Posts Tagged ‘Colorado Springs

29
Dec
14

Exhibition: ‘A Subtle Beauty: Platinum Photographs from the Collection’ at the National Gallery of Art, Washington

Exhibition dates: 5th October 2014 – 4th January 2015

Curator: Andrea Nelson, assistant curator, department of photographs, National Gallery of Art

 

I am too sick at the moment to really say anything constructive about platinum prints except one word: wow. You only have to look at the tonality and the sensuality of the prints to understand their appeal. Driftwood, Maine, 1928 by Paul Strand is my favourite in this posting.

Marcus

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

 

 

Alfred Stieglitz. 'The Last Joke - Bellagio' 1887

 

Alfred Stieglitz
The Last Joke – Bellagio
1887
Platinum print
Sheet (trimmed to image): 11.7 x 14.7 cm (4 5/8 x 5 13/16 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

Laura Gilpin. 'Ghost Rock, Colorado Springs' 1919

 

Laura Gilpin
Ghost Rock, Colorado Springs
1919
Platinum print
24.2 x 19.1 cm (9 1/2 x 7 1/2 in.)
National Gallery of Art, Washington, The Marvin Breckinridge Patterson Fund

 

Renowned for her landscape photographs of the American Southwest, Gilpin was mentored by Gertrude Käsebier and trained at the Clarence H. White School of Photography in New York. This luminous photograph exemplifies Gilpin’s skill in producing expressive works with a wide spectrum of tonal values.

 

Frederick H. Evans. '
York Minster, North Transept: "In Sure and Certain Hope",' 1902

 

Frederick H. Evans
York Minster, North Transept: “In Sure and Certain Hope”
1902
Platinum print
27.46 x 19.69 cm (10 13/16 x 7 3/4 in.)
National Gallery of Art, Washington, Carolyn Brody Fund and Pepita Milmore Memorial

 

Evans was known as the master of the unmanipulated platinum print. For him, a perfect photograph was one that “gives its beholder the same order of joy that the original would.” In this work, light, more than architecture, is his subject. As light fills the space of York Minster Cathedral it dissolves the weight of the massive stone, creating a reverential, timeless mood. Evans also took great care in the presentation of his photographs, often embellishing his mounts with hand-ruled borders and watercolor washes. (NGA)

Evans was described by Alfred Stieglitz as ‘the greatest exponent of architectural photography’. Evans aimed to create a mood with his photography; he recommended that the amateur ‘try for a record of emotion rather than a piece of topography’. He would spend weeks in a cathedral before exposing any film, exploring different camera angles for effects of light and means of emotional expression. He always tried to keep the camera as far as possible from the subject and to fill the frame with the image completely, and he used a small aperture and very long exposure for maximum definition. Equally important to the effect of his photographs were his printing methods; he rejected the fashion for painterly effects achieved by smudging, blowing or brushing over the surface of the gum paper print. His doctrine of pure photography, ‘plain prints from plain negatives’, prohibited retouching. (Text from MoMA)

 

Karl Struss. 'Columbia University, Night' 1910

 

Karl Struss
Columbia University, Night
1910
Gum dichromate over platinum print processed with mercury
24 x 19.4 cm (9 7/16 x 7 5/8 in.)
National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel

 

Alfred Stieglitz. 'From the Back-Window - 291' 1915

 

Alfred Stieglitz
From the Back-Window – 291
1915
Platinum print
24.1 x 19.1 cm (9 1/2 x 7 1/2 in.)
National Gallery of Art, Washington, Alfred Stieglitz Collection

 

Influenced by Peter Henry Emerson’s understanding of photography as an independent art form, Stieglitz became the driving force behind the development of art photography at the turn of the century. He founded the Photo-Secession group in 1902 with the aim to “advance photography as applied to pictorial expression.” This view of the buildings in New York behind Stieglitz’s famed Little Galleries of the Photo-Secession at 291 Fifth Avenue is an exceptional example of a platinum print with rich, neutral gray and black tones. The diffuse glow of the lights is enhanced by Stieglitz’s choice of a smooth printing paper with a subtle surface sheen. (NGA)

