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Photographs from the Polaroid Collection New York | 21 Jun 2010, 5:00 PM, 22 Jun 2010, 10:00 AM & 2:00 PM & 5:00 PM | N08649
Photographs from the Polaroid Collection New York | 21 Jun 2010, 5:00 PM, 22 Jun 2010, 10:00 AM & 2:00 PM & 5:00 PM | N08649 LOT 111 LAURIE SIMMONS B. 1949 TREE WITH CLOTHES ORNAMENTS DIPTYCH, FROM THE EDUCATION PROJECT a diptych of unique large-format Polaroid Polacolor prints, each signed and dated in ink in the margin, framed together, 1992 Each approximately 24¼ by 20¾ in. (61.6 by 52.7 cm.) ESTIMATE 5,000 - 7,000 USD LITERATURE Carole Kismaric, ed., Art Works: Teenagers and Artists Collaborate on the Polaroid 20" x 24" Camera (The Education Project, 1993), pp. 34-5 (likely these prints) CATALOGUE NOTE In the early 1990s, Janeil Engelstad, director of Public Programs and Development for The Education Project, conceived of Art Works, a not-for-profit program that would pair at-risk teenagers from New York who showed an interest in photography with professional photographers. Funded in part by the Polaroid Corporation, Art Works engaged its young participants with the use of the large-format Polaroid camera in efforts to promote learning and self-expression. Among others, participating artists included Chuck Close, Andres Serrano, and William Wegman. The photographs offered here, and in Lots 170 and 224, come from these student-artist collaborations. Photographs from the Polaroid Collection New York | 21 Jun 2010, 5:00 PM, 22 Jun 2010, 10:00 AM & 2:00 PM & 5:00 PM | N08649 LOT 122 LES KRIMS B. 1943 SELECTED IMAGES 2 unique manipulated Polaroid SX-70 prints, comprising Chicken Pisher Pitcher Picture and Nude with Watermelon Slices, each mounted, signed and dated in pencil and the first with the photographer's 'FICTCRYPTOKRIMSOGRAPH' stamp and each with date stamps in red ink in the margin, the mounts with credit and number stamps, 1974 (2) 3 1/8 by 3 in. -
Press Release Press Release Press Release
PRESS RELEASE PRESS RELEASE PRESS RELEASE W ALTER C HAPPELL: I NTO T HE L IGHT AUGUST 20TH – S EPTEMBER 25TH, 2021 Chappell’s photographs are maps to inaccessible places within the being of man. - Dr. Shems Friedland The poet Charles Olson said, “Art is the only true twin life has.” Walter’s art and life were indistinguishable and he lived the one as he practiced the other. And vice versa. – Robert Creeley Walter Chappell's (1925 - 2000) provocative photographs of the human body, landscapes, and his Metaflora photographs of the auras of plants, are imbued with light from within that radiates and pulses with spiritual energy. 369 Montezuma Avenue, #345 • Santa Fe, NM 87501 505-988-5116 www.photographydealers.com • [email protected] We opened our gallery in 1980 in the living room of a small house in the Historic Guadalupe Barrio in Santa Fe. The 1000 square foot house had a main bedroom that served as our darkroom, and a living room, which was the gallery. The Guadalupe Barrio was a wonderful mixture of old Santa Fe and young Santa Fe – with many artists finding the neighborhood welcoming them. Paul Caponigro lived on the corner; a few years later, Walter Chappell moved next door. Getting to know both of them was a gift and life- changing. There was never a time that we spent with Walter that we didn’t learn something significant about life, nor was there a time spent with Paul that we didn’t learn about seeing. And, through both of them, we gained insights into their teacher, Minor White. -
Henry Holmes Smith Papers
HENRY HOLMES SMITH PAPERS Compiled by Charles Lamb and Mary Ellen McGoldrick GUIDE SERIES NUMBER EIGHT CENTER FOR CREATIVE PHOTOGRAPHY UNIVERSITY OF ARIZONA Center for Creative Photography University of Arizona Copyright© 1983 Arizona Board of Regents This guide was produced with the assistance of the National Endowment for the Arts, a federal agency. Contents The Critic's Tale: A Commentary on Henry Holmes 5 PrefureSmith's Writings on Photography, by Susan E. Cohen 7 Introduction to the Henry Holmes Smith Papers 17 Correspondence, 1929- 80 18 Writings by Henry Holmes Smith, 1925- 82 20 Nonfiction 20 Fiction 22 Miscellaneous 23 Education, 1930s- 70s 24 Courses Taught by Smith 24 New Bauhaus School and Institute of Design 24 Courses Taken by Smith 24 Lectures, Conferences, and Workshops 24 Administrative Records (Indiana University) 25 Exhibitions, 1929- 83 26 One-Man Exhibitions of Smith's Work 26 Group Exhibitions that Included Smith's Work 26 Miscellaneous Exhibitions (Not Including Smith's Work) 28 Photographic Organizations 29 Photographer's Exhibition Service, 1959- 63 29 Professional Associations, 1947 - 81 29 Other Material 30 Personal and Financial Records, 1950s- 70s 30 Reference Files, 1940s- 70s 30 Audio Visual Material, 1950s- 80 30 Related Resources 31 Prints 31 Videotape Library 31 Henry Holmes Smith: A Biographical Essay, by Howard Bossen 32 Henry Holmes Smith Bibliography, by Howard Bossen 37 Published Works by Henry Holmes Smith 37 Writings About Henry Holmes Smith 39 Preface The Guide Series is designed to inform scholars and students of the history of photography about the larger photograph, manuscript, and negative collections at the Center for Creative Photography. -
Contemporaries Art Gallery Records
