expenses Libraries, (million) and Visitor Engagment $11.1 • 71,490 visitors attended landmark exhibition 18% Monet and the Seine: Impressions of a River Management Buildings and Grounds and General $12.2 • and Security $14.9 27,780 household members supported 20% 24% the MFAH Total Expenses: $61.1 million • 1,000+ volunteers served the community • 630 permanent and temporary staff employed by the MFAH CONTENTS ANNUAL REPORT JULY 1, 2014–JUNE 30, 2015 The Museum of Fine Arts, Houston 4 Board of Trustees 5 Committee -
Narrative Section of a Successful Application
Narrative Section of a Successful Application The attached document contains the grant narrative of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the NEH Division of Preservation and Access application guidelines at http://www.neh.gov/grants/preservation/sustaining-cultural-heritage-collections for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Preservation and Access staff well before a grant deadline. Note: The attachment only contains the grant narrative, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Furnishing Sustainable Photography Storage Institution: San Francisco Museum of Modern Art Project Director: Jill Sterrett Grant Program: Sustaining Cultural Heritage Collections 1100 Pennsylvania Ave., N.W., Rm. 411, Washington, D.C. 20506 P 202.606.8570 F 202.606.8639 E [email protected] www.neh.gov San Francisco Museum of Modern Art Furnishing Sustainable Photography Storage Abstract The San Francisco Museum of Modern Art (SFMOMA) is dedicated to making the art of our time a vital and meaningful part of public life. Sustainable conservation of its collections is both a mission-critical activity and a priority in the institution’s strategic plan. SFMOMA respectfully requests a $350,000 NEH SCHC implementation grant as part of a $877,195 project to enhance the preservation of the museum’s photography collection with the purchase and installation of storage furniture for two new storage vaults, the Cold Storage Vault and the Study Center Storage Vault.