Press Release Saul Leiter
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Street Seen Teachers Guide
JAN 30–APR 25, 2010 THE PSYCHOLOGICAL GESTURE IN AMERICAN PHOTOGRAPHY, 1940–1959 TEACHERS GUIDE CONTENTS 2 Using This Teachers Guide 3 A Walk through Street Seen 10 Vocabulary 11 Cross-Curricular Activities 15 Lesson Plan 18 Further Resources cover image credit Ted Croner, Untitled (Pedestrian on Snowy Street), 1947–48. Gelatin silver print, 14 x 11 in. Howard Greenberg Gallery, New York. ©Ted Croner Estate prepared by Chelsea Kelly, School & Teacher Programs Manager, Milwaukee Art Museum STREET SEEN: The Psychological Gesture in American Photography, 1940–1959 TEACHERS GUIDE 1 USING THIS TEACHERS GUIDE This guide, intended for teachers of grades 6–12, is meant to provide background information about and classroom implementation ideas inspired by Street Seen: The Psychological Gesture in American Photography, 1940–1959, on view at the Milwaukee Art Museum through April 25, 2010. In addition to an introductory walk-through of the exhibition, this guide includes useful vocabulary, discussion questions to use in the galleries and in the classroom, lesson ideas for cross-curricular activities, a complete lesson plan, and further resources. Learn more about the exhibition at mam.org/streetseen. Let us know what you think of this guide and how you use it. Email us at [email protected]. STREET SEEN: The Psychological Gesture in American Photography, 1940–1959 TEACHERS GUIDE 2 A WALK THROUGH STREET SEEN This introduction follows the organization of the exhibition; use it and the accompanying discussion questions as a guide when you walk through Street Seen with your students. Street Seen: The Psychological Gesture in American Photography, 1940–1959 showcases the work of six American artists whose work was directly influenced by World War II. -
Saul Leiter: Early Black and White Pdf, Epub, Ebook
SAUL LEITER: EARLY BLACK AND WHITE PDF, EPUB, EBOOK Saul Leiter, Martin Harrison | 416 pages | 23 Jun 2014 | Steidl Publishers | 9783865214133 | English | Gottingen, Germany Saul Leiter: Early Black and White PDF Book For the past four years, I've been documenting the journey migrants take to reach the US-Mexico border. Open Photo Contests. He was more expansive in the late s. It is beautifully printed and contains inspiring sequences of black-and-white and color photographs, some of which are shown for the first time. It also includes several self-portaits. Published by The Gould Collection Published by Steidl, Germany. The Magazine. Credit Andras Bankuti. He was born in Pittsburgh, Pennsylvania, to an Orthodox Jewish family. Condition: New. I am satisfied so far with my work, as I want to get into the skin of others. I guess, at the moment when I was pleased with my photographs. About this Item: Steidl, Gottingen, Photography Exhibitions. This is the photo book that redefined what a photo book could be — personal, poetic, real. Published by Actes Sud Site by Artlogic. About this Item: Rm , Leave a comment. He heard the echoes of footsteps dancing behind the glass, the sighs of women bracing the cold and the haunting silence of ordinary illusions — and he tirelessly followed them. Site Navigation Site Mobile Navigation. My goal is to humanize their struggle and share their stories with the world. Exclusive interview with Giedo Van der Zwan. He lives and works between Brittany and Paris. Ships with Tracking Number! In he returned to photography; since , he presents these images to a wider audience. -
Alexey Brodovitch and His Influence
#, Philadelphia College ofArt expresses its gratitude to those foundations ivithout ivhose major, sponsoring grants this exhibition and catalogue could not have been achieved: The American Metal Climax Foundation; The Catherwood Foundation; The Samuel S. Fels Fund. In addition, generous supporting gifts from the following are gratefully acknou'ledged: Mr. and Mrs. George R. Bunker; The William Randolph Hearst Foundation; Mr. Morton Jenks; Saks Fifth Avenue. The exhibition and catalogue have been produced hv the Philadelphia College ofArt in collaboration with, the Smithsonian Inslilulion, Washington, D.C. April 7, 1972 Philadelphia. Pennsylvania ALEXEY BRODOVITCH ANDmS INFLIIENGE firing the winter of 1969 I had an opportunity to visit Alexey Brodovitch in le Thor, a small, quiet town in the south of France. I had gone there to tell him that the College had wanted to give him a degree and an exhibition, and that we hoped this still might be possible. That first meeting was strange and compelling. Outside that day, there was a clear winter light, and inside his back-lit room, all was shadowed and Brodovitch himself scarcely more than a silhouette, indistinct but also somehow very much a presence. Strained courte- sies in French and English began the visit, but soon gave way to another level of intensity, alwavs just below the surface of what we said. In that simple, lean room, this gaunt and ravaged man. ill and half-paralyzed, anguished by a recent and terrible accident to his son, was by turns gallant and passionate, courteous, friendly and desperately alone. It was impossible to remain aloof from him; he had a way of compelling involvement. -