Contemporaries Art Gallery Records LUCILE R. HORSLEY, OWNER-DIRECTOR New Mexico Museum of Art Library and Archives Extent : 3 linear feet Dates : 1962-1967 Language : English Related Materials Many of the artists named in this collection exhibited at this museum. For information about these exhibitions consult the museum's exhibition files and/or catalogs. The museum library also contains separate biographical files for the artists mentioned in this collection. Revised 04/07/2016 Contents Section I - Financial Records Section II - Artists and Visitors Log A. Licenses and Artists' Resumes B. Register of Visitors Section III - Scrapbooks Section IV - Artists and Correspondence Preliminary Comments Artists, Sculptors, and Photographers Section V - Exhibition Flyers Section VI - Gallery Correspondence and Interview A. Correspondence B. The Interview C. Miscellaneous Material Section VII - Photographs - Art and Artists Section VIII- Record Book of Lucile R. Horsley Contemporaries Gallery Page 2 Revised 04/07/2016 Preliminary Statement Lucile R. Horsley (herein LRH), an artist in her own right, organized and opened the Contemporaries Gallery (herein Gallery) in Santa Fe, New Mexico at 418 ½ College Street [now 414 Old Santa Fe Trail] on April 7, 1962. It was one of the first sites for contemporary art showings in the city. She operated it as a "semi-cooperative center" (her words) in which 25 of the finest and most vital painters, sculptors, and photographers of New Mexico could exhibit their work at the same time. By her own admission it was a "pioneering venture." Those who agreed to make monthly payments of LHR's established "fee" schedule were called "Participating Artists." The Gallery remained open for some two and one-half years. -
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. -
Finding Aid for the Arnold Gassan Collection
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 Arnold Gassan Archive, 1945 - 1989 AG 58 Finding aid updated by Paloma Phelps, 2017 AG 58: Arnold Gassan Archive - page 2 Arnold Gassan Archive, 1945 - 1989 AG 58 Creator Gassan, Arnold Abstract Papers, 1945 - 1989, of Arnold Gassan (1930 - 2001), photographer. Correspondents include Minor White, Walter Chappell, Syl Labrot, Ansel Adams, and Ralph Eugene Meatyard. Of interest are a transcription of a journal kept by Gassan during his participation in Adams’ Yosemite workshop in June 1959, a mimeographed review of notes from lectures given by Adams at the Museum of Modern Art (New York), in 1945, an author’s manuscript for a revised edition of A Chronology of Photography, and the working notes for an article in Aperture (1955) by Minor White and Walter Chappell. Quantity/ Extent 4 linear feet Language of Materials English Biographical/ Historical Note Arnold Gassan (1930-2001) was an American photographer, author, and psychologist. Notable photographic books written by Gassan include of A Chronology of Photography (1972) and Exploring Black and White Photography (1989). Gassan became a licensed psychologist in Arizona in 1991. Scope and Content Note The first series, Correspondence, includes correspondence with notable artists such as Ansel Adams, Minor White, and others, along with correspondence with Center for Creative Photography staff. A selected index is included in the container list. Series two, Activity Files, includes several articles written by notable American photographers, transcribed notes and interview, Ansel Adams lecture notes and Yosemite workshop journal, portfolio announcement, exhibition slides, and two Many materials are missing dates. -
Chronology of the Department of Photography
f^ The Museum otI nModer n Art May 196k 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart CHRONOLOGY OF THE DEPARTMENT OF PHOTOGRAPHY The Department of Photography was established in lQl+0 to function as a focal center where the esthetic problems of photography can be evaluated, where the artist who has chosen the camera as his medium can find guidance by example and encouragement and where the vast amateur public can study both the classics and the most recent and significant developments of photography. 1929 Wi® Museum of Modern Art founded 1952 Photography first exhibited in MURALS BY AMERICAN PAINTERS AND PHOTOGRAPHERS; mural of George Washington Bridge by Edward Steichen included. Accompany ing catalog edited by Julian Levy. 1953 First photographs acquired for Collection WALKER EVANS: PHOTOGRAPHS OF 19th CENTURY HOUSES - first one-man photogra phy show. 1937 First survey exhibition and catalog PHOTOGRAPHY: I839-I937, by Beaumont NewhalU 1958 WALKER EVANS: AMERICAN PHOTOGRAPHS. Accompanying publication has intro duction by Lincoln Firstein. Photography: A Short Critical History by Beaumont Newhall published (reprint of 1937 publication). Sixty photographs sent to the Musee du Jeu de Paume, Paris, as part of exhibition TE.3E CENTURIES OF AMERICAN ART organized and selected by The Museum of Modern Art. 1939 Museum opens building at 11 West 53rd Street. Section of Art in Our Tims (10th Anniversary Exhibition) is devoted to SEVEN AMERICAN PHOTOGRAPHERS. Photographs included in an exhibition of paintings and drawings of Charles Sheeler and in accompanying catalog. 19^0 Department of Photography is established with David McAlpin, Trustee Chairman, Beaumont Newhall, Curator. -
Harry Callahan: Retrospective Free