Around 1915, Stieglitz began photographing the view out of the window of his gallery, a practice he continued through two relocations of his business. In this photograph made from the window of Stieglitz’s first gallery (known as “291” for its address on Fifth Avenue), the legacy of Pictorialism hovers in the rich, evocative atmosphere he coaxes from the nighttime scene, even as the play of angular forms declares the modernist impulse for the exposure. (Text from Metropolitan Museum of Art)

 

Paul Strand. 'Driftwood, Maine' 1928

 

Paul Strand
Driftwood, Maine
1928
Platinum print
24.3 x 19.2 cm (9 9/16 x 7 9/16 in.)
National Gallery of Art, Washington, Southwestern Bell Corporation Paul Strand Collection

 

Strand was a committed advocate of the platinum process and made platinum photographs well into the 1920s and early 1930s. Driftwood, Maine is printed on Japine paper, a photographic paper with a chemically altered surface, which resembles parchment. First introduced by William Willis’ Platinotype Company in 1906, Japine platinum paper provided deep blacks and a lustrous surface sheen that Strand found ideal for his modernist abstractions.

 

 

“Rare platinum photographs that played a pivotal role in establishing photography as a fine art will be presented at the National Gallery of Art. On view in the West Building from October 5, 2014 through January 4, 2015, A Subtle Beauty: Platinum Photographs from the Collection will include two dozen works from the Gallery’s renowned collection of photographs. Presented in conjunction with a symposium organized by the National Gallery of Art and sponsored by the Foundation of the American Institute for Conservation of Historic and Artistic Works, this exhibition features compelling prints by Alfred Stieglitz (1864-1946), Edward Steichen (1879-1973), Gertrude Käsebier (1852-1934), and other prominent pictorialist photographers.

“Photographers in the late 19th and early 20th centuries were captivated by the lush appearance and rich atmospheric effects they were able to create through the platinum print process,” said Earl A. Powell III, director, National Gallery of Art. “With their extraordinary tonal range – capable of capturing the deepest blacks, warmest sepias, and creamiest of whites – platinum prints quickly became the preferred process of the era.”

Exhibition highlights

Featuring 24 outstanding photographs from the 1880s to the 1920s, this exhibition reveals the artistic qualities and subtle nuances of the platinum process. Major artists such as Peter Henry Emerson (1856-1936), Frederick H. Evans (18531943), Alvin Langdon Coburn (1882-1966), and Clarence H. White (1871-1925), revered platinum prints for their permanence, delicate image quality, and surface textures that could range from a velvety matte to a lustrous sheen.

Focused on the aesthetic and technical aspects of platinum photographs, highlights include Stieglitz’s From the Back-Window – 291 (1915), an exceptional print with neutral gray and black tones capturing the diffuse glow of lights in the buildings behind the artist’s galleries at 291 Fifth Avenue; Evans’ superb York Minster, North Transept: “In Sure and Certain Hope” (1902), an affective work whose subject is light more than architecture; and Steichen’s evocative Rodin (1907),  combining platinum with gum dichromate to create a painterly, multilayered portrait.”

Press release from the National Gallery of Art website

 

Clarence H. White. 'Mrs. White - In the Studio' 1907

 

Clarence H. White
Mrs. White – In the Studio
1907
Palladium print, printed later
24.4 x 19.3 cm (9 5/8 x 7 5/8 in.)
National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel and R. K. Mellon Family Foundation

 

Alvin Langdon Coburn. 'Clarence H. White' c. 1905

 

Alvin Langdon Coburn
Clarence H. White
c. 1905
Platinum print
24.2 x 19.4 cm (9 1/2 x 7 5/8 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

Coburn presents fellow photographer Clarence H. White holding a tube of platinum paper in much the same manner as a painter would hold a palette. Because the paper support contributed greatly to the overall appearance of the platinum print, photographers experimented with a range of handmade and mass-produced papers that varied in texture and color.

 

Clarence H. White. 'George Borup' 1909

 

Clarence H. White
George Borup
1909
Platinum print
25 x 20 cm (9 13/16 x 7 7/8 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund

 

A self-taught photographer from Ohio, White became an important leader of the pictorialist movement. A member of the Photo-Secession, he exhibited widely and later founded the Clarence H. White School of Photography in New York in 1914, a school that helped define and establish pictorialist ideals. White took this portrait of geologist and explorer George Borup the year he returned from an expedition to the North Pole.