Lisette Model
Keitelman Gallery LISETTE MODEL Public Exhibitions 2010 : - MoMA – Museum of Modern Art, New York City - Pictures by women : A history of Modern Photography. - Centre Pompidou – Musée National d’Art Moderne, Paris - elles@centrepompidou, artiste femmes dans les collections du Centre - Galerie Nationale du Jeu de Paume, Paris - Lisette Model. - Milwaukee Art Museum, Milwaukee, WI - Street Seen : The Psychological Gesture in American Photography, 1940 – 1959. - Museum Folkwang Essen, Essen - Fotografie und Individuum – Portraitkonzepte. Solo Exhibitions 2011 : Bruce Silverstein – New York City, NY- Self Reflections, The expressionist Origins of Lisette Model. 2009 : Fundacion MAPFRE – Madrid - Lisette Model. 2008 : - Macdonald Stewart Art Centre, Guelph, ON - Lisette Model – An Icon in the History of Photography. - Zabriskie Galley, New York City, NY - Lisette Model – 1901 – 1983. 2007 : Musée d’Art de Joliette, Joliette, Quebec - Lisette Model. KeitelmanGallery, Sprl Crearte – 44 rue Van Eyck – Bruxelles 1000 Brussels Tel. +32 2 511 35 80 – Fax +32 2 512 96 40 – E-mail: [email protected] TVA : BE 420.855.482 – RCB : 429.564 – ING : 310 -0015520-86 Keitelman Gallery 2006 : Dalhousie Art Gallery, Halifax, NS - Lisette Model. 2003 : Maurice Keitelman, Bruxelles – Lisette Model. 2002 : - Paula Cooper Gallery, New York City, NY - Lisette Model. - Baudoin Lebon Gallery, Paris - Lisette Model. - L’espace 14 – 16 Verneuil, Paris – Lisette Model. 2001 : Fotomuseum Wintherthur, Winterthur - Lisette Model – Fotografien 1934 – 1960. 2000 : Kunsthalle Wien, Vienna - Lisette Model – Fotografien 1934 – 1960. 1997 : Paine Webber Art Gallery, New York – Lisette Model : Selection from the collection of the International Center of Photography. 1992 : Museum Ludwig, Cologne and Heidelberg, Germany – Lisette Model : Photographien, 1933 – 1983. 1991 : International Center of Photography, New York – Lisette Model. -
Jews and Photography William Meyers
OBSERVATIONS Jews and Photography William Meyers JEWS HAVE played an indispens- taken by Jews, moving the show's and it was there that he both able role in the history of Amer- curator, Max Kozloff, to contribute learned photography and absorbed ican photography, at least as im- an essay to the catalog pondering a romantic devotion to art with a portant a role as blacks in the the issue of a "Jewish sensibility" in capital A. On his return to the U.S. development of jazz. It is a bit of a photography. The other two shows, in 1890, he quickly came to domi- puzzle why this should be so, if only occupying rather disparate points nate art photography, remaining in because, well into the modern era, on the photographic spectrum, were this position by dint of the brilliant Jews were not notable for their Shekhina, an exhibit of religion- pictures he took, the magazines he work in the plastic arts. Although it related pictures by the actor Leo- edited, his involvement in photo- is true that a number of Jews in nard Nimoy, and (if less pertinent graphic organizations, and the in- Eastern Europe were active in pho- to our theme) the retrospective of fluential galleries he ran. In the ear- tography during the period of its portraits by Richard Avedon at the ly part of the 20th century, Stieglitz first growth in the 19th century, it Metropolitan Museum of Art. did more than any other single in- was only in the 20th century and in To see the connecting links among dividual to have photography rec- America that the numbers involved these events requires some history. -
SAUL LEITER 1923 Born in Pittsburgh, Pennsylvania Lives and Works in New York. Selected Solo Exhibitions 2013 Santa Monica, Rose
SAUL LEITER 1923 Born in Pittsburgh, Pennsylvania Lives and works in New York. Selected Solo Exhibitions 2013 Santa Monica, Rose Gallery, Post-War Color 2012 Hamburg, Deichtorhallen, House of Photography, Retrospective (cat.) 2011 Antwerp, Fifty One Fine Art Photography, Photographs and works on paper (cat.) 2009 Antwerp, Fifty-One Fine Art Photography Munich, Nicole Stanner Gallery Chalon sur Saone, Musée Nicephore Niépce 2008 New York, Howard Greenberg Gallery, Women Paris, Foundation Henri Cartier-Bresson (cat.) Milan, Galleria Carla Sozzani Atlanta, Jackson Fine Art London, Faggionato Fine Arts, Early Colour 1948-1959 New York, Howard Greenberg Gallery Paris, Galerie Camera Obscura 2007 Bangor, University of Maine Museum of Art, Early Color 2006 Milwaukee, Milwaukee Art Museum, In Living Color: Photographs by Saul Leiter Antwerp, Fifty One Fine Art Photography, Early color Hyères, Festival of Fashion Photography, The Fashion Photographs of Saul Leiter 2005 New York, Howard Greenberg Gallery, Early Color 2004 Santa Barbara, Staton-Greenberg Gallery, In Color 1997 New York, Howard Greenberg Gallery, In Color Chicago, Martha Schneider Gallery, In Color 1994 New York, Howard Greenberg Gallery 1993 New York, Howard Greenberg Gallery 1985 New York, Gallery Lafayette 1984 New York, Gallery Lafayette 1972 New York, Midtown Y 1956 New York, Tanager Gallery 1955 New York, Artist’s Club 1954 New York, Samuel Koontz Gallery, curated by Clement Greenberg, Emerging Talent 1950 New York, Tanager Gallery 1947 Youngstown, Butler Institute of American -
Saul Leiter(Eng)
SAUL LEITER PHOTOGRAPHS & WORKS ON PAPER 9 Sept – 4 Dec 2011 Fifty One Fine Art Photography is proud to present a new and our third solo show of Saul Leiter (b.1923) with unpublished photographs and for the first time in Belgium a selection of his works on paper. The influence of his paintings on his photographs is made apparent when the two are presented side by side. His gouaches, rarely exhibited, mostly explore an abstract language made of large color areas in unsaturated tonalities. To enhance the link between his paintings and photographs we published only figurative gouaches with pastel-evaporating colors. Similar compositions can be found in his early color photographic practice as well, although they are slightly altered due to the medium’s nature. As a youngster Saul Leiter was attracted to all kinds of art: French painting (Matisse, Bonnard, Picasso, Manet) and Peruvian tapestry to Japanese and Tantric arts. He began his career as a painter. From early on, he devoted himself to abstraction for which he has a special love. His gouaches hesitate between landscape and abstraction. His abstract language reminds an observer of Paul Gauguin, the Pont-Aven’s French Symbolist School and the Parisian Nabis. He demonstrates a perfect command of composition, color choices and drawing skills. He makes his presence aware by allowing the spectator to feel the energy of the brush. In 1948 he discovered photography thanks to a meeting with the abstract expressionist Richard Pousette-Dart. Very quickly, he combined his pictorial and photographic practices. Which is why he was eventually associated with the New York school’s photographers. -
'SAUL LEITER: in Search of Beauty' from June 29 to October 21, 2018
‘SAUL LEITER: In Search of Beauty’ Foto Colectania shows the work of Saul Leiter, the surprising precursor of color photography . With 130 color and black and white photographs, the exhibition shows all facets of Leiter, including its most iconic photographs. Leiter photographed the streets of New York for six decades from an intimate perspective; with his particular use of color he gets images of an almost abstract lyricism. Saul Leiter, Red Umbrella, c.1955 ©Saul Leiter Foundation, Courtesy Gallery FIFTY ONE Barcelona, May 21.- The Foto Colectania Foundation, thanks to the main collaboration of the Banco Sabadell Foundation, will inaugurate the exhibition SAUL LEITER: In search of Beauty on June 29. The exhibition has been organized with the Saul Leiter Foundation of New York and curated by Roger Szmulewicz. For six decades the work of Saul Leiter (Pittsburg, 1923 - New York, 2013) fell almost into oblivion. The artist exhibited some photographs in 1953 at the MoMA in New York as part of a collective exhibition organized by Edward Steichen, but apart from his successful career in the 60s and 70s in the world of fashion, his work remained virtually unknown until very little. Several factors contributed to this oblivion, one of them Leiter's disdain for self-promotion. Finally, in 2006, a monograph by Leiter, Early Color, with images from the 40s and 50s, was published, which instantly elevated him to the category of precursor and master of color photography. This was followed by other monographs and international exhibitions, including the Henri Cartier-Bresson Foundation in Paris, the Museum de l'Elysée in Lausanne, the Deichtorhallen in Hamburg, The Photographer's Gallery in London or Bunkamura in Tokyo. -
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. -
SAUL LEITER Du 17 Janvier Au 13 Avril 2008
