Appalachia USA Photographs by Builder Levy
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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. -
PR Milton Rogovin.Pages
! SAN JOSE MUSEUM OF ART TO PRESENT MILTON ROGOVIN’S PHOTOGRAPHS OF THE WORKING CLASS AUGUST 18 ‒ MARCH 19 SAN JOSE, California (August 2016)— The San Jose Museum of Art will showcase the work of American photographer Milton Rogovin in an exhibition on view August 18, 2016 – March 19, 2017. Life and Labor: The Photographs of Milton Rogovin comprises thirty-eight black-and-white photographs by the self-proclaimed social documentary photographer. Rogovin photographed “the forgotten ones,” as he called them, including people from working class neighborhoods and multi-ethnic communities. Drawn entirely from the permanent collection of the San Jose Museum of Art, this exhibition presents photographs from three series: “Lower West Side, Buffalo” “Working People” and “Family of Miners” Life and Labor marks the public debut of these photographs, which were given to the Museum’s collection in 2011. Rogovin shed light on important social issues of the time: the plight of miners, the decline of the steel industry in upstate New York, and the everyday struggles of the poor and working class in Buffalo, New York, where he lived. While working as an optometrist in the 1930s, he was distressed by the widespread poverty caused by the Great Depression and became increasingly involved in leftist political causes. He began attending classes at the New York Workers School and reading the Communist newspaper The Daily Worker. He was influenced by the social- documentary photographs of Jacob Riis and Lewis Hine. In 1957, with the prevalence of cold war anti-Communism in the United States, Rogovin was called before the House Un-American Activities Committee, but refused to testify. -
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. -
Mark Daniel Hatz Project 3 Final: Case Study 23 May 2013 Professor D. Comer the Child Labor Problem
Hatz 1 Mark Daniel Hatz Project 3 Final: Case Study 23 May 2013 Professor D. Comer The Child Labor Problem – Visually Speaking "If I could tell the story in words, I wouldn't need to lug around a camera." -- Lewis Wickes Hine Some of the most persuasive rhetoric opposing Example One child labor during the early twentieth century was neither verbal nor written, it was visual. This “visual rhetoric” was instrumental in the passage of the Fair Labor and Standards Act with its child labor provisions.[1] One of the foremost visual storytellers of the time was Lewis Wickes Hine. Newspaper editor Arthur Brisbane said to the Syracuse Advertising Men's Club, in March 1911, "Use a picture. It's worth a thousand words."[2] He could have been speaking about Lewis Hine, whose images were already speaking volumes by then. Lewis Hine was born in Wisconsin in 1874, he studied sociology at the University of Chicago, Columbia University and New York University, becoming a teacher at the Ethical Culture School in New York.[3] Lewis left his position with the school in 1908 when he was hired as a photographer by the National Child Labor Committee (NCLC). Years later, Owen Lovejoy, the northern regional leader of the NCLC, wrote to Mr. Hine stating, "In my judgment the work you did under my direction for the National Child Labor Committee was more responsible than any or all other efforts to bring the facts and conditions of child employment to public attention."[4] Mr. Lovejoy was acknowledging the visual medium of photography as Hatz 2 evidence and the power of a visual image to persuade, inform, and move people when words alone had proven inadequate Lewis Hine was creating the rules and procedures of Documentary Photography as he took thousands of images to influence change in the child labor movement. -
NEA-Annual-Report-1992.Pdf
N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992. -
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). -
Now in Public Domain, Lewis Hine Photos Changed America
Copyright Lore .), .), s . u ee ( TT i Comm bor a l D now in Public n il O Ch nal s Divisi O domain, lewis hine i PH T a a R n g e th f Photos Changed hoto O P s D ord s an T ec R America in e JuDith nieRMan R th ess P R rom ng An American photographer, educator, and s f Co PH f a O R photo journalist, Lewis Wickes hine played g ry a br hoto i l an important part in the passage of laws P regulating child labor in the United states. edwin Cope, 13, at midnight in Cumberland glass Works, Bridgeton, N.J. Born in 1874 in Wisconsin, hine worked to finance his own college education after his In 1906, hine, who was by then a professional photographer children working in factories, fields, sweatshops, and father died. he studied sociology in Chicago as well as a sociologist and educator, went to work for the mines. According to photo historian Daile Kaplan, hine Russell sage Foundation, which funded social research. his adopted personas such as salesman to gain entrance and New york, earned a master of pedagogy task was to document people and life in pittsburgh’s steel- to workplaces. When factory owners denied him access, degree from New york University in 1905, making industry. hine hid his camera in his clothes or simply waited Two years later, hine left his teaching position and outside to take photos that continue to shock us today. and began teaching at the ethical Culture took his photography skills to the National Child Labor his work contributed to the 1916 passage of the Keating- school in New york City. -
Re-Reading Lewis Hine's Child-Labour Photographs'
