A Finding Aid to the Imogen Cunningham Papers, 1903-1991, in the Archives of American Art
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Horace Bristol Papers
http://oac.cdlib.org/findaid/ark:/13030/c8t72jfk No online items Guide to the Horace Bristol papers MS.329MS.329 Finding aid prepared by Finding aid prepared by Mary deVries University of California, Santa Cruz 1156 High Street Santa Cruz, CA, 95064 (831) 459-2547 [email protected] Guide to the Horace Bristol MS.329 1 papers MS.329MS.329 Title: Horace Bristol papers, Identifier/Call Number: MS.329 Contributing Institution: University of California, Santa Cruz Language of Material: English Physical Description: 3.0 Linear feet Date (inclusive): 1935-1997 Abstract: This is a small collection of correspondence, biographical materials, and 5 photographs taken by Horace Bristol in California in the 1930s. Location: Special Collections and Archives General Physical Description note: 2 boxes, 1 framed photograph. Creator: Bristol, Horace Access Collection open for research Publication Rights Property rights reside with the University of California. Literary rights are retained by the creators of the records and their heirs. For permission to publish or to reproduce the material, please contact the Head of Special Collections and Archives. Preferred Citation Horace Bristol Papers. MS 329. Special Collections and Archives, University Library, University of California, Santa Cruz. Acquisition Information Gift of Horace Bristol, 1992-1997 Biography Photographer Horace Bristol is best known for his images of Depression era migrant families that inspired Steinbeck's The Grapes of Wrath, compelling battle scenes of World War II, and portraits of post-war Japan and Southeast Asia. Bristol was born in 1908. He was raised in Whittier, California, attended the Art Center of Los Angeles, and began to teach himself photography while studying architecture in Munich and travelling through Europe with his wife, Virginia. -
AG 3 Sonya Noskowiak Archive, 1928-1974
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 Sonya Noskowiak archive, 1928-1974 AG 3 Finding aid updated by Alexis Peregoy, 2016 AG 3: Sonya Noskowiak archive - page 2 Sonya Noskowiak archive, 1928-1974 AG 3 Creator Noskowiak, Sonya, 1900-1975 Abstract Papers and photographic materials, 1928 - 1974, of Sonya Noskowiak (1900 - 1975), photographer. Includes correspondence with Edward Weston and other photographers; reviews and announcements of photography exhibitions, including two of Group f/64, of which Noskowiak was member; clippings about Noskowiak, Edward Weston, her photography and other topics; negatives and contact prints made by Noskowiak, and reference prints made by the CCP staff. Quantity/ Extent 10 linear feet Language of Materials English Biographical/ Historical Note Sonya Noskowiak (1900–1975) began her photographic career as studio assistant to Johan Hagemeyer in 1925 and within less than a decade exhibited alongside Ansel Adams, Edward Weston, and Imogen Cunningham. Like her Group f/64 counterparts, she produced sharp-focus studies of natural and man-made objects, which emphasized photographic presentation rather than subject matter. Following an intense period as a creative photographer, Noskowiak maintained a portrait studio and pursued documentary photography. Noskowiak was born in Leipzig, Germany, and spent her childhood years in Chile, Panama, and California, as her father sought employment in gardening and landscape design. At age 19 she moved to San Francisco, enrolled in secretarial school, and then worked at photographer and horticulturalist Johan Hagemeyer’s Los Angeles studio. -
Omc Special Offer Modified
The OMC Gallery - NEW website - Special offers for a limited time only Pierre Alechinsky (1927 Belgium) One of the founders of the CoBrA group, whose dedication to primitive form and often violent strokes of color paralleled the American abstract expressionist movement. The group was formed as a reaction to the formal, refined art popular in other European cities immediately after World War II. The artist's style, anguished during the CoBrA period, softened perceptibly as acceptance for his art grew, but it remains strongly expressionistic. He is particularly adept at achieving subtleties and intensities of color in the lithographic process. The recipient of the Andrew Mellon Prize in 1977, Alechinsky is represented in the collections of sixty-five of the world's leading museums, incl. Fine Arts Museums of San Francisco and the Museo Reina Sofía in Madrid. He has also been honored with a permanent room in the Louisiana Museumin Denmark. The winner of the first Andrew W. Mellon Prize for Painting (1977) and the French Grand Prix National for painting in 1984, Alechinsky has been recognized in recent years as one of the most significant living artists. (The art market has also noticed his stature: one of his paintings sold at auction several years ago for over $2,000,000.) Alechinsky was just barely out of his teens when he burst onto the art scene as one of the original members of the COBRA group, and over the years he has emerged as one of the most imaginative and witty artists of our times. Alechinsky fans are everywhere. -