FREE HARRY CALLAHAN: RETROSPECTIVE PDF Harry Callahan | 300 pages | 02 Jul 2013 | Kehrer Verlag | 9783868283587 | English, German | Heidelberg, Germany Harry Callahan (photographer) - Wikipedia Harry Callahan American, October 12, —March 15, is known for his work in photography. He was born in Detroit, MI. He Harry Callahan: Retrospective for Chrysler in his youth but left the company to attend Michigan State University to study engineering. Eventually, he dropped out of college Harry Callahan: Retrospective returned to work at Chrysler. Upon his return, he joined the company's camera Harry Callahan: Retrospective, and, byCallahan had begun teaching himself photography. During this time, he became Harry Callahan: Retrospective with another future photographer, Todd Webb American, — Callahan met his wife on a blind date inwhen they were both Chrysler employees, and the two married three years later. His method of photography was very technical and precise; every day, he woke up and walked Harry Callahan: Retrospective city where he lived to take photographs. In the afternoons, he would look over his negatives and choose the best ones to make print proofs. Callahan once estimated that he produced no more than a half dozen finished images each year. He often photographed his wife and daughter, buildings, and streets. His photos showed a strong sense of darkness and light, along with lines and forms. Callahan Harry Callahan: Retrospective experimented with multiple exposures and saw photography as deeply personal. His wife, in particular, held great significance in his work. She was his major subject for a period of 15 years. Callahan gave his photographs simple titles, such as Eleanor, New York, and Chicago. -
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] -
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. -
[Title, Inclusive Dates]
Grace M. Mayer papers, 1891-1960 (bulk 1932-1958), 48 boxes (21 linear feet) Museum of the City of New York 1220 Fifth Avenue New York, NY 10029 Telephone: 212-534-1672 Fax: 212-423-0758 [email protected] www.mcny.org © Museum of the City of New York. All rights reserved. Processed by Celia Hartmann, 2009; with additions in 2010. Finding aid reformatted by Lindsay Turley, March 2013. Description is in English Descriptive Summary Creator: Grace M. Mayer (1901 - 1996) Dates: 1891-1960 (bulk 1932-1958) Abstract: The Grace Mayer Files include day-to-day external incoming and outgoing correspondence related to researching, acquiring, preserving, exhibiting, and publicizing images of New York while she served as Curator of the Department of Prints, Drawings, and Photography at the Museum of the City of New York; her files documenting exhibitions she organized at the Museum and as loans to other institutions; and documentation of the acquisition, appraisal, preservation, exhibition, research, and publicity of the Harry T. Peters and Gerald LeVino collections of Currier & Ives images at the Museum. Extent: 48 boxes (21 linear feet) Accession numbers: not applicable; institutional archives Language: English Biographical Note Grace M. Mayer was born in New York City in 1901, where she was educated privately and at Columbia University. After working briefly for a physician affiliated with Mt. Sinai Hospital, she began her career at the Museum of the City of New York as a volunteer in 1930. She quickly succeeded Robert Sinclair as Curator of Prints, and headed the renamed Department of Prints, Drawings, and Photography until 1958. -
Downloaded by [New York University] at 05:47 09 August 2016 20TH CENTURY PHOTOGRAPHERS
Downloaded by [New York University] at 05:47 09 August 2016 20TH CENTURY PHOTOGRAPHERS This book is a compilation of interviews and essays that cover a broad range of photographers and photographic disciplines. Each photographer profi led made a living by concentrating on a specifi c aspect of the craft, but in doing so transcended their livelihood to become recognized for more than the type of images they cre- ated. Each had a distinct “style,” creative approach, dedication to the craft, and point of view about themselves and the world. These interviews were conducted during a seminal period in the shift from fi lm to digital and from print reproduction to global distribution on the Internet. Just as their photographs continue to inspire today, now these pros’ words can live on as an invaluable reference for the photographers of the future. The truth and wisdom in this collection transcend time and technology. • Features interviews with notable photographers including: Mary Ellen Mark, Carl Mydans, O. Winston Link, and Arnold Newman. • Covers a wide array of photographic fi elds such as photojournalism, fi ne art, and fashion. George Schaub (Editor) is the editor at large at Shutterbug magazine. He has writ- Downloaded by [New York University] at 05:47 09 August 2016 ten more than 20 books on photography and is an associate professor at the Parsons School of Design in New York City. Grace Schaub (Author/Interviewer) was a photographer, artist, and writer who, throughout the latter part of the twentieth century, interviewed many of the most infl uential photographers of the time for various magazines including Photo Pro, Pho- tographer’s Forum, Camera Arts, and View Camera magazine.