Archive for the 'William Eggleston' Category

24
Dec
13

Exhibition: ‘A Democracy of Images: Photographs from the Smithsonian American Art Museum’ at the Smithsonian American Art Museum, Washington DC

Exhibition dates: 28th June 2013 – 5th January 2014
1st floor West, American Art Museum (8th and F Streets, N.W.)

Browse the exhibition and related works on the exhibition website

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The next two weeks sees a lot of exhibitions finish their run on the 5th January 2014.

Here is a bumper posting which contains one of my favourite photographs of all time: Danny Lyon’s Crossing the Ohio River, Louisville (1966, below). From a distance, this looks to be a very interesting exhibition on a large topic, delineated for the viewer into four main sections. The task of the curator cannot have been easy, picking 113 images to represent a “democracy” of images out of a collection of over 7,000 images. Of course there can never be a true “democracy” of images as some will always be more valued within our culture than others. There is a meritocracy in this exhibition which features images by masters of the medium but this is balanced by the inclusion of images by anonymous photographers, little known photographers and vernacular and street photography.

What is most impressive is the specially developed website which includes many images from the different sections of the exhibition. These images are of good quality and, along with relevant text, help the viewer place the images in context. Related content is also suggested from the full photographic collection at The Smithsonian which has been placed online with good image quality. This is a far cry from many exhibitions at state galleries in Australia where there are hardly any dedicated exhibition websites. Most of the photographic collection from these galleries is not available online and if it has been scanned, the image quality is generally poor. How many times have I searched a state gallery or library collection and come up with the answer: “Image not available” ?

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Many thankx to the Smithsonian American Art Museum for allowing me to publish the photographs and text in the posting. Please click on the photographs for a larger version of the image.

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“More often, though, the moments, places, people and views that have been collected here feel offhand and stumbled upon, telling a fragmentary, incomplete tale. Sometimes it’s literally a glance, as in “Girl Holding Popsicle,” a 1972 image by Mark Cohen, who rarely even looked through his viewfinder. Other times, it’s more like a long stare, as in William Christenberry’s 1979 “China Grove Church – Hale County, Alabama,” a locale that the Washington-based artist and Alabama native returned to again and again. These 113 pictures are, at the same time, quietly telling, revealing bits of America in oblique, prismatic ways.”

Part of Michael O’Sullivan’s review of the exhibition in The Washington Post.

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American Characters

Photographers have captured the texture of everyday life since the medium’s arrival in the United States in 1839. Photographic portraits have made both the iconic and the commonplace serve as stand-ins for all of us, forging a shared language of political and social understanding. In charting the passing parade of history – the faces of the anonymous and the famous; evolving stories of immigration, disenfranchisement, and assimilation; as well as emblematic objects and celebrated landmarks lodged within our collective memory – photographs reveal the complexities of America.

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Unidentified artist. '[Bird in Basin with Thread Spool and Patterned Cloth]' c. 1855

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Unidentified artist
[Bird in Basin with Thread Spool and Patterned Cloth]
c. 1855
Daguerreotype
Plate: 2 3/4 x 3 1/4 in. (6.9 x 8.2 cm.)
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.193

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Larry Sultan (born New York City 1946 - died Greenbrae, CA 2009) 'Portrait of My Father with Newspaper' 1988

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Larry Sultan (born New York City 1946 – died Greenbrae, CA 2009)
Portrait of My Father with Newspaper
1988
Chromogenic print
Image: 28 5/8 x 34 5/8 in. (72.7 x 87.9 cm.)
Smithsonian American Art Museum
Gift of Nan Tucker McEvoy, 1989.58
© 1988, Larry Sultan

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In Portrait of My Father with Newspaper, Irving Sultan reads the Los Angeles Times as light pours in behind him. This carefully composed portrait reveals the artist’s father almost entirely through reflections and shadows. Thin newsprint shields his body from the camera, while only a vague profile of his face is discernible on the right half of the spread. Prompted by the discovery of a box of home movies, Larry Sultan embarked on an eight-year enquiry into his parents’ lives. He stayed in their home for weeks at a time, interviewing them about their marriage and photographing their domestic activities.

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Eugene Richards (born Boston, MA 1944) 'Untitled (Dorchester, Mass.)' 1975

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Eugene Richards (born Boston, MA 1944)
Untitled (Dorchester, Mass.)
1975
Gelatin silver print
Image: 8 x 12 in. (20.3 x 30.5 cm) sheet: 11 x 14 in. (27.9 x 35.6 cm)
Smithsonian American Art Museum
Transfer from the National Endowment for the Arts, 1983.63.1168
© 1974, Eugene Richards

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Mark Cohen (born Wilkes-Barre, PA 1943) 'Girl Holding Popsicle' 1972, printed 1983

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Mark Cohen (born Wilkes-Barre, PA 1943)
Girl Holding Popsicle
1972, printed 1983
Gelatin silver print
Sheet: 14 x 17 in. (35.5 x 43.2 cm.)
Smithsonian American Art Museum
Gift of Dene and Mel Garbow, 1992.73.4
© 1972, Mark Cohen

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In Girl Holding Popsicle a young girl twists shyly as she poses before a graffiti-inscribed brick wall. Mark Cohen took this photograph spontaneously as he passed through a back alley. Cohen does not hesitate to get assertively close to the strangers he meets in his hometown of Wilkes-Barre, Pennsylvania. Many of his photographs are made without looking through a viewfinder, and so remain a mystery even to Cohen until they are developed.

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Unidentified artist. '[Gold Nugget]' c. 1860s

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Unidentified artist
[Gold Nugget]
c. 1860s
Albumen silver print
Image: 2 1/8 x 3 5/8 in. (5.4 x 9.2 cm) sheet: 2 3/8 x 3 7/8 in. (6.1 x 9.8 cm) irregular
Smithsonian American Art Museum
Gift of Charles Isaacs and Carol Nigro, 2006.36.1

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Mathew B. Brady (born Lake George, NY 1823 - died New York City 1896) 'Reviewing Stand in Front of the Executive Mansion, Washington, D.C., May, 1865' 1865, printed early 1880s

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Mathew B. Brady (born Lake George, NY 1823 – died New York City 1896)
Reviewing Stand in Front of the Executive Mansion, Washington, D.C., May, 1865
1865, printed early 1880s
Albumen silver print
Sheet and image: 6 1/2 x 9 in. (16.5 x 22.9 cm)
Smithsonian American Art Museum
Museum purchase through the Julia D. Strong Endowment, 2007.6

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Kevin Bubriski (born North Adams, MA 1954) 'World Trade Center Series, New York City' 2001

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Kevin Bubriski (born North Adams, MA 1954)
World Trade Center Series, New York City
2001
Gelatin silver print
Image: 18 x 18 in. (45.7 x 45.7 cm)
Smithsonian American Art Museum
Gift of the Consolidated Natural Gas Company Foundation, 2003.65.1
© 2001, Kevin Bubriski

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In the weeks and months following the World Trade Center attacks on September 11, 2001, Kevin Bubriski photographed people who gathered at Ground Zero. Frozen in awe, struck with disbelief, and overcome with loss, people stood before the destroyed building site to confront the horrible tragedy. More than ten years later, Bubriski’s photographs preserve the emotional impact of this infamous day through images of those who witnessed its aftermath first-hand.

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Deborah Luster (born Bend, OR 1951) '01-26 Location. 1800 Leonidas Street (Carrollton) Date(s). July 14, 2009 7:55 a.m. Name(s). Brian Christopher Smith (22) Notes. Face up with multiple gunshot wounds' 2008-2012

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Deborah Luster (born Bend, OR 1951)
01-26 Location. 1800 Leonidas Street (Carrollton) Date(s). July 14, 2009 7:55 a.m. Name(s). Brian Christopher Smith (22) Notes. Face up with multiple gunshot wounds
2008-2012
Gelatin silver print
55 x 55 in. (139.7 x 139.7 cm)
Smithsonian American Art Museum
Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2013.43, © 2010, Deborah Luster

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This photograph, from a series that documents contemporary and historical homicide sites in New Orleans, presents Deborah Luster’s interpretation of the last view of the crime victim lying face up on the ground. The title is the entry from the New Orleans Police blotter, but the photograph is Luster’s meditation on looking, seeing, and the power of images to haunt our imagination.

