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Checklist of Anniversary Acquisitions
Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1. -
© 2016 Mary Kate Scott ALL RIGHTS RESERVED
© 2016 Mary Kate Scott ALL RIGHTS RESERVED THE PHOTOGRAPHY OF ABSENCE: DEATH IN POSTMODERN AMERICA By MARY KATE SCOTT A dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Andrés Zervigón And approved by ________________________________________ ________________________________________ ________________________________________ ________________________________________ New Brunswick, New Jersey January 2016 ABSTRACT OF THE DISSERTATION The Photography of Absence: Death in Postmodern America By MARY KATE SCOTT Dissertation Director: Dr. Andrés Zervigón It is a paradox that postmodern photographic theory—so thoroughly obsessed with death—rarely addresses intimate scenes of explicit death or mortality. Rather, it applies these themes to photographs of living subjects or empty spaces, laying upon each image a blanket of pain, loss, or critical dissatisfaction. Postmodern theorists such as Rosalind Krauss and Geoffrey Batchen root their work in the writings of Roland Barthes, which privilege a photograph’s viewer over its subject or maker. To Barthes’ followers in the 1980s and 1990s, the experiences depicted within the photograph were not as important as our own relationships with it, in the present. The photographers of the Pictures Generation produced groundbreaking imagery that encouraged the viewer to question authority, and even originality itself. Little was said, though, about intimacy, beauty, the actual fact of death, or the author’s individual experience. However, a significant group of American art photographers at the end of the twentieth century began making works directly featuring their own personal experiences with mortality. -
Polish Photomontage Jaromir Funke Paul Outerbridge
Polish Photomontage Jaromir Funke Paul Outerbridge photograph by Jaromir Funke, 1932 Galerie Schurmarm & Kicken January 1978 Editor and Publisher Colin Osman Co-Editor Peter Turner Number 163 Advertising & Production Rick Osman Book Department Terry Rossiter Subscriptions Howard Lerner Circulation Dave Osman Contents The Churchill Outrage With the death of the widow of Sir Winston Churchill it has been revealed that she Views/forum 4 ordered her servants to destroy the highly-controversial portrait of him painted by the famous artist, Graham Sutherland. It had been common knowledge that both she and Sir Photomontage in Poland Winston disliked the picture intensely but this was the first time its fate was known. Urszula Czartoryska 6 Graham Sutherland's comments on this do not really show him to be moved with great indignation but it is important that someone should protest at what is, in fact, an outrage. The photograph and Some years ago, when doing a survey of the use of cameras in various museums I was the museum 12 amused to discover that even some of our most respected institutions had learned the hard way that when you purchase a painting you do not purchase the copyright or any Jaromir Funke— right to reproduce it. This fact of life is much better known among photographers and the sentimental reminiscences purchasers of photographs but it should be remembered basically that at all times the Anna Farova 14 purpose of copyright was to protect the original author, the photographer or the artist. It is only through commercial exigency that it has been expanded so as to include agents, Jaromir Funke 15 employers etc. -
Self-Portrait: the Photographer's Persona 1840-1985
The Museum of Modern Art For Immediate Release October 1985 SELF-PORTRAIT: THE PHOTOGRAPHER'S PERSONA 1840-1985 November 7, 1985 - January 7, 1986 SELF-PORTRAIT: THE PHOTOGRAPHER'S PERSONA 1840-1985, an exhibition of self- portraits taken by major European and American photographers of the last century, opens at The Museum of Modern Art on November 7, 1985. Organized by Susan Kismaric, associate curator in the Department of Photography, this highly selective survey provides a fascinating record of artistic exploration through one of the most intimate and revealing of art forms. Andre Kertesz, Eadweard Muybridge, Felix Nadar, August Sander, Imogen Cunningham, and Alfred Steiglitz are among the masters of photography represented (partial list of artist names attached). Since photography's origins in the late nineteenth century, artists have expressed the idea that the self-portrait is a form of performance. Kismaric states, "The photographer who attempts an investigation of his physiognomy or personality or who consciously or unconsciously projects an idea about himself enacts a role. The plasticity of photography allows the self-portraitist to experiment, to assume many identities; in self-portraiture the photographer can become the hero, the adventurer, the aesthete--or a neutral ground upon which artistic experiments are played out." One of the earliest photographs included in the exhibition is a modern print of Hippolyte Bayard's Self-Portrait as a Drowned Man (1840), the artist's amusing response to Daguerre's announcement of the invention of photography. Bayard had perfected a method of making photographs at the same time as Daguerre, but it was Daguerre whose method was first published and who received the acclaim. -
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. -