Children of the Mills: Re-Reading Lewis Hine's Child-Labour Photographs' GEORGE DIMOCK There is then, in Hine's earlywork, an implicitcounter- in the United States: textile mills, coal mines, glass- statement to the Progressivereformist ideology he - works, commercial agriculture and the street trades. embraced a subtle but nonethelessdistinct resistance At the same time that Hine's work define the to helped the tendency of reformersto make objects of their interests and of underclass'cases.' values, agendas Progressive reform, it was determined them. The movement Alan Trachtenberg2 largely by comprised a flexible and changing set of alliances at the local, state and national levels, among teachers, suffragists, health-care workers, civil servants, city Reform Photography as Dominant planners, social workers, labour leaders, journalists Ideology and reform politicians. These members of an emergent, professional-managerialclass advocated a Alan Trachtenberg and Maren Stange have new style of reform.4 They sought to minister presented theoretically informed, historical argu- scientifically and bureaucraticallyto the body politic ments for Lewis Hine's child-labour photographs as in response to the systemic ills wrought by corporate manifestations of 'a shared social consciousness' capitalism, including child labour. between the photographer and his subjects.3These Progressivism reached floodtide around 1912 readings appeal greatly in that they locate in the before losing ground to the more entrenched forces work a self-reflexive critique of the Progressives' of the dominant social order. Its failure to take tendency to regard those they sought to help as deeper root can be ascribed, at least in part, to the inferior. Against the current critical consensus that distance between the Progressives' professional Hine's pictures do justice to their subjects, I will elitism and the low class status of those whose lives argue that they depict working children and their they sought to change. -
LEWIS HINE the WPA NATIONAL RESEARCH PROJECT PHOTOGRAPHS, 1936-37 Howard Greenberg Gallery April 15 – July 2, 2021
For Immediate Release LEWIS HINE THE WPA NATIONAL RESEARCH PROJECT PHOTOGRAPHS, 1936-37 Howard Greenberg Gallery April 15 – July 2, 2021 Lewis Hine, Hamilton Watches. Lancaster, Pennsylvania, 1936-37 NEW YORK— A tale of collective ingenuity and individual perseverance in the shadow of national crisis is the subject of Lewis Hine: The WPA National Research Project Photographs, 1936-37, on view at Howard Greenberg Gallery from April 15 through July 2. The Great Depression ravaged the United States in the 1930s, producing extreme levels of poverty and unemployment with a deep and penetrating social pessimism to match. Whereas some photographic endeavors of the time sought to document the misery and misfortune of those hardest hit by these conditions, Lewis Hine set out to photograph the opposite: the rebuilding of society taking place in the nation’s most technologically advanced sites of production, and the persistence and skill of the factory workers who made all of it a reality. Established in 1935 as a division of the Works Progress Administration (WPA), the goal of the National Research Project (NRP) was to investigate new industrial technologies and their effects on employment. Lewis Hine was hired by the WPA to show the modernizing accomplishments of the nation’s factories in the years prior to WWII, particularly those being fitted for the most sophisticated forms of industrial production. Hine focused most specifically on the reorganized workplaces that were created by these modernizing efforts. It was during this time, for example, that women began entering the factory floor and joining the assembly line, and in the case of Hine’s photographs, were being called upon to help produce many of the country’s newest and most elaborate technologies. -
2019 Annual Report
2019 ANNUAL REPORT Dear Friends, This has been another year of unparalleled exhibitions and performances, a celebration of what’s possible in our new home and with the support of our community. At the beginning of 2019, we were in the last few weeks of the inaugural exhibition at 120 College Street, Between Form and Content: Perspectives on Jacob Lawrence and Black Mountain College, which was a major accomplishment in its scope and its expansion of community partnerships. Next, we presented an intimate look at the school’s political dimensions, both internal and external, through the exhibition Politics at Black Mountain College. During the same time period, the exhibition Aaron Siskind: A Painter’s Photographer and Works on Paper by BMC Artists revealed the photographer’s elegant approach to abstraction alongside works by others in his circle of influence. From June through August, our galleries filled with sound as part of Materials, Sounds + Black Mountain College, an exploration of contemporary experimental and material-based processes rooted in theories and practices developed at Black Mountain College. We closed out the year with VanDerBeek + VanDerBeek, an exhibition that bridges the historic and contemporary through an intergenerational artistic conversation. 2019 also marked the 100th birthday of Merce Cunningham, and 100 years since the founding of the Bauhaus, which closed in the same year Black Mountain College opened, seeding the latter with its faculty and utopian values. Both centennials sparked global celebrations, transcending geographic and disciplinary boundaries to honor the impact of courageous communities and collaborators. Image credit: Come Hear NC (NCDNCR) | Ken Fitch We joined the world in these celebrations through a special installation of historic dance films of the Cunningham Dance Company at this year’s {Re}HAPPENING, the exhibition BAUHAUS 100, and a virtual reality exploration of the Bauhaus Dessau building, on loan from the Goethe- Institut.