Transforming Practices
Transforming Practices: Imogen Cunningham’s Botanical Studies of the 1920s Caroline Marsh Spring Semester 2014 Dr. Juliet Bellow, Art History University Honors in Art History Imogen Cunningham worked for decades as a professional photographer, creating predominantly portraits and botanical studies. In 1932, she joined the influential Group f.64, a group of West Coast photographers who worked to pioneer the concept of “Straight Photography,” a movement that emphasized the use of sharp focus and high contrast. Members of Group f.64 included Ansel Adams and Edward Weston, whose works have since overshadowed other photographers in the group. Cunningham has been marginalized in histories of Group f.64, and in the history of photography in general, despite evidence of her development of many important photographic practices during her lifetime. This paper builds on scholarship about Group f.64, using biographical information and analysis of her photographs, to argue that Cunningham influenced more of the ideas in the group than has been recognized, especially in her focus on the simplification of form and the creation of compelling compositions. Focusing on her botanical studies, I show that many of the ideas of f.64 existed in her oeuvre before the formal creation of the group. Analysis of her participation in the group reveals her contribution to developments in art photography in that period, and shows that her gender played a key role in historical accounts that downplay her significant contributions to f.64. Marsh 2 Imogen Cunningham became well known in her lifetime as an independent and energetic photographer from the West Coast, whose personality defined her more than the photographs she created or her contribution to the developing straight photography movement in California. -
Edward Weston Retrospective
The Museum of Modern Art FOR RELEASE: U West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart SEPTEMBER 21, 1973 EDWARD WESTON RETROSPECTIVE The first major retrospective of Edward Weston since his death in 1958 will be presented by The Museum of Modern Art in the winter of 1975, John Szarkowski, Direc tor of the Museum's Department of Photography, announced today. Mr.Szarkowski has invited Willard Van Dyke, well-known photographer, filmmaker and critic and close colleague of Weston for more than 30 years, to direct the ex hibition. Mr. Van Dyke is Director of the Museum's Department of Film. Weston, a master of 20th-century photography, was born in 1886 and became a professional photographer when he was in his early 20s. He opened his first studio in California in 1911. The retrospective will explore the evolution of his vision and study his contribution to the visual art of this century over five decades of a distinguished career. Weston moved to Mexico in 1923 where he opened a portrait studio with Tina Modotti. He returned to California in 1929 and three years later, with Willard Van Dyke, formed the influential "Group f64." This alliance of west coast photographers, including Ansel Adams and Imogen Cunningham, was dedicated to the deep focus, un varnished technique exemplified in Weston's photographs. In 1948 Van Dyke, who had already photographed or directed a score of important documentary films, made The Photographer, now considered the classic film study of Weston's life and work. Weston was given a one-man show at The Museum of Modern Art in 1946 and shortly afterwards was sticken with Parkinson's disease. -
Naval Aviation Photographic Unit - Wikipedia, the Free Encyclopedia 4/23/2014