 

Frederick H. Evans. 'Aubrey Beardsley' 1894

 

Frederick H. Evans
Aubrey Beardsley
1894
Platinum print
13 x 90.2 cm (5 1/8 x 35 1/2 in.)
National Gallery of Art, Washington, Paul Mellon Fund

 

A major figure in British Pictorialism and a driving force of its influential society The Linked Ring, Frederick Evans is best known for his moving interpretations of medieval cathedrals rendered with unmatched subtlety in platinum prints. Until 1898, Evans owned a bookshop in London where, according to George Bernard Shaw, he was the ideal bookseller, chatting his customers into buying what he thought was right for them. In 1889, Evans befriended the seventeen-year-old Aubrey Beardsley, a clerk in an insurance company who, too poor to make purchases, browsed in the bookshop during lunch hours. Eventually, Evans recommended Beardsley to the publisher John M. Dent as the illustrator for a new edition of Thomas Malory’s “Le Morte d’Arthur.” It was to be Beardsley’s first commission and the beginning of his meteoric rise to fame.

Evans probably made this portrait of Beardsley (1872-1898) in 1894, at the time the young artist was achieving notoriety for his scandalous illustrations of Oscar Wilde’s “Salomé” and “The Yellow Book,” two publications that captured the irreverent, decadent mood of the European fin de siècle. A lanky, stooped youth who suffered from tuberculosis and would die of the disease at the age of twenty-five, Beardsley, conscious of his awkward physique, cultivated the image of the dandy. Evans is reported to have spent hours studying Beardsley, wondering how best to approach his subject, when the artist, growing tired, finally relaxed into more natural poses. In the platinum print, Evans captured the inward-looking artist lost in the contemplation of his imaginary world, his beaked profile cupped in the long fingers of his sensitive hands. (Text from the Metropolitan Museum of Art)

 

Gertrude Käsebier. 'Alfred Stieglitz' 1902

 

Gertrude Käsebier
Alfred Stieglitz
1902
Platinum print
30.5 x 21.2 cm (12 x 8 3/8 in.)
National Gallery of Art, Washington, R. K. Mellon Family Foundation, Diana and Mallory Walker Fund, and Horace W. Goldsmith Foundation through Robert and Joyce Menschel

 

Featured in the 1903 inaugural issue of Alfred Stieglitz’s seminal journal Camera Work, Gertrude Käsebier was hailed by him as “the leading portrait photographer in the country.” To manipulate the tones of this print, Käsebier masked sections of the negative and then used a brush to selectively apply the developing solution to the printing paper. The final result resembles a beautifully hand-worked watercolor.

 

Heinrich Kühn. 'Walther Kühn' 1911

 

Heinrich Kühn
Walther Kühn
1911
Gum dichromate over platinum print
29.7 x 23.7 cm (11 11/16 x 9 5/16 in.)
National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel

 

A photographer, writer, and scientist, Heinrich Kühn was a central figure in the international development of pictorialist photography. Known for his intimate portraits, scenes of rural life, and still-life photographs, he was actively involved in groups – both in Great Britain and Austria – that espoused an alternative to a purely technical view of photography.

 

Edward Steichen. 'Rodin' 1907

 

Edward Steichen
Rodin
1907
Gum dichromate over platinum print
37.94 x 26.67 cm (14 15/16 x 10 1/2 in.)
National Gallery of Art, Washington, Pepita Milmore Memorial Fund

 

Steichen positioned Auguste Rodin in a contemplative pose reminiscent of the sculptor’s most recognized work, The Thinker. By adding gum dichromate (a mixture of light-sensitive salts, pigment and a gum arabic binder) over a platinum print, Steichen enhanced the soft- focus appearance and tonality of his portrait.

Steichen was an important link between European and American artistic circles during the first decade of the twentieth century. A member of the Photo-Secession, Steichen encouraged the group’s founder, Alfred Stieglitz, to open a gallery in New York to promote the club’s work. The Little Galleries of the Photo-Secession (later known as “291” from its address at 291 Fifth Avenue) opened in 1905. Soon, the gallery’s scope extended beyond photography to include other currents in modern art, such as the exhibition of Rodin’s watercolors and drawings that Steichen organized in 1908.