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Unidentified artist. '[Two Workmen Polishing a Stove]' c. 1865

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Unidentified artist
[Two Workmen Polishing a Stove]
c. 1865
Albumen silver print
Sheet and image: 14 1/8 x 11 in. (35.9 x 28.0 cm.)
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.220

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Anthony Barboza (born New Bedford, MA 1944) '"Marvelous" Marvin Hagler, boxer' 1981

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Anthony Barboza (born New Bedford, MA 1944)
“Marvelous” Marvin Hagler, boxer
1981
Gelatin silver print
Image: 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm)
Smithsonian American Art Museum
Gift of Kenneth B. Pearl, 1997.118.2, © 1981, Anthony Barboza

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Edward S. Curtis (born Whitewater, WI 1868 - died Los Angeles, CA 1952) 'Girl and Jar - San Ildefonso' 1905

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Edward S. Curtis (born Whitewater, WI 1868 – died Los Angeles, CA 1952)
Girl and Jar – San Ildefonso
1905
Photogravure
Sight 16 5/8 x 12 1/4 in. (12.3 x 31.1 cm.)
Smithsonian American Art Museum
Transfer from the United States Marshal Service of the U.S. Department of Justice, 1988.5.18

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Between 1900 and 1930, Edward S. Curtis traveled across the continent photographing more than seventy Native American tribes. The photographs, compiled into twenty volumes, presented daily activities, customs, and religions of a people he called “a vanishing race.” Curtis hoped to preserve the legacy of Native peoples in lasting images. To this end, Curtis often costumed his subjects and set up scenes, mixing tribal artifacts and traditions to match his romantic vision of the people he studied. In this intimate portrait, a young Tewa woman named Povi-Tamu (“Flower Morning”) balances a large jug with help from a hidden fiber ring. She is from the San Ildefonso Pueblo of New Mexico, which is famed for its rich tradition of fine pottery. Curtis associated the serpentine design of the vessel with the serpent cult, which he noted was central to Tewa life.

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Oliver H. Willard (died 1875) 'Portrait of a Young Woman' c. 1857

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Oliver H. Willard (died 1875)
Portrait of a Young Woman
c. 1857
Salted paper print
8 7/8 x 6 3/4 in. (22.5 x 17.1 cm)
Smithsonian American Art Museum
Museum purchase through the Horace W. Goldsmith Foundation, 1999.29.1

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Spiritual Frontier

The earliest photographs made in America describe an awesome land blessed with such an abundance of natural beauty that it seemed heaven sent. Images of waterfalls, mountains, and vast open spaces conveyed the beauty, the grandeur, the sublimity, and dynamics of a great spiritual endeavor. In the nineteenth century photographers pictured wilderness landscapes that symbolized American greatness. More recently, photographers have described a landscape no less romantic, but now recalibrated to account for the interaction of nature and culture.

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Eadweard Muybridge (born Kingston-upon-Thames, England 1830 - died Kingston-upon-Thames, England 1904) 'Valley of the Yosemite from Union Point' 1872

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Eadweard Muybridge (born Kingston-upon-Thames, England 1830 – died Kingston-upon-Thames, England 1904)
Valley of the Yosemite from Union Point
1872
Albumen silver print
Sheet: 17 x 21 1/2 in. (43.2 x 54.6 cm.)
Smithsonian American Art Museum
Gift of Dr. and Mrs. Charles T. Isaacs, 1994.89.1

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Eadweard Muybridge went to great lengths to photograph the best possible views of the West. He chopped down trees if they obstructed his camera, and ventured to “points where his packers refused to follow him.” Muybridge was determined to produce the most comprehensive photographs ever made of Yosemite and the surrounding region. His views were sold widely in both large-format prints and stereograph cards, which are viewed through a device that creates the illusion of three-dimensional space. This allowed Muybridge to transport his audience, if just for a moment, to a faraway place caught on film.

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Robert Frank (born Zurich, Switzerland 1924) 'Butte, Montana' 1956, printed 1973

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Robert Frank (born Zurich, Switzerland 1924)
Butte, Montana
1956, printed 1973
Gelatin silver print
Image: 8 3/4 x 13 in. (22.2 x 33.0 cm.)
Smithsonian American Art Museum
Museum purchase, 1974.31.2

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Robert Adams (born Orange, NJ 1937) 'New Housing, Longmont, Colorado' 1973

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Robert Adams (born Orange, NJ 1937)
New Housing, Longmont, Colorado
1973
Gelatin silver print
Sheet: 6 x 7 5/8 in. (15.1 x 19.3 cm)
Smithsonian American Art Museum
Transfer from the National Endowment for the Arts, 1983.63.9
© 1973, Robert Adams

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As both a photographer and writer, Robert Adams is committed to describing the western American landscape as both awe-inspiring and scarred by man. In New Housing, Longmont Colorado, Adams contrasted the vast space of the distant landscape view with a foreground image of the wall of a newly constructed suburban tract house. Adams invites a consideration of the balance between myth and reality and the land as home as well as scenic backdrop.

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Charles L. Weed (born New York City 1824 - died Oakland, CA 1903) 'Mirror Lake and Reflections, Yosemite Valley, Mariposa County, California' 1865

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Charles L. Weed (born New York City 1824 – died Oakland, CA 1903)
Mirror Lake and Reflections, Yosemite Valley, Mariposa County, California
1865
Albumen silver print
Sheet and image: 15 1/2 x 20 1/4 in. (39.4 x 51.4 cm.)
Smithsonian American Art Museum
Gift of Dr. and Mrs. Charles T. Isaacs, 1994.89.5

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Like Carleton Watkins, his better-known competitor, Charles Weed recognized the pictorial dividend to be gained by showing Yosemite’s glorious geological features in duplicate, using the valley’s lakes as reflecting ponds. Weed first traveled to what was then known as “Yo-Semite,” in 1859, but with a relatively small camera; he returned in 1865 with a larger model capable of using what were called mammoth plates. Like Watkins, he sold his prints to buyers eager to own a photograph of majestic natural beauty.

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Ansel Adams (born San Francisco, CA 1902 - died Monterey, CA 1984) 'Monolith: The Face of Half Dome, Yosemite Valley' 1926-1927, printed 1927

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Ansel Adams (born San Francisco, CA 1902 – died Monterey, CA 1984)
Monolith: The Face of Half Dome, Yosemite Valley
1926-1927, printed 1927
Gelatin silver print
Sheet: 11 7/8 x 9 7/8 in. (30.2 x 25.1 cm.)
Smithsonian American Art Museum
Museum purchase, 1992.101.3, © 2013 The Ansel Adams Publishing Rights Trust

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At just over 4,700 feet above the valley, Half Dome is the most iconic rock formation in Yosemite National Park. Adams squeezed the monolith into the frame to emphasize the majesty of its scale and the drama of its cliff. As it thrusts out of the brilliant white snow, Half Dome stands as a symbol of the unspoiled western landscape. Ansel Adams made his first trip to the Sierra Nevada mountain range when he was fourteen years old, and he returned every year until the end of his life, often for month-long stretches. Throughout his career Adams traveled widely – from Hawaii to Maine – to photograph the most picturesque vistas in America. After his death in 1984, a section of the Sierra Nevada was named the Ansel Adams Wilderness in his honor.

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John Pfahl (born New York City 1939) 'Goodyear #5, Niagara Falls, New York' 1989

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John Pfahl (born New York City 1939)
Goodyear #5, Niagara Falls, New York
1989
Chromogenic print
Sheet: 20 x 24 in. (50.8 x 61.0 cm.)
Smithsonian American Art Museum
Gift of the Consolidated Natural Gas Company Foundation, 1991.27.3, © 1989, John Pfahl

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John Pfahl’s photographs embody the conflict between progress and preservation. Throughout the 1980s he focused on oil refineries and power plants. He chose the sites strategically based on their location in picturesque landscapes, where he observed a “transcendental” connection between industry and nature. In Goodyear #5 a nuclear power plant occupies the horizon. The setting sun provides a romantic color palette as light filters through clouds of billowing steam. The landscape is reduced to an abstract composition that celebrates color and texture. Pfahl’s intention with this series, titled Smoke, was to “make photographs whose very ambiguity provokes thought.” This photograph complicates popular notions of power plants by revealing an uncommonly beautiful view of a controversial structure.

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“A Democracy of Images: Photographs from the Smithsonian American Art Museum celebrates the numerous ways in which photography, from early daguerreotypes to contemporary digital works, has captured the American experience. The photographs presented here are selected from the approximately 7,000 images collected since the museum’s photography program began thirty years ago, in 1983. Ranging from daguerreotype to digital, they depict the American experience and are loosely grouped around four ideas: American Characters, Spiritual Frontier, America Inhabited, and Imagination at Work.

The exhibition’s title is inspired by American poet Walt Whitman’s belief that photography provided America with a new, democratic art form that matched the spirit of the young country and his belief that photography was a quintessentially American activity, rooted in everyday people and ordinary things and presented in a straightforward way. Known as the “poet of democracy,” Whitman wrote after visiting a daguerreotype studio in 1846: “You will see more life there – more variety, more human nature, more artistic beauty… than in any spot we know.” At the time of Whitman’s death, in 1892, George Eastman had just introduced mass market photography when he put an affordable box camera into the hands of thousands of Americans. The ability to capture an instant of lasting importance and fundamental truth mesmerized Americans then and continues to inspire photographers working today. Marking the thirtieth anniversary of the establishment of the museum’s pioneering photography collection, the exhibition examines photography’s evolution in the United States from a documentary medium to a full-fledged artistic genre and showcases the numerous ways in which it has distilled our evolving idea of “America.”