Naval Aviation Photographic Unit - Wikipedia, the free encyclopedia 4/23/2014 Create account Log in Article Talk Read Edit View history Search Naval Aviation Photographic Unit From Wikipedia, the free encyclopedia Main page The Naval Aviation Photographic Unit[1]:34 was a group of Naval Aviation Photographic Unit Contents military photographers in the United States Navy during the (official: Training Literature Field Unit No. Featured content Second World War, under the command of Edward Steichen. 1) Current events Random article Contents [hide] Donate to Wikipedia 1 History Wikimedia Shop 2 Members Interaction 3 Works Help 4 Gallery About Wikipedia 5 References Community portal Recent changes Contact page History [edit] Tools The Navy had established this special group in early 1942, Print/export shortly after the US entry into the war, to document and publicize Languages its aviation activities and allowed Steichen to recruit the most Čeština talented photographers he could find. Steichen and his unit Edit links initially reported to Capt Arthur W. Radford, and were made part Cmdr Edward Steichen photographed above the deck of the of the Navy's Bureau of Aeronautics.[1]:24 aircraft carrier USS Lexington (CV-16) by Ens Victor Jorgensen, November, 1943. Because Steichen wanted an unusual amount of control over the Active 1942—1945 unit, outside the purview of the Navy's pre-existing photographic Country United States community, and because Radford agreed with him, it was decided Branch United States Navy the unit would operate out of the Bureau of Aeronautics' Training Literature Division, which was under Radford's direct command.[1]:34 This is why the unit's official name was "Training Literature Field Unit No. -
Donnartista Donnartista
donnArtista donnArtista femminilità ed erotismo per le autrici del novecento Martina Agostini donnArtista A cura di Martina Agostini © 2012 ISIA di Urbino, Urbino (PU) Progettazione per l’Editoria 1 Istituto Superiore per le Industrie Artistiche di Urbino Biennio in Fotografia dei Beni Culturali A.A. 2012-2013 Docente Roberto Gobesso Testi a cura di Martina Agostini Caratteri tipografici Avenir, Palatino Progetto grafico e impaginazione: Martina Agostini Proprietà letteraria riservata: nessuna fotografia, nessun testo, nessuna parte di questo libro può essere riprodotta o utilizzata senza il permesso scritto dell’autore o degli aventi diritto. …non è detto che ogni essere umano di genere femminile sia una donna; bisogna che partecipi di quell’essenza velata dal mistero e dal dubbio che è la femminilità. La femminilità è una secrezione delle ovaie o sta congelata sulla sfondo di un cielo platonico? Simone de Beauvoir “Il secondo sesso prefazione Cosa significa vivere per una donna nel XX secolo? Data la sua condizione, in che modo potrà realizzarsi come essere umano, posto che la sorte dell’individuo non va valutata in termini di felicità ma di libertà? “Le donne di oggi stanno distruggendo il mito della femminilità; e cominciano ad affermare concretamente l’indipendenza che spetta loro; ma tale volontà di vivere integralmente la condizione dell’esser umano non va disgiunta nella donna da un travaglio molto penoso. Educate da donne, in un mondo femminile, sono comunemente destinate al matrimonio che in pratica le assoggetta ancora all’uomo; il prestigio della virilità è tutt’altro che al tramonto: ha sempre solide basi economiche e sociali. -
The Museum of Modern Art 14 West 49Th Street, New York Telephone: Circle 7-7470 for Release Monday, April 3, 1939
39330 - 8 THE MUSEUM OF MODERN ART 14 WEST 49TH STREET, NEW YORK TELEPHONE: CIRCLE 7-7470 FOR RELEASE MONDAY, APRIL 3, 1939 The Museum of Modern Art a.nnounces that it has acquired for its Permanent Collection a group of 53 photographs by leading photographers on the West Coast. These photographs are the gift of Albert M. Bender of San Francisco. Included in the gift are 17 prints by Ansel Adams; 1 by Imogen Cunningham; 3 by Henry Swift; 2 by Sidney Snaer; 14 by Brett V/eston; 11 by Edward Weston; and 6 by Gedric Wright. Many of these recently acquired photographs will be shown in the exhibition Art in Our Time with which the Museum will open its new building at 11 West 53 Street. The exhibition, which also celebrates the Museum's tenth anniversary, will open to the public Thursday, May 11. In addition to painting, sculpture, architecture, graphic art, popular or folk art, industrial design, commercial art and the motion picture, there will be a section on photography. Material for this section has been assembled by Beaumont Newhall, Librarian of the Museum. The photography section of the exhibition will be composed of the work of living American post-war photographers only and will Include eight photographs each by Ansel Adams, Brett Weston, Walker Evans, Berenice Abbott, Ralph Steiner and Man Ray, with six photographs by Dr. Harold E. Edgerton, the engineer who developed ultra-high-speed photography as a scientific tool for the critical observation of rapidly moving machine parts. In the photography section of the catalog which will be pub lished simultaneously with .the opening of Art in Our Time, Mr. -
The Tanforan Memorial Project: How Art and History Intersected