William Henry Fox Talbot the Boulevards
William Henry Fox Talbot Hill & Adamson English, 1800–1877 Scottish, active 1843–1848 The Boulevards of Paris, 1843 Elizabeth Rigby Salted paper print (calotype) (Lady Eastlake), 1843–47 Salted paper print The inventor of the salted paper process, Talbot photographed the boulevards from In the mid-1840s, the Scottish painter- a similar vantage point as J. L. M. Daguerre, photographer partners David Octavius the inventor of the daguerreotype, did. Hill and Robert Adamson produced the Talbot’s print allowed people in the know first significant body of artistic portraiture to compare these rival processes on a one using the salted paper process pioneered to one basis. The ghost images of carriages by William Henry Fox Talbot. They often along the boulevard are a product of the photographed Elizabeth Rigby, who would long exposure time needed with this early become Lady Eastlake upon her marriage printing technique. On the captured spring in 1849 to Sir Charles Eastlake, President afternoon, the streets had just been wetted of the Royal Academy, Director of the down to settle the dust stirred up from the National Gallery, and first President of unpaved road. the Royal Photographic Society. An author and critic, Lady Eastlake championed photography as a mysterious art that revived “the spirit of Rembrandt.” Louis-Jacques-Mandé Daguerre (French, 1787–1851), Boulevard du Temple, Paris, 1838. Daguerreotype. WAGSTAFF.Labels_rd3.indd 1 9/7/16 2:37 PM WAGSTAFF.Labels_rd3.indd 2 9/7/16 2:37 PM Unidentified Artist Roger Fenton Fern Leaves, c. 1850 English, 1819–1869 Photogenic drawing Dinornis elephantopus, 1854–58 “Photogenic drawing” was William Salted paper print Henry Fox Talbot’s name for his first— cameraless—photographic process. -
The Clarence H. White School of Photography
The Clarence H. White School of Photography Bonnie Yochelson Clarence Hudson White (1871–1925) is remembered today as a gifted Pictorial photographer whose talent was recognized and promoted by Alfred Stieglitz at the turn of the twenti- eth century. In 1906, White moved from Ohio to New York to work more closely with Stieglitz, but the two men parted ways in 1910, when Stieglitz turned his back on Pictorial pho- tography to promote modern art. In New York, White began teaching photography, and his own art foundered. In 1923, he told a colleague, “I still have a thrill when I think I am on the right road, and a little envy when I see a beginner who appears to have arrived.”1 White’s legacy, however, leaves no cause for regret. His vision of photography’s future was prophetic; his social and aesthetic philosophy was con- sistent; and his program for training young photographers, which extended far beyond the classroom, was effective.2 By the time of his death, at age fifty-four, White had succeeded in establishing an institutional network to sup- port the artistic and professional ambitions of his students. The 1920s were a heady time, when an avowed socialist like White could launch his students’ art careers in the pages of Condé Nast magazines. That moment passed with the Depression, which deflated the artistic pretentions of pub- lishers, focusing their attention on the bottom line, and marked the collapse of the delicate balance of art and com- merce for which White had worked so tirelessly. But his efforts did not go unrecognized at the time. -
Microfilms International 300 N
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. 3. When a map, drawing or chart, etc., is part of the material being photograpned, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
The Photograph Collector Information, Opinion, and Advice for Collectors, Curators, and Dealers N E W S L T R
THE PHOTOGRAPH COLLECTOR INFORMATION, OPINION, AND ADVICE FOR COLLECTORS, CURATORS, AND DEALERS N E W S L T R Volume XXXV, No. 6 June 2014 THE aipad PHotoGRAPHY SHOW by Stephen Perloff Tom Butler: Altered Victorian cabinet cards, $600 each at Gallery Fifty One, Antwerp, as seen at the AIPAD Photography Show (www.gallery51.com/index.php?navigatieid=9&fotograafid=143) AIPAD PHOTOGRAPHY SHOW REPORT continued The AIPAD Photography Show this year Bidwell, Michael and Elizabeth Marcus, Artur looked more elegant than it ever has as the vast Walther, Marjorie Ornston, Vicki Goldberg, Vince majority of exhibitors have learned how to stage Aletti, Philip Gefter, Lyle Rexer, Max Kozloff, attractive booths and as the signage and finish of Cheryl Dunn, Christiane Fischer, Malcolm Daniel, the booths has continually improved. The fair has Anne Tucker, Phyllis Galembo, Corey Keller, Nis- also seemed to strike a more perfect balance be- san Perez, Johan Sjöström, Sandra Phillips, Alison tween 19th-century, modernist, vernacular, and Nordstrom, Michelle Dunn Marsh, Lisa Hostetler, contemporary work. Katherine Bussard, and Jeff Rosenheim. Most of the exhibitors I spoke to were happy “AIPAD also drew a wide range of curators with the opening reception, the number of cura- from such institutions as The Museum of Modern tors they saw, as well as the number of buyers, and Art, New York; The Metropolitan Museum of Art, with their sales overall. New York; International Center for Photography, As AIPAD reported: New York; Solomon R. Guggenheim Museum, “A large and enthusiastic crowd attended the New York; The Morgan Library and Museum, opening night gala on April 9, which benefited New York; The Philadelphia Museum of Art; Los Her Justice, an organization that provides free le- Angeles County Museum of Art; The J. -