The exhibition features 113 photographs selected from the museum’s permanent collection, including works by Edward S. Curtis, Timothy H. O’SullivanBerenice AbbottDiane ArbusRoy DeCaravaWalker Evans,Irving PennTrevor Paglen, among others, as well as vernacular works by unknown artists. A number of recent acquisitions are featured, including works by Ellen CareyMitch EpsteinMuriel HasbunAlfredo Jaar, Annie Leibovitz, Deborah Luster, and Sally Mann. Landscapes, portraits, documentary-style works from the New York Photo League and images from surveying expeditions sent westward after the Civil War are among the images on display, and explore how photographs have been used to record and catalogue, to impart knowledge, to project social commentary, and as instruments of self-expression.

Photography’s arrival in the United States in 1840 allowed ordinary people to make and own images in a way that had not been previously possible. Photographers immediately became engaged with the life of the emerging nation, the activity of new urban centers, and the possibilities of unprecedented access to the vast western frontier. From the nineteenth to the twentieth century, photography not only captured the country’s changing cultural and physical landscape, but also developed its own language and layers of meaning.

A Democracy of Images: Photographs from the Smithsonian American Art Museum is organized around four major themes that defined American photography. “American Characters” examines the ways in which photographs of individuals, places, and objects become a catalogue of our collective memory and have contributed to the ever-evolving idea of the American character. “Spiritual Frontier” investigates early ideas of a vast, inexhaustible wilderness that symbolized American greatness. “America Inhabited” traces the nation’s rapid industrialization and urbanization through images of speed, change, progress, immigration, and contemporary rural, urban, and suburban landscapes. “Imagination at Work” demonstrates how photography’s role of spontaneous witness gradually gave way to contrived arrangement and artistic invention. The exhibition is organized by Merry Foresta, guest curator and independent consultant for the arts. She was the museum’s curator of photography from 1983 to 1999.

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Connecting online
A complementary website designed for viewing on tablets includes photographs on view in the exhibition, an expanded selection of works from the museum’s collection and a timeline of American photography. It is available through tablet stations in the exhibition galleries, online, and on mobile devices.”

Press release from the Smithsonian American Art Museum website

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America Inhabited

Photography’s early presence in America coincided with the rise of an industrial economy, the growth of major urban population centers, and the fulfilling of what some saw as the Manifest Destiny of spanning the continent from sea to sea. Images of progress and industry, as well as of city and suburbs, quickly added themselves to photography’s catalogue of places and people. Some of these images reflect idealistically, and at times nostalgically, on the beauty and humanity of our own backyards. Others stand as social documents that can be seen as critical and ironic, inviting outrage as well as compassion about the way we now live our lives.

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Helen Levitt (born New York City 1913 - died New York City 2009) 'New York' c. 1942, printed later

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Helen Levitt (born New York City 1913 – died New York City 2009)
New York
c. 1942, printed later
Gelatin silver print
Image: 7 1/8 x 10 1/2 in. (18.1 x 26.6 cm.)
Smithsonian American Art Museum
Museum purchase, 1984.16.4, © 1981, Helen Levitt

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Caught before they run off into the streets, three masked youngsters pause on their front stoop. Expressive postures and mysterious disguises give this trio a theatrical quality. Helen Levitt, who found poetry in the uninhibited gestures of children, used a right-angle viewfinder to capture boys and girls roaming freely and playing with found objects. Working in New York City during the years surrounding World War II, her photographs show the drama of life that unfolded on the sidewalks of poor and working-class neighborhoods.

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Louis Faurer (born Philadelphia, PA 1916 - died New York City 2001) 'Broadway, New York, N.Y.' 1949-1950, printed 1980-1981

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Louis Faurer (born Philadelphia, PA 1916 – died New York City 2001)
Broadway, New York, N.Y.
1949-1950, printed 1980-1981
Gelatin silver print
Image: 8 3/8 x 12 9/16 in. (21.3 x 32 cm)
Smithsonian American Art Museum
Gift of David L. Davies and John D. Weeden and museum purchase, 2002.47.6, © Estate of Louis Faurer

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Danny Lyon (born New York City 1942) 'Crossing the Ohio River, Louisville' 1966, printed 1985

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Danny Lyon (born New York City 1942)
Crossing the Ohio River, Louisville
1966, printed 1985
Gelatin silver print
Image: 8 3/4 x 12 7/8 in. (22.2 x 32.7 cm.)
Smithsonian American Art Museum
Museum purchase made possible by Mrs. Marshall Langhorne, 1988.52.8, Photo courtesy Edwynn Houk Gallery and Dektol.wordpress.com

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William Eggleston (born Memphis, TN 1939) 'Tricycle (Memphis)' about 1975, printed 1980

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William Eggleston (born Memphis, TN 1939)
Tricycle (Memphis)
about 1975, printed 1980
Dye transfer print
Smithsonian American Art Museum, Gift of Amy Loeserman Klein, 1985.87.12

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An ordinary tricycle is made monumental in this playful color photograph. Taken from below, it suggests a child’s perspective – elevating this rusty tricycle to a symbol of innocence and freedom. The quiet Memphis suburb in the background typifies the safe neighborhoods where children could spend hours playing after school. This print was made with the expensive and exacting dye imbibition process, which was typically used for fashion and advertising at the time. Eggleston began experimenting with color photography in the mid-1960s. Inspired by trips to a commercial photography lab, he developed an approach that imitates the random, imperfect style of amateur snapshots to describe his immediate surroundings combined with a keen interest in the effects of color.

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Tina Barney (born New York City 1945) 'Marina's Room' 1987

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Tina Barney (born New York City 1945)
Marina’s Room
1987
Chromogenic print
Sheet: 48 x 60 in. (121.9 x 52.3 cm.)
Smithsonian American Art Museum
Museum purchase, 1989.5, © 1987, Tina Barney, Courtesy Janet Borden, Inc.

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Aaron Siskind (born New York City 1903 - died Providence, RI 1991) 'Untitled' 1937, printed later

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Aaron Siskind (born New York City 1903 – died Providence, RI 1991)
Untitled
1937, printed later
Gelatin silver print
Sheet: 10 x 14 in. (25.4 x 35.5 cm.)
Smithsonian American Art Museum
Gift of Tennyson and Fern Schad, courtesy of Light Gallery, 1990.73.4, © 1940, Aaron Siskind

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In this untitled photograph Aaron Siskind focused on the regular grid of boarded-up windows on a derelict tenement building. Once portals into intimate domestic spaces, the windows represent loss in a community plagued by poverty, unemployment, and racial discrimination. Building upon the traditions of social documentary photographers before him, Siskind used his camera to raise public awareness of Harlem’s struggle, even as he created a modernist work of art.

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Walker Evans (born St. Louis, MO 1903 - died New Haven, CT 1975) 'Kitchen Wall, Alabama Farmstead' 1936, printed 1974

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Walker Evans (born St. Louis, MO 1903 – died New Haven, CT 1975)
Kitchen Wall, Alabama Farmstead
1936, printed 1974
Gelatin silver print
Sheet and image: 9 3/8 x 12 in. (23.9 x 30.5 cm)
Smithsonian American Art Museum
Gift of Lee and Maria Friedlander, 2006.13.1.8

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During the summer of 1936, Walker Evans joined writer James Agee in rural Alabama to work on a magazine assignment on cotton farming. Evans and Agee met with three tenant farm families and documented every detail of their experiences. The result, which the magazine declined to publish, was released as the book Let Us Now Praise Famous Men in 1941. It contains some of the most iconic and contentious photographs to document the Great Depression. Kitchen Wall, Alabama Farmstead reads like a modern novel. Every crack in the wood, every speck of paint tells part of the story. Evans drew special attention to the scarcity of cooking tools at the family’s disposal. These everyday utensils illustrate a metaphor for the struggle to meet basic needs.

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Judy Fiskin (born Chicago, IL 1945) 'Long Beach Pike (broken fence)', from the 'Long Beach, California Documentary Survey Project' 1980

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Judy Fiskin (born Chicago, IL 1945)
Long Beach Pike (broken fence), from the Long Beach, California Documentary Survey Project
1980
Gelatin silver print
Image: 2 1/2 x 2 1/2 in. (6.2 x 6.2 cm)
Smithsonian American Art Museum
Transfer from the National Endowment for the Arts, 1983.63.505, © 1980, Judy Fiskin

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For this series, sponsored by the National Endowment of the Art’s Long Beach Documentary Survey Project, Judy Fiskin focused on the Long Beach Pike, an amusement park that was demolished soon after she made the photographs. By printing in high contrast and restricting the scale of her prints, Fiskin reduced form to its bare essentials. Devoid of superfluous detail, these photographs appear more like conjured images than documents of reality. Judy Fiskin systematically catalogues the world of architecture and design in order to study variations of historical styles. Her series carefully investigate esoteric subjects such as military base architecture, “dingbat” style houses in southern California, and the art of flower arranging.