THE TANFORAN MEMORIAL PROJECT: HOW ART AND HISTORY INTERSECTED A Thesis submitted to the faculty of San Francisco State University AS In partial fulfillment of 5 0 the requirements for the Degree AOR- • 033 Master of Arts in Humanities by Richard J. Oba San Francisco, California Fall Term 2017 Copyright by Richard J. Oba 2017 CERTIFICATION OF APPROVAL I certify that I have read “The Tanforan Memorial Project: How Art and History Intersected” by Richard J. Oba, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Humanities at San Francisco State University. I Saul Steier, Associate Professor, Humanities “The Tanforan Memorial Project: How Art and History Intersected” Richard J. Oba San Francisco 2017 ABSTRACT Many Japanese Americans realize that their incarceration during WWII was unjust and patently unconstitutional. But many other American citizens are often unfamiliar with this dark chapter of American history. The work of great visual artists like Ansel Adams, Dorothea Lange, Chiura Obata, Mine Okubo, and others, who bore witness to these events convey their horror with great immediacy and human compassion. Their work allows the American society to visualize how the Japanese Americans were denied their constitutional rights in the name of national security. Without their visual images, the chronicling of this historical event would have faded into obscurity. I certify that the Abstract is a correct representation of the content of this Thesis ACKNOWLEDGEMENT I wish to acknowledge the support and love of my wife, Sidney Suzanne Pucek, May 16, 1948- October 16, 2016. -
STILL Photography December 12, 2019 – June 14, 2020
STILL Photography December 12, 2019 – June 14, 2020 Selections from the JSMA Permanent Collection Thom Sempere JSMA Associate Curator of Photography PHOTOGRAPHYStill Noun Deep silence and calm; stillness. The still of the night. An ordinary static photograph, especially a single shot from a movie. A work of art depicting mostly inanimate subject matter, typically commonplace objects: still-life. Verb Still Make or become still. She raised her hand, stilling their protests. Adverb Up to and including the present or the time mentioned. Even though it is digital, it is still photography. Adjective Not moving or making a sound. Her voice carried on the still air. Through years of study and use, we learn the nuanced nature of language, but have less formal training when considering how to read photographs. We might understand a single word differently based on whether it is spoken or written. Often, a definition includes multiple meanings. Still may be employed as a noun, verb, adverb or an adjective. There are fewer collective ‘rules’ to apply when viewing photographs. Images may be used in a myriad of ways. Mute, and often caption-less, pictures are prone to misconstrued readings. What did their makers wish for us to know about their worlds? As viewers, we might consider the intent of the photographer and the context of the picture’s making to try to interpret its meaning. Our interactions with and responses to images play an important role in the cycle of understanding. Yet, photographs say much when left on their own. STILL Photography features works from the museum’s permanent collection. -
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. -
Edward Weston Periodical Collection: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8154ng6 No online items Edward Weston periodical collection: Finding Aid Finding aid prepared by Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Rare Books Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2015 The Huntington Library. All rights reserved. Edward Weston periodical 645289 1 collection: Finding Aid Overview of the Collection Title: Edward Weston periodical collection Dates (inclusive): 1930-1980 Bulk dates: 1950-1980 Collection Number: 645289 Creator: Waltman, Jack, collector.Waltman, Beverly, collector. Extent: 55 items in 3 boxes. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Rare Books Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains fifty-five magazines, exhibition catalogs, brochures, and other printed material related to the career and life of Edward Weston (1886-1958), a pioneering 20th-century American photographer known for his exploration of form in landscapes, still lifes, and nudes. The collection includes published writings by and about Weston; publications containing his photographs; exhibition catalogs and brochures that feature his work and his contemporaries; as well as later tributes and articles about the photographer. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities.