A Telephone Conversation with Mike Mandel
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Pressemappe American Photography
Exhibition Facts Duration 24 August – 28 November 2021 Virtual Opening 23. August 2021 | 6.30 PM | on Facebook-Live & YouTube Venue Bastion Hall Curator Walter Moser Co-Curator Anna Hanreich Works ca. 180 Catalogue Available for EUR EUR 29,90 (English & German) onsite at the Museum Shop as well as via www.albertina.at Contact Albertinaplatz 1 | 1010 Vienna T +43 (01) 534 83 0 [email protected] www.albertina.at Opening Hours Daily 10 am – 6 pm Press contact Daniel Benyes T +43 (01) 534 83 511 | M +43 (0)699 12178720 [email protected] Sarah Wulbrandt T +43 (01) 534 83 512 | M +43 (0)699 10981743 [email protected] 2 American Photography 24 August - 28 November 2021 The exhibition American Photography presents an overview of the development of US American photography between the 1930s and the 2000s. With works by 33 artists on display, it introduces the essential currents that once revolutionized the canon of classic motifs and photographic practices. The effects of this have reached far beyond the country’s borders to the present day. The main focus of the works is on offering a visual survey of the United States by depicting its people and their living environments. A microcosm frequently viewed through the lens of everyday occurrences permits us to draw conclusions about the prevalent political circumstances and social conditions in the United States, capturing the country and its inhabitants in their idiosyncrasies and contradictions. In several instances, artists having immigrated from Europe successfully perceived hitherto unknown aspects through their eyes as outsiders, thus providing new impulses. -
M. H< Fass Collection
3^'W)albua í^txm s -DLM j Ajglt£r £\¿&ns : P haiq^io-pVVb -fo r M. H< fass Collection s e r ie s ■+tvß- Panivi ^ecQoVvf A dyvuVi >~St \ ¿ x t ^ n ,1*135' l*fö ¿ o ? o o ? ' 0 °l SUB SERIES b o x _____ __ ïr=t FOLDER. .... .... A f Photographs for the Farm Security Administration, 1935-1938 A Catalog of Photographic Prints Available from the Farm Security Administration Collection in the Library of Congress Introduction by Jerald C. Maddox A DACAPO PAPERBACK Library of Congress Cataloging in Publication Data Da Capo Press. Walker Evans, photographs for the Farm Security Administration, 1935-1938. (A Da Capo paperback) 1. United States—Rural conditions—Pictorial works— Catalogs. 2. Photographs—Catalogs. I. Evans, Walker, 1903- II. Maddox, Jerald C. III. United States. Farm Security Administration. IV. United States. Library of Congress. V. Title. HN57.D22 1975 779'.9'3092630973 74-23992 ISBN 0-306-80008-X First Paperback Printing 1975 ISBN 0-306-80008-X Copyright © 1973 by Da Capo Press, Inc. All Rights Reserved The copyright on this volume does not apply individually to the photographs which are illustrated. These photographs, commissioned by the Farm Security Administra'ion, U.S. Department of Agriculture, are in the public domain and may be reproduced without permission. Published by Da Capo Press A Division of Plenum Publishing Corporation 227 West 17th Street, New York, N. Y. 10011 Manufactured in the United States of America Publisher’s Preface The Prints and Photographs Division of the Library of Congress is the greatest repository of visual material documenting the development of the American nation. -
Oral History Interview with Walker Evans, 1971 Oct. 13-Dec. 23
Oral history interview with Walker Evans, 1971 Oct. 13-Dec. 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 Walker Evans conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. The interview took place at the home of Walker Evans in Connecticut on October 13, 1971 and in his apartment in New York City on December 23, 1971. Interview PAUL CUMMINGS: It’s October 13, 1971 – Paul Cummings talking to Walker Evans at his home in Connecticut with all the beautiful trees and leaves around today. It’s gorgeous here. You were born in Kenilworth, Illinois – right? WALKER EVANS: Not at all. St. Louis. There’s a big difference. Though in St. Louis it was just babyhood, so really it amounts to the same thing. PAUL CUMMINGS: St. Louis, Missouri. WALKER EVANS: I think I must have been two years old when we left St. Louis; I was a baby and therefore knew nothing. PAUL CUMMINGS: You moved to Illinois. Do you know why your family moved at that point? WALKER EVANS: Sure. Business. There was an opening in an advertising agency called Lord & Thomas, a very famous one. I think Lasker was head of it. Business was just starting then, that is, advertising was just becoming an American profession I suppose you would call it. Anyway, it was very naïve and not at all corrupt the way it became later. -
University Microfilms International 300 N
THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS" Item Type text; Thesis-Reproduction (electronic) Authors Alexander, Stuart Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 11:13:03 Link to Item http://hdl.handle.net/10150/277059 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. -