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Berenice Abbott (born Springfield, OH 1898-died Monson, ME 1991) 'Brooklyn Bridge, Water and Dock Streets, Brooklyn' 1936

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Berenice Abbott (born Springfield, OH 1898-died Monson, ME 1991)
Brooklyn Bridge, Water and Dock Streets, Brooklyn
1936
Gelatin silver print
Sheet: 18 x 14 3/8 in. (45.7 x 36.6 cm.)
Smithsonian American Art Museum
Transfer from the Evander Childs High School, Bronx, New York through the General Services Administration, 1975.83.10

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Berenice Abbott returned home in 1929 after nearly eight years abroad and found herself fascinated by the rapid growth of New York City. She saw the city as bristling with new buildings and structures which seemed to her as solid and as permanent as a mountain range. Aiming to capture “the past jostling the present,” Abbott spent the next five years on a project she called Changing New York. In Brooklyn Bridge, Water and Dock Streets, Brooklyn, Abbott presented a century of history in a single image. The Brooklyn Bridge, once a marvel of modern engineering, seems dark and heavy compared with the skeletal structure beneath it. The construction site at center suggests the never-ending cycle of death and regeneration. And the Manhattan skyline, veiled and weightless, hangs just out of reach, its shape accommodating the ambitious spirit of American modernism.

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Robert Disraeli (born Cologne, Germany 1905 - died 1987) 'Cold Day on Cherry Street' 1932

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Robert Disraeli (born Cologne, Germany 1905 – died 1987)
Cold Day on Cherry Street
1932
Gelatin silver print
Image and sheet: 14 x 11 in. (35.5 x 28.0 cm.)
Smithsonian American Art Museum
Museum purchase made possible by Mr. and Mrs. G. Howland Chase, Mrs. James S. Harlan (Adeline M. Noble Collection), Lucie Louise Fery, Berthe Girardet, and Mrs. George M. McClellan, 1990.19.9, © 1932, Robert Disraeli

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Imagination at Work

Nineteenth-century French commentator Alexis de Tocqueville observed that in America, nothing is ever quite what it seems. Yet the idea that “seeing is believing” is deeply ingrained in the American character. By yoking together style and subject under the guise of the real, today’s photographers borrow from photography’s rich past while embracing the conceptual framework of contemporary art. They read reality as something on the surface of a picture or, more complexly, as something located in the mind of its beholder.

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Sonya Noskowiak (born Leipzig, Germany 1900 - died Greenbrae, CA 1975) 'Calla Lily' c. 1930s

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Sonya Noskowiak (born Leipzig, Germany 1900 – died Greenbrae, CA 1975)
Calla Lily
c. 1930s
Gelatin silver print
Sheet: 7 3/8 x 9 3/4 in. (18.8 x 24.7 cm.)
Smithsonian American Art Museum
Museum purchase made possible through Deaccession Funds, 1986.54

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Ray K. Metzker (born Milwaukee, WI 1931) 'Composites: Philadelphia (Car and Street Lamp)' 1966

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Ray K. Metzker (born Milwaukee, WI 1931)
Composites: Philadelphia (Car and Street Lamp)
1966
Gelatin silver prints
Image: 25 3/8 x 17 3/4 in. (64.5 x 45.0 cm.)
Smithsonian American Art Museum
Museum purchase, 1984.57.1, © 1966, Ray K. Metzker

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Ray Metzker’s Composites series, begun in 1964, connected in a dramatic fashion his interests in contrasts of light and shadow, his strong sense of design, and his earlier explorations of the multiple image. Metzker studied at Chicago’s Institute of Design, where a rigorously formal, problem-solving approach to photography was taught. For this series he assembled grids of individual photographs to create complex image-fields. When viewed from a distance, this work reads as an abstract, rhythmic pattern of light and dark. On closer inspection, however, many crisply descriptive images are revealed. The Composites function somewhat like short filmstrips. The mystery of these brief narratives is exaggerated by the repetitive design and provides a unique opportunity, in Metzker’s words, “to deal with complexity of succession and simultaneity, of collected and related moments.”

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Irving Penn (born Plainfield, NJ 1917 - died New York City 2009) 'Mud Glove - New York' 1975, printed 1976

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Irving Penn (born Plainfield, NJ 1917 – died New York City 2009)
Mud Glove – New York
1975, printed 1976
Platinum-palladium print
Sheet and image: 29 3/4 x 22 1/4 in. (75.5 x 56.5 cm.)
Smithsonian American Art Museum
Gift of the artist, 1988.83.39

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Irving Penn was one of the most important and influential photographers of the twentieth century. In a career that spanned almost seventy years, Penn worked across multiple genres, from celebrity portraits to fashion, from still lives to images of native cultures in remote places of the world. Throughout his career Penn also worked on a series of photographs of discarded objects: things that had been lost, neglected, or misused. Printed in platinum, these detailed photographs of objects such as a lost glove found in the gutter, are Penn’s photographic memento mori, offering beauty compromised by age or disuse.

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Edward Weston (born Highland Park, IL 1886 - died Carmel, CA 1958) 'Pepper no. 30' 1930

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Edward Weston (born Highland Park, IL 1886 – died Carmel, CA 1958)
Pepper no. 30
1930
Gelatin silver print
Sheet: 9 1/2 x 7 1/2 in. (24.3 x 19.2 cm.)
Smithsonian American Art Museum
Museum purchase, 1985.56

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Imogen Cunningham (born Portland, OR 1883 - died San Francisco, CA 1976) 'Auragia' 1953, printed c. 1960s

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Imogen Cunningham (born Portland, OR 1883 – died San Francisco, CA 1976)
Auragia
1953, printed c. 1960s
Gelatin silver print
Sheet and image: 11 1/8 x 8 3/4 in. (28.3 x 22.2 cm)
Smithsonian American Art Museum
Gift of Charles Isaacs and Carol Nigro, 2007.37.2

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Ellen Carey (born New York City 1952) 'Dings and Shadows' 2012

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Ellen Carey (born New York City 1952)
Dings and Shadows
2012
Chromogenic print
Sheet and image: 40 x 30 in. (101.6 x 76.2 cm)
Smithsonian American Art Museum
Gift of Linda Cheverton Wick and Walter Wick, 2013.29
© 2012, Ellen Carey

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Ellen Carey created the series she calls Dings and Shadows by exposing photosensitive paper to light projected through primary and complementary color filters. The artist first folds and crushes paper; then after exposing the paper to light from a color enlarger, flattens it out again for processing. In doing so, Carey dissects the process of developing film, and evokes the hand-crafted nature of early photographic techniques.

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Some images from the Timeline on the website

1843

Daguerreotypists Albert S. Southworth and Josiah Johnson Hawes begin a partnership, establishing Southworth & Hawes as the most highly regarded portrait studio in Boston, Mass. The studio caters to the city’s elite, and is visited by Charles Dickens, Ralph Waldo Emerson, and Oliver Wendell Holmes, among many other influential people of the time.

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Albert Sands Southworth and Josiah Johnson Hawes. 'A Bride and Her Bridesmaids' 1851

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Albert Sands Southworth and Josiah Johnson Hawes
A Bride and Her Bridesmaids
1851
Daguerreotype
Smithsonian American Art Museum
Museum purchase made possible by Walter Beck, 2000.110

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1853

The New York Daily Tribune estimates that in the United States, three million daguerreotypes are being produced annually.

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Unidentified artist. 'Mother and Son' c. 1855

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Unidentified artist
Mother and Son
c. 1855
Daguerreotype with applied color
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.192

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1857

Julian Vannerson and Samuel Cohner make the first systematic photographs of Native American delegations to visit Washington, D.C. They photograph ninety delegates representing thirteen tribes who conduct treaty and other negotiations with government officials.

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Julian Vannerson. 'Shining Metal' 1858

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Julian Vannerson
Shining Metal
1858
Salted paper print
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment

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1861

American Civil War begins with shots fired on Fort Sumter by Confederate troops. Portrait photographer Mathew Brady is given permission by President Abraham Lincoln to photograph the First Battle of Bull Run, but comes so close to the battle that he narrowly avoids capture. Using paid assistants Alexander Gardner, Timothy O’Sullivan, George N. Barnard, and others, Brady’s studio makes thousands of photos of the sites, material, and people of the war. Civilian free-lance photographer Egbert Guy Fowx sells numerous negatives to Brady’s studio, which publishes and copyrights many of them. Many other images are credited to Fowx, including this group of Union officers.

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Egbert Guy Fowx. 'New York 7th Regiment Officers' c. 1863

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Egbert Guy Fowx
New York 7th Regiment Officers
c. 1863
Salted paper print
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.53

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1867

Eadweard Muybridge begins trip to photograph in Yosemite Valley. He publishes his photographs under the name “Helios,” which is also the name of his San Francisco studio. An exhibition of more than 300 photographic portraits of Native American delegates to Washington, D.C., opens in the Smithsonian Castle. Clarence R. King begins direction of the U.S. Geological Expedition of the Fortieth Parallel, appointing Timothy O’Sullivan as the official photographer. Photographer Carleton Watkins joins the survey in 1871.

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Timothy H. O'Sullivan. 'Tufa Domes, Pyramid Lake, Nevada' 1867

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Timothy H. O’Sullivan
Tufa Domes, Pyramid Lake, Nevada
1867
Albumen silver print
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.142

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1869

Andrew J. Russell’s album, The Great West Illustrated in a Series of Photographic Views across the Continent; Taken along the Line of the Union Pacific Railroad from Omaha, Nebraska, Volume I, is published. George M. Wheeler begins direction of the United States Geological Surveys West of the 100th Meridian for the U.S. Army Corps of Engineers. Wheeler makes fourteen trips to the West over the next eight years. Photographer Timothy O’Sullivan accompanies him in 1871, 1873, and 1874.