Presented to the Graduate Council of the University of North Texas In
/Vo "DESIGNING WITH LIGHT": CARLOTTA CORPRON AND THE NEW BAUHAUS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Erin L. Waugh, B.A., B.S.J. Denton, Texas August, 1992 Waugh, Erin L., "Designing with Light": Carlotta Corpron and the New Bauhau.L. Master of Arts (Art History), August, 1992, 131 pp., 22 illustrations, bibliography, 32 titles. A major figure to emerge in the history of American photography is Carlotta Corpron (1901-1987), who taught art at Texas Woman's University in Denton, Texas from 1935-1968. The rediscovery of her abstract images created during the 1940s reflects the growing recognition of the experimental photography at the New Bauhaus in Chicago from 1937-1946. Corpron's abstract photographs were stimulated by her interaction with Lazlo Moholy-Nagy and Gyorgy Kepes. Corpron was an innovator in the development of abstract photography in the United States. This thesis connects her work to that of Moholy-Nagy and Gyorgy Kepes as well as other major figures in American photography of the twentieth century. Copyright by Erin L. Waugh 1992 iii TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS..................................... v Chapter I. INTRODUCTION...................................... 1 Statement of the Problem Review of the Literature Methodology II. CARLOTTA CORPRON AND THE BAUHAUS.................. 10 Early Biography The Bauhaus Moholy-Nagy and Kepes: Philosophy Association with Moholy-Nagy and Kepes Corpron's Teaching Philosophy III. CORPRON'S CONTEXT IN PHOTOGRAPHY AND LATER BIOGRAPHY--.-..................................43 History of Abstract Photography in the U.S. -
The Museum of Modern Art No
The Museum of Modern Art No. 82 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Wednesday, November 11, 196k FOR IMMEDIATE RELEASE ADVANCE ONLY A retrospective exhibition of the works of Andre* Kertgsz, Budapest-born pioneer of modem photography, will be shown at The Museum of Modern Art from November 2k, 19#b through January 2kf I965. "Kertfisz1 work" according to John Szarkowski, Director of the Department of Photography, "perhaps more than that of any other photographer, defined the direction in which modern European photography developed." KertSsz was born in 189^, graduated from the Academy of Commerce in Budapest in 1912 and took a job with the Hungarian Bourse, He purchased a camera with his first savings. During the next decade he experimented with photography, his interest stimulated by the occasional publication of his work in Hungarian magazines. By f ', I9S5, he had convinced himself — and his family — that he was not a financier, and was a photographer. He went to Paris arriving at the moment when the picture magazine and illustra ted newspaper ware beginning to receive widespread attention. Soon, he was doing press photography for leading European newspapers and attracting attention with his unconventional method of covering assignments. One of his fellow Parisians recalls, "While other press cameramen bunched together, Kertgsz loitered on the sidelines filming the significant background of events." He also used a small camera which he considered more discreet and more flexible; first a Goertz-Tenax, which most professionals considered a "toy" and, after I928, a Lelca. His fellow professionals scorned the small hand-held camera, until Kertgsz demonstrated the freedom it allowed. -
Only Skin Deep: Changing Vision of American Self
Bibliography for Only Skin Deep: Changing Vision of American Self Available in SAM 4th Floor Resource Room Books 1. Allen, Judy, Earldene McNeill and Velma Schmidt. Cultural Awareness for Children. (New York: Addison-Wesley, 1992). 2. Clifford, James. The Predicament of Culture: Twentieth-Century Ethnography, Literature and Art. (Cambridge, MA: Harvard University Press, 1988). 3. Fanon, Frantz. Black Skin, White Masks. (Grove Press, 1991) 4. Fanon, Frantz. Wretched of the Earth. (Grove Press, 1986). 5. Fusco, Coco. English is Broken Here: Notes on Cultural Fusion in the Americas. (New York: New Press, 1995). 6. Gamboa, Harry. Urban Exile: Collected Writings of Harry Gamboa Jr. (Minneapolis: University of Minnesota Press, 1998). 7. Gaskins, Pearl Fuyo. What Are You? Voices of Mixed-Race Young People. (New York: Henry Holt and Co., 1999). 8. Jelloun, Tahar Ben. Racism Explained to My Daughter. (New York: New Press, 1999). 9. Lippard, Lucy R. Mixed Blessings: New Art in a Multicultural America. (New York: New Press, 1990). 10. Kissinger, Katie. All the Colors We Are/ Todos Los Colores de Nuestra Piel. (St. Paul, MN: Redleaf Press, 1994). 11. Noriega, Chon A. and Ana Lopez. The Ethnic Eye: Latino Media Arts. (Minneapolis: University of Minnesota Press, 1996). 12. Peraza, Nilda, Marcia Tucker and Kinasha Holman Conwill, eds. The Decade Show: Frameworks of Identity in the 1980s. (New York: Museum of Contemporary Hispanic Art, 1990). Articles and Essays – Available in binder 1. Clark, Bethany. “Eye2Eye: Only Skin Deep” at www.Sugarzine.com online magazine (February 2004). 2. Corcoran, Katherine. “Race only skin deep: S.J. students discover genetic link” in The Mercury News (February 9, 2004).