dossier de presse SAUL LEITER du 17 janvier au 13 avril 2008 vernissage presse le mercredi 16 janvier de 10h à 12h en présence de l’auteur contact presse : Pauline VERMARE Fondation HCB, 2 impasse Lebouis, 75014 Paris T +33 1 56 80 27 03 / F +33 1 56 80 27 01 / [email protected] sommaire communiqué de presse............................................................................................p. 3 introduction d’Agnès Sire, commissaire de l’exposition ............................................p. 5 catalogue de l’exposition (Steidl)..............................................................................p.7 biographie, bibliographie..........................................................................................p. 8 visuels libres de droits..............................................................................................p. 10 les conversations de la Fondation HCB ...................................................................p.12 infos utiles................................................................................................................p.13 communiqué de la Fondation HCB ..........................................................................p.14 partenaire média......................................................................................................p.15 Saul Leiter à la Fondation HCB, 2 impasse Lebouis, 75014, Paris, 17 janvier – 13 avril 2008 – www.henricartierbresson.org 2 Saul Leiter 17 janvier – 13 avril 2008 Saul Leiter a réalisé ses premières -
The Family of Man
The Family of Man A Reappraisal of “The Greatest Exhibition of All Time” __________________________________________________________________ Bill Jay An exhibition of photographs, called The Family of Man, opened at the Museum of Modern Art, New York, on 26 January 1955. It subsequently traveled to several cities in the USA and then to 69 exhibition venues in 37 foreign countries. Measured by the number of people who visited the exhibition, or bought its catalog, The Family of Man is probably the most successful exhibition in the history of photography. It is also, probably, the most controversial - in the sense that serious photographers seem to still disparage the exhibition’s intents and achievements whenever its name is mentioned. This fact, in itself, is significant when the exhibition is more than 30 years old. In addition there are many middle-aged photographers who might have been too young in 1955 (or were uninterested in photography at the time) who did not see the exhibition yet still hold vague prejudices against the show due to picking up assumptions and insinuations through their conversations or readings. Then again, there is the new generation of photographers who may never have heard of The Family of Man. For the latter, especially, it is necessary to itemize a few facts about The Family of Man, and the astonishing nature of its success, before examining the reasons for its low esteem among the photo-intelligentsia. The Family of Man was organized by Edward Steichen who had been the Director of the Department of Photography at The Museum of Modern Art since July 1947. -
2010 Annual Report
10 annual report 2010 annual report 2010 annual report 6 Board of Trustees 9 President and Chairman’s Report 10 Director’s Report 12 2010 Breakdown 14 Curatorial Report 17 Exhibitions 20 Publications 23 Loans 27 Acquisitions 3 5 Education and Public Programs 36 Development 40 Donors 54 Docents and Volunteers 57 Staff 60 Financial Report cover Ted Croner, Times Square Montage, 1947 (detail). Purchase, Leonard and Bebe LeVine Art Acquisition Fund. Full credit listing on p. 30. left David Lenz, Sam and the Perfect World, 2005 (detail). Purchase, with funds from the Linda and Daniel Bader Foundation, Suzanne and Richard Pieper, and Barbara Stein. Full credit listing on p. 27. Unless otherwise noted, all photographs of works in the Collection are by John R. Glembin. 6 | board of trustees Through August 31, 2010 BOARD OF TRUSTEES Mary M. Strohmaier Anthony J. Petullo Photography Committee W. Kent Velde Christine Symchych Richard R. Pieper Kevin Miyazaki Chairman Stacy G. Terris Sandra Robinson Chair Raymond R. Krueger Frederick Vogel IV Reva Shovers Carol Lewensohn Beth R. Wnuk Christine Symchych President Vice Chair Jeffery W. Yabuki Frederick Vogel III Betty Ewens Quadracci Andrew A. Ziegler Robert A. Wagner Warren Blumenthal Secretary Barbara Ciurej Danny L. Cunningham COMMITTEES OF THE ACQuisitioNS AND George A. Evans, Jr. BOARD OF TRUSTEES CollectioNS Committee Treasurer F. William Haberman Subcommittees Lindsay Lochman Frederic G. Friedman EXecutiVE Committee Decorative Arts Madeleine Lubar Assistant Secretary and Raymond R. Krueger Committee Marianne Lubar Chair Legal Counsel Constance Godfrey Cardi Smith Christopher S. Abele Members at LarGE Chair Christine Symchych Donald W.