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Andrew Joseph Russell. 'Sphinx of the Valley' 1869

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Andrew Joseph Russell
Sphinx of the Valley
1869
Albumen silver print
Smithsonian American Art Museum
Museum purchase from the Charles Isaacs Collection made possible in part by the Luisita L. and Franz H. Denghausen Endowment, 1994.91.164

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1967

The Friends of Photography is founded in Carmel, California, by Ansel Adams, Beaumont and Nancy Newhall, Brett Weston, and others, with the aim of promoting creative photography and supporting its practitioners. It remains in existence until 2001.

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Brett Weston. 'Untitled (Snow Covered Mountains)' 1973

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Brett Weston
Untitled (Snow Covered Mountains)
1973
Gelatin silver print
Smithsonian American Art Museum
Transfer from the National Endowment for the Arts, 1983.63.1659
© 1973, Brett Weston

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1975

New Topographics: Photographs of a Man-Altered Landscape opens at the International Museum of Photography in Rochester, N.Y. It includes photographs by Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore, and Henry Wessel Jr.

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Frank Gohlke. 'Grain Elevator, Dumas, Texas, 1973' 1973, printed 1994

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Frank Gohlke
Grain Elevator, Dumas, Texas, 1973
1973, printed 1994
Gelatin silver print
Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2010.15.3
© 1973, Frank Gohlke

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Smithsonian American Art Museum
8th and F Streets, N.W.
Washington, D.C. 20004

Opening hours:
11.30 am – 7.00 pm daily

Smithsonian American Art Museum website

A Democracy of Images website

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03
Oct
12

Exhibition: ‘Joel Sternfeld: Colour photographs since 1970′ at Albertina, Vienna

Exhibition dates: 27th June – 7th October 2012

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Many thankx to the Albertina for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Joel Sternfeld
A Railroad Artifact, 30th Street, May 2000
2000
© Courtesy of the artist, Luhring Augustine, New York and The Friends of the High Line, New York

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Joel Sternfeld
Ken Robson’s Christmas Tree, January 2001
2001
© Courtesy of the artist, Luhring Augustine, New York and The Friends of the High Line, New York

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Joel Sternfeld
After A Flash Flood, Rancho Mirage, California 1979
1979
© Courtesy of the artist and Luhring Augustine, New York, 2012

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Joel Sternfeld
Wet ‘n Wild Aquatic Theme Park, Orlando, Florida, September 1980
1980
© Courtesy of the artist and Luhring Augustine, New York, 2012

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Joel Sternfeld
The Space Shuttle Columbia Lands at Kelly Lackland Air Force Base, San Antonio, Texas, March 1979
1979
© Courtesy Buchmann Galerie Berlin, Luhring Augustine, New York and  the artist

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Joel Sternfeld
McLean, Virginia, December 1978
1978
© Courtesy of the artist and Luhring Augustine, New York, 2012

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“This exhibition offers the first survey of the US artist Joel Sternfeld’s work in Austria. The Albertina shows eleven series by the photographer dating from between the early 1970s and 2007. Influenced by William Eggleston, but also by the color theories of the Bauhaus, Joel Sternfeld, who was born in New York in 1944, began to experiment with color photography in the 1970s and soon developed his own style. He brought color to bear on a subject that had a long photographic tradition in the United States: the American social landscape. A critical observer, Sternfeld travelled across the USA for years, capturing the country and its inhabitants in all their peculiarities and contradictions. Most of his pictures explore political and social issues by representing their subjects’ relationship to nature or the landscape around them. Sternfeld’s photographs combine a documentary objective with an artist’s view. Their visual language has its predecessors in Walker Evans and Robert Frank, who were advocates of black-and-white photography, though. Seen against this background, Sternfeld’s photographs are to be understood not only as a chronicle of the last forty years’ American history, but also evidence a development process in the course of which color came to bring forth an entirely specific visual language.

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Nags Head

Next to William Eggleston and Stephen Shore, Joel Sternfeld ranks among the most important representatives of New Color Photography, a quite heterogeneous group of photographers who have relied on color as a stylistic device for artistic photography since the 1970s. A perfectly natural means of expression today, color was frowned upon in artistic photography in those days. While color was used in popular photography, like in the fields of advertising and fashion, traditional artistic photographs were black-and-white. William Eggleston’s exhibition in the Museum of Modern Art New York in 1976, which was regarded as scandalous when it opened, proved to be a landmark event for the recognition of color photography. Dating from 1975, Joel Sternfeld’s series Nags Head clearly testifies to the role of color as a means of artistic expression. Precise color areas are as important for the pictures’ composition as the motifs the photographer encountered on the beach of the town Nags Head in North Carolina.

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First Pictures

Next to Nags Head, two series of color photographs from the 1970s, Happy Anniversary Sweetie Face! and Rush Hour, stand for Joel Sternfeld’s early work. Following in the tradition of street photography, these series explore various scenes of American everyday culture in a humorous vein, capturing them in a seemingly spontaneous and random visual language. Supposed exposure mistakes and blurs as well as angles fragmentizing the subjects suggest an intuitive and dynamic view of the world. The instantaneous character of the photographs manifests itself in the Rush Hour series in a particularly striking manner. Using a manual flash lighting up the faces of the passers-by for his compositions, Sternfeld emphasizes the fleeting moment a photograph snatches from the continuum of time.

Color proves to be key for the composition. Rich and full color areas not only rhythmize and structure the arrangement, but represent pictorial values in their own right, which are not integrated in a homogeneous whole. This kind of photography which connects everyday motifs with the autonomy of color has been influenced not least by William Eggleston, whom Sternfeld got to know in Harvard in 1976.

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American Prospects

Sternfeld shot the series American Prospects while travelling through the United States in a Volkswagen bus for some years. Dating from between 1978 and 1987, the pictures explore people’s relationship to the American landscape as formed and informed by them. The microcosm of often bizarre everyday events that becomes visible here does more than just illustrate man’s problematic use and transformation of the landscape: it also offers a possibility for drawing conclusions on contemporary political and social conditions in the United States.

In American Prospects, Sternfeld frequently renders critical contents by relying on the sovereign use of sublime, vivid color values and contrasts that seem to contradict the depicted serious circumstances. Color, format, and static composition are grounded in Sternfeld’s use of a large-format camera. While he photographed his early series with a small-format camera, which allowed flexible movements and, thus, a spontaneous visual language, the more complicated handling of a large-format camera slows down the picture-taking process. Sternfeld selected his motifs very carefully and precisely planned his pictures’ composition in advance. Both the composition and the general motif of people in a landscape were essentially inspired by solutions of traditional painting like Pieter Bruegel the Elder’s and Jacob van Ruisdael’s.

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Stranger Passing

Photographed within a period of fourteen years starting in 1987, Joel Sternfeld’s series Stranger Passing makes the human portrait its crucial issue. Depicted in situ, the subjects are characterized through their outward appearance, their clothes and poses, and the environs in which they present themselves. The pictures show a wide variety of social groups and milieus and center on different life styles. Maintaining a reserved and detached view throughout, Sternfeld keeps a visible distance from his motifs and does not express a judgment – an artistic strategy already pursued by August Sander in his famous photographic project Menschen des 20. Jahrhunderts (People of the 20th Century) in the 1920s. But whereas Sander subsumed his models under their professional functions, Sternfeld focuses on representing the portrayed people’s individuality. Their often bizarre (self-) representation visualizes comprehensive social contexts which, in total, offer a manifold and differentiated portrait of American society.

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On This Site

Between 1993 and 1996, Joel Sternfeld photographed crime scenes hidden behind apparently everyday places. By depicting such places of destiny, Sternfeld has retrieved suppressed, concealed, or deliberately buried events for the collective memory and thus dismantled patriotic self-presentations of the US. The pictures reveal a conceptual approach to documentary photography. The comparatively neutral and detached shots show “only” the crime scenes and do not offer any details on the sequence of events. The particulars of the crime are to be found in a text which is part of the work. Image and text provide different contents, which the viewer is asked to put together.

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Oxbow Archive

In Oxbow Archive (2005-2007), Sternfeld has made the scenery his sole subject by photographing an area near Northampton in Massachusetts through the changing seasons. The work explores the tradition of cultural norms and phenomena of US culture: the representation of landscapes in pictures has always been an essential dimension of American identity and cultural self-understanding. Wilderness and pristine nature are frequently depicted in stunning, idealized views – for which Ansel Adams and Edward Weston may be cited as examples. A famous painting by the American artist Thomas Cole from 1836 renders the region shown in Oxbow Archive as a heroic landscape in dramatic weather conditions seen from an elevated point of view. Sternfeld clearly rejects this visual language: he documents the uniqueness of the seasons’ changes beyond the sublime and picturesque of traditional landscape pictures from a low point of view and confronts the viewer with the clearly visible effects of man’s intervention in nature.