Thomas Demand Roxana Marcoci, with a Short Story by Jeffrey Eugenides
Thomas Demand Roxana Marcoci, with a short story by Jeffrey Eugenides Author Marcoci, Roxana Date 2005 Publisher The Museum of Modern Art ISBN 0870700804 Exhibition URL www.moma.org/calendar/exhibitions/116 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art museumof modern art lIOJ^ArxxV^ 9 « Thomas Demand Thomas Demand Roxana Marcoci with a short story by Jeffrey Eugenides The Museum of Modern Art, New York Published in conjunction with the exhibition Thomas Demand, organized by Roxana Marcoci, Assistant Curator in the Department of Photography at The Museum of Modern Art, New York, March 4-May 30, 2005 The exhibition is supported by Ninah and Michael Lynne, and The International Council, The Contemporary Arts Council, and The Junior Associates of The Museum of Modern Art. This publication is made possible by Anna Marie and Robert F. Shapiro. Produced by the Department of Publications, The Museum of Modern Art, New York Edited by Joanne Greenspun Designed by Pascale Willi, xheight Production by Marc Sapir Printed and bound by Dr. Cantz'sche Druckerei, Ostfildern, Germany This book is typeset in Univers. The paper is 200 gsm Lumisilk. © 2005 The Museum of Modern Art, New York "Photographic Memory," © 2005 Jeffrey Eugenides Photographs by Thomas Demand, © 2005 Thomas Demand Copyright credits for certain illustrations are cited in the Photograph Credits, page 143. Library of Congress Control Number: 2004115561 ISBN: 0-87070-080-4 Published by The Museum of Modern Art, 11 West 53 Street, New York, New York 10019-5497 (www.moma.org) Distributed in the United States and Canada by D.A.P./Distributed Art Publishers, New York Distributed outside the United States and Canada by Thames & Hudson Ltd., London Front and back covers: Window (Fenster). -
Sobre La Dimensión Discursiva De La Fotografía En Los Sesenta.: Una
REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍA E-ISSN 2172-0150 Nº 18 (2019) Recibido 12-01-2018 / Aceptado 28-08-2018 Publicado 25/01/2019 Sobre la dimensión discursiva de la fotografía en los sesenta: una genealogía de la vertiente documental del arte de concepto About the discursive dimension of photography in the sixties: a genealogy of the documentary side of concept art Víctor Murillo Ligorred Universidad de Zaragoza, España [email protected] Resumen: El presente artículo analiza la incorporación de la fotografía como miembro de pleno derecho en el arte contemporáneo, a partir de la perspectiva que la sitúa en la vertiente documental y extremadamente banalizada de los territorios del arte de concepto. Para ello, en primer lugar, se aborda la fotografía en su realineamiento con lo cotidiano y lo anodino de autores como Ed Ruscha que sumergen a la fotografía en una nueva dimensión discursiva nunca antes planteada. Después, se analiza el discurso artístico de L. Sultan y M. Mandel donde, a través de una estética de extrañamiento, consiguen situar a la fotografía en el foco de la vertiente documental del arte de concepto. Para llegar al punto de cómo, desde las estrategias del amateurismo, la foto consigue forzar la mirada desde sus propias formas de aparecer, en una nueva imagen alejada de lo documental y asentada definitivamente en los territorios de lo artístico. Abstract: The present article analyzed the incorporation of photography as a full member in contemporary art, from the perspective that places it in the documentary aspect and extremely banalized of the concept art territories. -
Exegesis. Christopher Shawne Brown East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2008 Exegesis. Christopher Shawne Brown East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art Practice Commons, Fine Arts Commons, and the Photography Commons Recommended Citation Brown, Christopher Shawne, "Exegesis." (2008). Electronic Theses and Dissertations. Paper 1903. https://dc.etsu.edu/etd/1903 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. EXEGESIS A thesis presented to the faculty of the Department of Art & Design East Tennessee State University in partial fulfillment of the requirements for the degree Master of Fine Arts ________________________ by Christopher Shawne Brown May 2008 ___________________ Mike Smith, Committee Chair Dr. Scott Contreras-Koterbay Catherine Murray M. Wayne Dyer Keywords: photography, family album, color, influence, landscape, home, collector A B S TRACT Exegesis by Christopher Shawne Brown The photographer discusses the work in Exegesis, his Master of Fine Arts exhibition held at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee from October 29 through November 2, 2007. The exhibition consists of 19 large format color photographs representing and edited from a body of work that visually negotiates the photographer’s home in East Tennessee. The formulation of a web of influence is explored with a focus on artists who continue to pertain to Brown’s work formally and conceptually. -