 

Alfred Stieglitz. 'Hodge Kirnon' 1917

 

Alfred Stieglitz (American, 1864-1946)
Hodge Kirnon
1917
Satista print
Alfred Stieglitz Collection

 

One of the least well known and most beautiful of Stieglitz’s portraits, this photograph depicts Hodge Kirnon, a man Stieglitz saw in passing every day. When preparing to close his historic gallery “291” in 1917 as a result of World War I, Stieglitz assessed his work and life and saw that Kirnon – who operated the elevator that transported the gallery’s visitors, its critics, and its provocative modern art – had been a true fellow passenger on the momentous trip.

Satista prints refer to a print that is a composed of a mixture of silver and platinum. This is a very old process, invented by William Willis published in Senstive Photographic Paper and Process of Making. The process was intended to be more economical then platinum printing, but being able to produce results that looked like pure platinum prints and being as permanent.

 

Edith R. Wilson. 'Portrait of a Family' 1922

 

Edith R. Wilson (American, 1864-1924)
Portrait of a Family
1922
Palladium print
R.K. Mellon Family Foundation

 

With the onset of World War I, platinum metal was needed for military purposes, raising its price and severely limiting its use in commercial applications. This led to the advancement of new photographic products that relied on the more readily available and less expensive precious metals of silver and palladium. Wilson made this portrait on palladium paper during a summer course offered by the Clarence H. White School of Photography. Intended to replicate the look of platinum prints, palladium papers came in various surface textures and tonal values; however, they were never fully embraced by photographers, who questioned both their quality and permanence.

 

Harry C. Rubincam. 'The Circus' 1905

 

Harry C. Rubincam (American, 1871-1940)
The Circus
1905
Platinum print
The Sarah and William L Walton Fund

 

After years of working for insurance and wholesale grocery companies in New York City, Rubincam moved to Denver, Colorado, where he learned photography from a retired professional. His participation in several exhibitions brought his work to the attention of Alfred Stieglitz, who invited Rubincam in 1903 to be a member of the Photo-Secession, an elite group of photographers whose aim was to advance photography as a fine art. This photograph of a circus performance is unusual among art photographs from this time for its spontaneity.

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Monday – Saturday 1000 am – 5.00 pm
Sunday 11.00 am – 6.00 pm

National Gallery of Art website

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24
Dec
11

Exhibition: ‘Robert Adams: The Place We Live, A Retrospective Selection of Photographs’ at the The Denver Art Museum (DAM)

Exhibition dates:  25th September 2011 – 1st January 2012

 

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

 

 

Robert Adams. 'Burning oil sludge, north of Denver, Colorado' 1973-1974

 

Robert Adams (American, b. 1937)
Burning oil sludge, north of Denver, Colorado
1973-1974
Gelatin silver print
Yale University Art Gallery, purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund and the Janet and Simeon Braguin Fund

 

Robert Adams. 'North of Keota, Colorado' 1973

 

Robert Adams (American, b. 1937)
North of Keota, Colorado
1973 printed 1989
Gelatin silver print
Yale University Art Gallery, purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Mobile home park, north edge of Denver, Colorado' 1973-1974

 

Robert Adams (American, b. 1937)
Mobile home park, north edge of Denver, Colorado
1973-1974
Gelatin silver print
Yale University Art Gallery, purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund and the Janet and Simeon Braguin Fund

 

 

The Denver Art Museum (DAM) is the first U.S. venue for Robert Adams: The Place We Live, A Retrospective Selection of Photographs. The exhibition features more than 200 black-and-white photos spanning Adams’s 45-year career, showcasing the artistic legacy of the American photographer and his longstanding engagement with the contemporary Western landscape. Adams lived and worked in Colorado for nearly 30 years. Many of his most acclaimed images were taken in the Rocky Mountain region and will strike a familiar chord with visitors. The exhibition, organised by the Yale University Art Gallery, will be on view September 25, 2011 – January 1, 2012 in the museum’s Gallagher Family Gallery.

“We’re excited to host the work of one of the foremost photographers of our time,” said Eric Paddock, the DAM’s curator of photography. “Robert Adams’s striking yet quiet photos provoke thought about current economic, political and environmental issues Westerners confront every day. We think visitors will see something very familiar in his work.”