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When it changed

After Sternfeld’s early series had already been informed by a socio-critical attitude, the projection When it changed unmistakably shows the photographer to be a documentarist with great political engagement. When it changed comprises fifty-three portraits of participants in a United Nations conference on climate change in Montreal in 2005. A text with prognoses and statements on climate change by scientists from the last twenty years provides a comment on the persons’ often serious and pessimistic faces.

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Treading on Kings

For his project Treading on Kings Joel Sternfeld photographed the protests during the G8 summit in Genoa in 2001. During this meeting of the eight most powerful industrial nations in the world, which was accompanied by severe clashes between the demonstrators and the police, numerous protesters were wounded and one of the activists, Carlo Giuliani, was killed. Sternfeld’s thirty-three photographs portray the scenes of the confrontation as well as the protesters themselves. Accompanying texts offer statements by various participants of the demonstrations and explain the reasons for their engagement.

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Walking the High Line

Walking the High Line (2000-2001) examines landscape as an indicator of ecologic and social transformations from a new perspective. The High Line is an abandoned railroad track in Manhattan, New York, a little over two kilometers long, which the photographer describes as a motific contrast between apparently untouched nature and urban development. While Sternfeld’s earlier series visualize the colonization of nature by man, the relationship is reverted here. Nature has reconquered an urban space, the only sporadically visible rails hinting at the once busy traffic. In the case of Walking the High Line, the socio-political dimension characteristic of all of Sternfeld’s works has produced concrete results: the disused track was transformed into a public park in 2009 not least because of Sternfeld’s successful photographs.

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Sweet Earth

The series Sweet Earth from 2006 shows Joel Sternfeld pursuing his photographic investigation of the American social landscape. Informed by the atmosphere of the 1990s, of the period immediately following the collapse of the Communist states, the photographs confront us with models of alternative communities. Texts provide us with information on the social experiments and their political, ecological, or religious reasons. By visualizing historical and contemporary utopias, the artist offers a historical survey spanning from nineteenth-century communities to the counterculture of the 1960s and today’s new forms of living together. By confronting the viewer with heterogeneous life plans, Sternfeld not only fathoms the different values of present-day American society, but also questions the background and development of social norms and conventions.”

Press release from the Albertina website

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Joel Sternfeld
Washington D.C., August 1974
1974
© Courtesy of the artist and Luhring Augustine, New York, 2012

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Joel Sternfeld
Summer Interns Having Lunch, Wall Street, New York, August 1987
1987
© Courtesy of the artist and Luhring Augustine, New York, 2012

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Joel Sternfeld
New York City (#1)
1976
© Courtesy of the artist and Luhring Augustine, New York, 2012

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Joel Sternfeld
Young Man Gathering Shopping Carts, Huntington, New York, July 1993
1993
© Courtesy of the artist and Luhring Augustine, New York, 2012

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Joel Sternfeld
A Woman at Home in Malibu After Exercising, California, August 1988
1988
© Courtesy of the artist and Luhring Augustine, New York, 2012

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Joel Sternfeld
A Woman Out Shopping with Her Pet Rabbit, Santa Monica, California, August 1988
1988
© Courtesy of the artist and Luhring Augustine, New York, 2012

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Albertina
Albertinaplatz 1
1010 Vienna, Austria
T: +43 (0)1 534 83-0

Opening hours:
Daily 10 am to 6 pm
Wednesday 10 am to 9 pm

Albertina website

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14
Sep
12

Exhibition: ‘True Stories: American Photography from the Sammlung Moderne Kunst’ at Pinakothek der Moderne, Munich

Exhibition dates: 2nd March – 20th September 2012

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You can’t get much better than this to start a posting: Baltz, Friedlander, Winogrand, Nixon, Baldessari, Eggleston and Shore. I recall seeing my first vintage Stephen Shore at the American Dreams exhibition at the Bendigo Art Gallery last year. What a revelation. At the time I said,

“Two Stephen Shore chromogenic colour prints from 1976 where the colours are still true and have not faded. This was incredible – seeing vintage prints from one of the early masters of colour photography; noticing that they are not full of contrast like a lot of today’s colour photographs – more like a subtle Panavision or Technicolor film from the early 1960s. Rich, subtle, beautiful hues.”

You can get an idea of those colours in the image posted here. Like an early Panavision or Technicolor feature film.
Perhaps there is something to this analogue photography that digital will never be able to capture, let alone reproduce…

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Many thankx to Pinakothek der Moderne for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Lewis Baltz (*1945)
Greenbrae
1968
from the series The Prototype Works
Vintage gelatin silver print
13.1 x 21.4 cm
Sammlung Moderne Kunst in the Pinakothek der Moderne Munich, Acquired in 2011 by PIN. Freunde der Pinakothek der Moderne e.V.
© Lewis Baltz

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Lee Friedlander (*1934)
Route 9W, New York
1969
Gelatin silver print, Baryt paper (card)
20.4 x 30.5 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Lee Friedlander

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Garry Winogrand (1928-1984)
Los Angeles, California
1969
Gelatin silver print (pre 1984)
21.8 x 32.8 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Estate of Garry Winogrand

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Nicholas Nixon (*1947)
View of State Street, Boston
1976
from the series Boston Views 1974 – 1976
Gelatin silver print, Baryt paper (card)
20.3 x 25.2 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Nicholas Nixon

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John Baldessari (*1931)
Man Running/Men Carrying Box
1988 – 1990
Gelatin silver prints, vinyl paint and shading in oil
Part 1: 121.3 x 118.6 cm; Part 2: 121.3 x 146.6 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© John Baldessari

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William Eggleston (*1939)
Untitled
1980
The first of 15 works from the portfolio Troubled Waters
Dye transfer print
29.0 x 44.0 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Eggleston Artistic Trust

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Stephen Shore (*1947)
La Brea Avenue & Beverly Boulevard, Los Angeles, California
1975
Chromogenic print, Kodak professional paper (1998)
20.4 x 25.5 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Stephen Shore

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“American photography forms an extensive and simultaneously top-quality focal point in the collection, of which a selected overview is now being exhibited for the first time. The main interest of young photographers, who have been examining changes in political, social and ecological aspects of everyday American life since the late 1960s, has been the American social landscape. They have developed new pictorial styles that define stylistic devices perceived as genuinely American while at the same time being internationally recognised. Whereas Lee Friedlander, Garry Winogrand, Robert Adams, Lewis Baltz and Larry Clark, who are now considered classical modern photographers, have remained true to black-and-white photography, William Eggleston and Stephen Shore in particular have established colour photography as an artistically independent form of expression. The exhibition brings together around 100 works that, thanks to the Siemens Photography Collection and through acquisitions, bequests and donations, are now part of the museum’s holdings. True stories covers a spectrum from the street photography of the late 1960s to New Topographics and pictures by the New York photographer Zoe Leonard, taken just a few years ago.

“A new generation of photographers has directed the documentary approach toward more personal ends. Their work betrays a sympathy for the imperfection and frailties of society. Their aim has been not to reform life but to know it.” With the exhibition New Documents in spring 1967, John Szarkowski, the influential curator of photography at the Museum of Modern Art in New York, rang in a new era in American photography. Those photographers represented, including Lee Friedlander and Garry Winogrand in addition to Diane Arbus, stood for a change in attitude within documentary photography that was conditioned exclusively by the subjective viewpoint of an individual’s reality. The object of photographic interest lay in the American social landscape and its conditions. It was less concerned with the natural landscape and its increasingly cultural reshaping than with the urban or urbanised space and how people move within it. In so doing, the New Documentarians rejected any obviously explanatory impetus, turning instead to the everyday and commonplace.

The exhibition New Topographics: Photographs of a Man-Altered Landscape that was staged in the mid 1970s at the International Museum of Photography in Rochester, represented a countermovement to this subjective form of expression. Their protagonists, including Robert Adams, Lewis Baltz, Nicholas Nixon and Stephen Shore, also pleaded for a documentary approach and were influenced by figures such as Walker Evans und Robert Frank, but considered themselves rooted in the tradition of 19th-century topographical photography in particular. The prime initiator of this working method, that was expressly not governed by style, is the Los Angeles-based artist Ed Ruscha. Their central aim is a distanced and seemingly analytical depicition, free of judgement; their topic, the landscape altered by mankind. It is the image of the American West in particular, so much conditioned by myths and dreams but long since brought back to reality as a result of commercial and ecological exploitation, that is visible in their works.

The decisive quantum leap to establishing the position of colour photography was made by the Southerner William Eggleston in his exhibition in 1976, also held at the Museum of Modern Art in New York, and the publication of the William Eggleston’s Guide. The harsh public criticism of his pictures was not to do with his use of colour but the fact that Eggleston photographed things and everyday situations – on the spur of the moment and in a seemingly careless manner – that, until then, had not been considered worthy of being photographed turning them into exquisite prints using the expensive and complicated dye-transfer process. In Eggleston’s cosmos of images that is strongly influenced by motifs and the light of the Mississippi Delta, colour constitutes the picture. The “rush of colour” championed by this exhibition led to the comprehensive implementation of colour photography in the field of artistic photography in the years that followed, starting in the USA and then in Europe – and especially in Germany.