Tender Land Study Guide
AARON COPLAND’S INSPIRING AMERICAN OPERA THE TENDER LAND FRIDAY OCTOBER 13TH 7:00 PM SUNDAY OCTOBER 15TH 3:00 PM WILLSON AUDITORIUM Celebrating 4 Seasons Tickets available at Intermountainopera.org or 406-587-2889 TABLE OF CONTENTS Intermountain Opera Bozeman ……………………………………………...3 The Tender Land Characters and Synopsis…….………………….….…5 The Composer and Librettist…………………………………………….6 The Tender Land Background and Inspiration……………..…………..9 Historical Context and Timeline…………………………………….….13 Further Exploration……………………………………………….…..…20 !2 Intermountain Opera Bozeman In 1978, Verity Bostick, a young singer and assistant professor of music at Montana State University at Bozeman, sparked the interest of a well-known New York opera producer, Anthony Stivanello, with her desire to form the first Montana-based opera company. For the inaugural performance of Verdi’s La Traviata in the Spring of 1979, Mr. Stivanello agreed to donate sets, costumes and his services to the production. Gallatin Valley had its own resident opera star, Pablo Elvira, who was persuaded to share his talents. A leading baritone with the Metropolitan Opera and New York City Opera, he sang Germont in La Traviata. A full-fledged professional opera company in Bozeman, MT was born! With names like Elvira and Stivanello appearing, Montana suddenly caught the interest of Eastern opera circles. The prestigious opera magazine, Opera News, assigned a reporter to cover the advent of the Intermountain Opera Association’s first year. During the second season, the Association produced The Barber of Seville, starring Pablo Elvira, and brought three stars from New York to sing leading roles. Anthony Stivanello again furnished sets and costumes and directed the production. -
TPG Exhibition List
Exhibition History 1971 - present The following list is a record of exhibitions held at The Photographers' Gallery, London since its opening in January 1971. Exhibitions and a selection of other activities and events organised by the Print Sales, the Education Department and the Digital Programme (including the Media Wall) are listed. Please note: The archive collection is continually being catalogued and new material is discovered. This list will be updated intermittently to reflect this. It is for this reason that some exhibitions have more detail than others. Exhibitions listed as archival may contain uncredited worKs and artists. With this in mind, please be aware of the following when using the list for research purposes: – Foyer exhibitions were usually mounted last minute, and therefore there are no complete records of these brief exhibitions, where records exist they have been included in this list – The Bookstall Gallery was a small space in the bookshop, it went on to become the Print Room, and is also listed as Print Room Sales – VideoSpin was a brief series of worKs by video artists exhibited in the bookshop beginning in December 1999 – Gaps in exhibitions coincide with building and development worKs – Where beginning and end dates are the same, the exact dates have yet to be confirmed as the information is not currently available For complete accuracy, information should be verified against primary source documents in the Archive at the Photographers' Gallery. For more information, please contact the Archive at [email protected] -
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. -
Fall 2021 Catalog Download
Fall 2021 Contents New Titles 5 Collector’s Editions 29 Toiletpaper 51 Backlist 57 Photography 58 Contemporary Art 70 Fashion & Lifestyle 72 Architecture & Design 74 Antiques & Collectibles 74 Distributors 76 Contacts & Press Office 78 New Titles 6 Photography Mike Mandel Zone Eleven Photographs by Ansel Adams Zone Eleven is a reference to Ansel Adams’ Zone System, a method to control exposure of the negative in order to obtain a full range of tonality in the photographic print from the deepest black of Zone 0 to the brightest highlight in Zone 10. Zone Eleven is a metaphor coined by artist Mike Mandel in his challenge to create a book of Adams’ photographs outside of the bounds of his personal work. Many of these photographs were found in the archives of his commercial and editorial assignments, and from his experimentation with the new Polaroid material of the times. For this book, Mandel has unearthed images that are unexpected for Adams, and created a new context of facing Text by Erin O'Toole page relationships, and sequence. Zone Eleven is the product 28 x 23 cm | 11 x 9 inches of Mike Mandel’s research of over 50,000 Adams images 112 pages, 83 b&w, hardbound located within four different archives to present a body of ISBN 978-88-6208-748-3 Fall 2021 Adams’ work that was unknown until now. $55 | €50 | £45 Mike Mandel is well known for his collaboration with Larry Sultan in the 1970s - 1990s. They published 'Evidence' in 1977, a collection of 59 photographs chosen from more than two million images that the artists viewed at the archives of government agencies and tech-oriented corporations.