An artistic attitude became established at the end of the 1970s that, with recourse to existing picture material from art, film, advertising and the mass media, formulated new pictorial concepts and, in the same breath, opened up traditional artistic and art-historical categories such as authorship, originality, uniqueness, intellectual property and authenticity to discussion. Appropriation Art owes its decisive influences to the artist John Baldessari, who lives and teaches in California. One of its most famous representatives is Richard Prince, who became famous in particular as a result of his artistic adaptation of advertising images. Concept art in the 1960s and ’70s similarly makes use of photography, both as part of an artistic practice using the most varied of materials and as a unique medium for documenting campaigns, happenings and performances. As works by Dan Graham and Zoe Leonard clearly show, the previously precisely delineated boundaries between photography that alludes to its own intrinsically, media-related history and the use of photography as an artistic strategy, have become more fluid.”

Press release from the Pinakothek der Moderne website

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Dan Graham (*1942)
View Interior, New Highway Restaurant, Jersey City, N.J., (detail)
1967 (printed 1996)
C-prints
Each 50.6 x 76.2 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Dan Graham

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William Eggleston (*1939)
from Southern Suite (10-part series)
1981
Dye transfer print
25.0 x 38.2 cm
Sammlung Moderne Kunst in the Pinakothek der Moderne Munich. Acquired in 2006 through PIN. Freunde der Pinakothek der Moderne e.V.
© Eggleston Artistic Trust

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Larry Clark (*1943)
Tulsa
1972
Gelatin silver print
20.3 x 25.4 cm (sheet)
Sammlung Moderne Kunst in the Pinakothek der Moderne Munich. Acquired in 2003 by PIN. Freunde der Pinakothek der Moderne
© Larry Clark

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Judith Joy Ross (*1946)
Untitled
1984
from the series Portraits at the Vietnam Veterans Memorial, Washington, D.C. 1983-1984
Gelatin silver print on daylight printing-out paper, shading in gold (print 1996)
25.2 x 20.2 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© Judith Joy Ross

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John Gossage (*1946)
EL NEGRITO
1997
from the series There and Gone
Gelatin silver print, Baryt paper, screen print on photo mount card
55.4 x 45.0 cm
On permanent loan from Siemens AG, Munich, to the Sammlung Moderne Kunst since 2003
© John Gossage

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Pinakothek Der Moderne
Barer Strasse 40
Munich

Opening hours:
Daily except Monday 10am – 6pm
Thursday 10am – 8pm

Pinakothek der Moderne website

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01
Jun
12

Exhibition: ‘Arthur Tress: San Francisco 1964′ at the de Young Museum, San Francisco

Exhibition dates:  3rd March – 3rd June 2012

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These early figurative urbanscapes by Arthur Tress show the beginnings of his later Surrealist pictorial style (do a Google images search on Tress to see what I mean). From the Eggleston-esque tricycle in Untitled (Ocean Beach), the three spooky faces in Untitled (Coit Tower)* to the most prescient, the photograph Untitled (Legion of Honor Museum), there is a direct thematic link to the later, more famous 1970s work. What a beautiful and disturbing photograph Legion of Honor Museum is.

Many thankx to the de Young Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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*Notice the low vantage point of the camera at knee level (as the photographer crouched down) that imparts a monumental, robo-human feel to the sculptures.

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Arthur Tress
Untitled (Van Ness at Geary Boulevard)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (City Hall)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (Coit Tower)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (Ocean Beach)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (Fisherman’s Wharf)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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“In the summer of 1964, San Francisco was ground zero for a historic culture clash as the site of both the 28th Republican National Convention (the “Goldwater Convention”) and the launch of the Beatles’ first North American tour. The young photographer Arthur Tress arrived at this opportune moment in the city’s history and found himself in the midst of large-scale civil rights demonstrations and chaotic political pageantry. With a unique sensibility perfectly attuned to this quirky metropolis, he set about to capture the odd spectacle of San Francisco.

Over 70 photographs included in Arthur Tress: San Francisco 1964 range from public gatherings to impromptu street portraits, views of the peculiar contents of shop windows and commercial signs. This is the first museum exhibition of a virtually unknown body of Tress’s early work. Curator James Ganz explains, “This exhibition offers an evocative time capsule of the City by the Bay and makes a fascinating contribution to the region’s rich photographic legacy.” The exhibition runs March 3 to June 3, 2012 at the de Young Museum.

The subject matter of Arthur Tress: San Francisco 1964 breaks down into three broad categories: public gatherings, including civil rights and political rallies; portrait studies of San Franciscans; and views of shop windows, commercial signs and architectural fragments. Often these categories overlap. In photographing events such as the Auto Row demonstrations, Tress was interested in recording passive bystanders, as well as active participants. His candid images of spectators lining the streets of San Francisco, whether isolated or in groups, capture the distinctive fashions, expressions and body language of the era. The frequent incursions of commercial logos and signage add to the contemporary flavor of the photographs, effectively fixing time and place. The exhibition captures the flavor of San Francisco without featuring its most familiar monuments. Tress’s approach to the city was idiosyncratic, generally avoiding popular tourist sites such as the Golden Gate Bridge and Chinatown, while favoring mundane locales like laundromats and coffee shops. Ganz observes, “Tress is a photographer of people rather than landmarks. Given the option of pointing his lens at an attraction like Coit Tower or at a tourist observing the monument, he will always favor the human element over the architectural setting.”

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Brief Biography

Born in 1940, Arthur Tress was raised in Brooklyn and started experimenting with photography in his teens. After graduating from Bard College in 1962, Tress traveled internationally for four years as an ethnographic and documentary photographer. It was during this international tour that he spent the summer of 1964 in San Francisco focusing his lens on city life. Tress developed his San Francisco negatives in a communal darkroom in the Castro District and mounted two small exhibitions in North Bay galleries that summer. He went on to pursue a long and accomplished career in photography that continues to this day.”

Press release from the de Young Museum website

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Arthur Tress
Untitled (Legion of Honor Museum)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (Powell Street)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (Union Square)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (City Hall)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled (5th and Market)
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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Arthur Tress
Untitled
1964
Printed 2010-11
Selenium-toned silver gelatin print
Fine Arts Museums of San Francisco
© 2012 Arthur Tress

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The de Young Museum
50 Hagiwara Tea Garden Drive
Golden Gate Park
San Francisco

Opening hours:
Tuesday – Sunday 9:30 am – 5:15 pm
Monday Closed

The de Young Museum website

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18
May
10

Exhibition: ‘William Eggleston: Democratic Camera, Photographs and Video, 1961-2008′ at The Art Institute of Chicago

Exhibition dates: 27th February – 23rd May 2010

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THE classic William Eggleston, the one and only. Feel the heat of sun on body. Look at the construction of the image plane, all angles and fractures. The slight movement of the woman’s hand as she sits on a cracked yellow wall. The distance between her body and the metal pole with wrapped chain and padlock, that ice/fire tension as Minor White would say. Man with gun vs melancholy monochromatic self portrait, the reverie of the lone thinker. Colour and light as emotional sounding board, “color as a means of discovery and expression, and as a way to highlight aspects of life hidden in plain sight.” This is what Eggleston points his democratic camera at – life hidden in plain sight, revealed in all its intricacies, in all its mundanity and glory.

Many thankx to Chai Lee and The Art Institute of Chicago for allowing to me reproduce the photographs in this posting. Please click on the photographs for a larger version of the image.

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William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 17 3/4 x 12 in. (45.1 x 30.5 cm.)
Private collection.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 17 ¾ x 12 inches (45.1 x 30.5 cm.)
Private collection.
© Eggleston Artistic Trust, courtesy of Cheim & Read, New York.

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William Eggleston
Memphis
c. 1969-71
from William Eggleston’s Guide, 1976, c. 1969-71.
Dye transfer print, 24 x 20 in (61 x 50.8 cm.)
Collection of John Cheim.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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William Eggleston
Morton, Mississippi
c. 1969-70
from William Eggleston’s Guide, 1976, c. 1969-70.
Dye transfer print, 13 3/8 x 8 11/16 in (34 x 22 cm.)
Cheim & Read, New York.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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William Eggleston
Huntsville, Alabama
1971
from William Eggleston’s Guide, 1976, 1971.
Dye transfer print, 20 x 15 7/8 in (50.8 x 40.3 cm.)
University of Mississippi Museum and Historic Houses, Oxford.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 17 ¾ x 12 in (45.1 x 30.5 cm.)
Private collection.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 17 3/4 x 12 in. (45.1 x 30.5 cm.)
Private collection.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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“The unconventional beauty and artistry of works by photographer William Eggleston will be showcased in a major exhibition opening at the Art Institute of Chicago this winter. William Eggleston: Democratic Camera, Photographs and Video, 1961-2008 – on view from February 27 through May 23, 2010, in the Modern Wing’s Abbott Galleries (G182, G184) and Carolyn S. and Matthew Bucksbaum Gallery (G188) – is the most comprehensive retrospective to date of the Memphis-based contemporary photographer. The exhibition brings together more than 150 extraordinary images of familiar, everyday subjects with lesser-known, early black-and-white prints and provocative video recordings, all produced over a five-decade period.

Born in 1939 in Memphis, Tennessee, and raised on his family’s cotton plantation in Mississippi, William Eggleston held a casual interest in photography until 1959, when he came across photo books by Henri Cartier-Bresson and Walker Evans. Among his earliest pictures, made during stints at universities in Tennessee and Mississippi, were black-and-white scenes found in his native South, as well as portraits of friends and family members.

By the 1960s and early 1970s he had begun experimenting with color film, and he eventually produced rich, vivid prints through the dye transfer process – prints that are created through the alignment of three separate matrices (cyan, magenta, and yellow) generated from three separate negatives (red, green, and blue filters). The resulting prints are known for the vividness and permanence of their colors. Hence, Eggleston is often credited for single-handedly ushering in the era of color art photography.

Eager to show his work to a broader audience, Eggleston traveled to New York with a suitcase of slides and prints to meet with Museum of Modern Art (MoMA) curator John Szarkowski. This visit eventually yielded a controversial but revolutionary exhibition in 1976 – MoMA’s first solo show to feature color photographs – and a classic accompanying book, William Eggleston’s Guide. At this point in his career, Eggleston had already distinguished himself by treating color as a means of discovery and expression, and as a way to highlight aspects of life hidden in plain sight.

William Eggleston: Democratic Camera, Photographs and Video, 1961–2008 demonstrates Eggleston’s “democratic” approach to his photographic subjects in both color and black-and-white. Everything that happens in front of the camera is worthy of becoming a picture for the artist – no matter how seemingly circumstantial or trivial. Eggleston finds his motifs in everyday life, resulting in telling portrayals of American culture. His iconic images such as Elvis’s Graceland, a supermarket clerk corralling grocery carts in the afternoon sunlight, and a freezer stuffed with food proves that the photographer points his “democratic camera” at everything. Eggleston’s quiet, thoughtful pictures have profoundly impacted subsequent generations of photographers, filmmakers, and scholars.

The exhibition also includes Eggleston’s cult video work, Stranded in Canton. In the 1960s, Eggleston used film to document Fred McDowell, a well-known Delta blues musician, but ultimately abandoned the film project. Eggleston later acquired a video camera and began using video to shoot in bars and in people’s homes; sometimes he shot monologues friends delivered for his video camera, most often at night. The result, Stranded in Canton, recently restored and re-edited, is a portrait of a woozy subculture that adds dimension and texture to the world of Eggleston’s color photographs.

Internationally acclaimed, Eggleston has spent the past four decades photographing around the world, responding intuitively to fleeting configurations of cultural signs and specific expressions of local color. By not censoring, rarely editing, and always photographing even the seemingly banal, Eggleston convinces us completely of the idea of the democratic camera.”

Press release from the Art Institute of Chicago website

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William Eggleston
Untitled (Memphis, Tennessee)
1971
from 14 Pictures, 1974, 1971.
Dye transfer print, 15 7/8 x 19 15/16 in (40.3 x 50.6 cm.)
Collection of Adam Bartos.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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William Eggleston
Untitled
1970
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 16 x 20 in. (40.6 x 50.8 cm.)
Whitney Museum of American Art, New York; purchased with funds from the Photography Committee 2009.79.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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William Eggleston
Untitled
1975
Dye transfer print, 16 x 20 in (40.6 x 50.8 cm.)
Cheim & Read, New York
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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William Eggleston
Untitled
c. 1971-73
from Troubled Waters, 1980, c. 1971-73.
Dye transfer print, 15 7/8 x 19 15/16 in (40.3 x 50.6 cm.)
Collection Marcia Dunn and Jonathan Sobel.
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 12 x 17 ¾ inches (30.5 x 45.1 cm.)
Private collection
© Eggleston Artistic Trust, courtesy of Cheim & Read, New York.

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William Eggleston
Untitled
n.d.
from Las Alamos, 1965-68 and 1972-74 (published in 2003.) 1965-68 and 1972-74.
Dye transfer print, 12 x 17 ¾ inches (30.5 x 45.1 cm.)
Private collection
© Eggleston Artistic Trust, courtesy of Cheim & Read, New York.

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William Eggleston
Untitled
n.d.
from Los Alamos, 1965-68 and 1972-74 (published 2003.) 1965-68 and 1972-74.
Dye transfer print, 12 x 17 3/4 in. (30.5 x 45.1 cm.)
Private collection
© Eggleston Artistic Trust, courtesy Cheim & Read, New York.

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The Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
(312) 443-3600

Opening hours:
Monday–Wednesday, 10:30–5:00
Thursday, 10:30–8:00 (Free Admission 5:00–8:00, member-only access to Matisse)
Friday, 10:30–8:00
Saturday–Sunday, 10:00–5:00
The museum is closed Thanksgiving, Christmas, and New Year’s days.

The Art Institute of Chicago website

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21
May
09

Exhibition: ‘Paris’ photographs by William Eggleston at Fondation Cartier, Paris

Exhibition dates: 4th April – 21st June, 2009

 

Perhaps it’s just me but I seem to have become a little jaded towards the recent photographs of William Eggleston. Although there are not many photographs of the exhibition online there are a few at the Fondation Cartier website under the ‘Catalogue’ section of the exhibition and they are quite mundane.

Other than the green reflection of lights in rainwater the photographs seem to have lost their unique voice, the insight that gave his earlier work it’s zing – provocative images that challenged through meditation on subject matter, construction of space and tone of colour. In these photographs it feels like there has been little development in his style over the years with a consequent lessening of their visual impact. Perhaps the way we look at the world and how we picture it has finally overtaken the director’s prescient creative vision – his auteurship, his authorship.

 

William Eggleston. 'Untitled', Paris series, 2006-2008

 

William Eggleston
‘Untitled’, Paris series
2006-2008

 

William Eggleston. 'Untitled', Paris series, 2006-2008

 

William Eggleston
‘Untitled’, Paris series
2006-2008

 

 

“For the last three years, American photographer William Eggleston has photographed the city of Paris as part of a commission for the Fondation Cartier pour l’art contemporain. Taken throughout different seasons, these new images by one of the fathers of color photography portray the local and the cosmopolitan, the glamorous and the gritty, the everyday and the extraordinary.

This exhibition also provides an exceptional occasion to bring together William Eggleston’s distinctive pictures and his recent paintings, an unknown aspect of his work that has never before been presented to the public.”

Text from the Fondation Cartier website

 

William Eggleston. 'Untitled', Paris series, 2006-2008

 

William Eggleston
‘Untitled‘, Paris series
2006-2008

 

William Eggleston. 'Untitled', Paris series, 2006-2008

 

William Eggleston
‘Untitled’, Paris series
2006-2008

 

William Eggleston. 'Untitled', Paris series, 2006-2008

 

William Eggleston
‘Untitled’, Paris series
2006-2008

 

William Eggleston. 'Untitled', Paris series, 2006-2008

 

William Eggleston
‘Untitled’, Paris series
2006-2008

 

 

Fondation Cartier

261 Boulevard Raspail, Paris
Opening hours: Every day except Mondays, 11 – 8pm
Opening Tuesday evenings until 10pm

Fondation Cartier website

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04
Jan
09

‘William Eggleston: Democratic Camera, Photographs and Video, 1961-2008′ at the Whitney Museum of American Art, New York

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William Eggleston. "Untitled" c.1971 - 1973 from "Troubled Waters" 1980

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William Eggleston
‘Untitled’ c.1971 – 1973
from “Troubled Waters” 1980

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“One of the most influential photographers of the last half-century, William Eggleston has defined the history of color photography. This exhibition is the artist’s first retrospective in the United States and includes both his color and black-and-white photographs as well as Stranded in Canton, the artist’s video work from the early 1970s.”

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Link to William Eggleston video


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Link to William Eggleston video

“This candid interview with photographer William Eggleston was conducted by film director Michael Almereyda on the occasion of the opening of Eggleston’s retrospective ‘William Eggleston: Democratic Camera, Photographs and Video, 1961-2008′ at the Whitney Museum of American Art. A key figure in American photography, Eggleston is credited almost single-handedly with ushering in the era of color photography. Eggleston discusses his shift from black and white to color photography in this video as, “it never was a conscious thing. I had wanted to see a lot of things in color because the world is in color”. Also included in this video are Eggleston’s remarks about his personal relationships with the subjects of many of his photographs.”

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William Eggleston. "Untitled" nd from "Los Alamos" 1965 - 68 and 1972 - 74 (published 2003)

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William Eggleston
‘Untitled’ nd
from “Los Alamos” 1965 – 68 and 1972 – 74 (published 2003)

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The Whitney Museum of American Art website also contains another video of the artist’s son talking about his father and their relationship, along with seminal and not so well known black and white photographs from video work from this iconic artist.

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Exhibition dates: November 7, 2008 – January 25, 2009

Whitney Museum of American Art William Eggleston exhibition webpage.




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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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