Since becoming a photographer in the mid-1960s, Adams has been widely regarded as one of the most significant and influential chroniclers of the American West. Adams’s photographs and writing insist that the realities of everyday landscapes are as beautiful as idealised scenes from nature. They ask questions about the ways people change and interact with nature, and what it means to live simply and quietly in today’s world. This commitment earned Adams prominence in photography’s “New Topographics” movement of the late 20th century and lends authority to his ongoing work. His photographs of Colorado suburban growth and clear cut forests in the Pacific Northwest, for example, express shock at mainstream social and economic values.

“The Denver Art Museum is pleased to be the first U.S. venue for The Place We Live, showcasing our continued commitment to our photography program,” said Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. “Colorado has a rich photography history and we’re excited to have visitors engage with these artworks that provide a narrative to the American experience and take a fresh look at their surroundings.”

Featuring more than 200 gelatin silver prints, The Place We Live weaves together four decades of Adam’s work into a cohesive, epic narrative of American experience in the late 20th and early 21st centuries. Each of the photographer’s major projects is represented, from early pictures of quiet buildings and monuments erected by prior settlers of his native Colorado to his most recent images of forests and migratory birds in the Pacific Northwest.

 

Biography

Born in Orange, N.J., in 1937, Robert Adams moved with his family from Madison, Wis., to Denver, Colo., at the age of 15. He earned a doctorate degree from the University of Southern California and, intent on pursuing an academic career, returned to Colorado in 1962 as an assistant professor of English at Colorado College. Disturbed by the rapid transformation of the Colorado Springs and Denver areas, Adams began photographing a landscape transformed by tract housing, highways, strip malls and gas stations. “The pictures record what we purchased, what we paid and what we could not buy,” Adams wrote. “They document a separation from ourselves, and in turn from the natural world that we professed to love.” Since 1997, he has lived and worked in Oregon.”

Press release from The Denver Art Museum

 

Robert Adams. 'Lakewood, Colorado' 1968-1971

 

Robert Adams (American, b. 1937)
Lakewood, Colorado
1968-1971
Gelatin silver print
Yale University Art Gallery, purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Pikes Peak, Colorado Springs, Colorado' 1969

 

Robert Adams (American, b. 1937)
Pikes Peak, Colorado Springs, Colorado
1969
Gelatin silver print
Yale University Art Gallery, purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Denver, Colorado' c. 1970

 

Robert Adams (American, b. 1937)
Denver, Colorado
c. 1970
Gelatin silver print
Yale University Art Gallery, purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Longmont, Colorado' 1973-1974, printed 2007

 

Robert Adams (American, b. 1937)
Longmont, Colorado
1973-1974, printed 2007
Gelatin silver print
Yale University Art Gallery, purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Eden, Colorado' 1968

 

Robert Adams (American, b. 1937)
Eden, Colorado
1968
Gelatin silver print
Yale University Art Gallery, purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund and the Janet and Simeon Braguin Fund

 

 

The Denver Art Museum
Civic Center Cultural Complex
located on 13th Avenue between Broadway and Bannock in downtown Denver

Opening hours:
Monday – Thursday 10am- 5pm
Friday 10 am – 8 pm
Saturday – Sunday 10am – 5pm

The Denver Art Museum website

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06
Jan
11

Exhibition: ‘Robert Adams:
 The Place We Live, A Retrospective Selection of Photographs’ at the Vancouver Art Gallery

Exhibition dates: 25th September, 2010 – 16th January, 2011

 

Robert Adams. 'Colorado Springs, Colorado' 1968

 

Robert Adams (American, b. 1937)
Colorado Springs, Colorado
1968
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from Trellis Fund, and the Janet and Simeon Braguin Fund

 

 

What a pleasure it is to post these photographs from the outstanding photographer Robert Adams. The photograph Longmont, Colorado (1979, below) has become truly iconic and will be recognised instantly by many art aficionados around the world: the glowing neon lights, the empty gondolas, towering, brooding skies and solitary, isolated human. The creature in the photograph Sitka spruce, Cape Blanco State Park, Curry County, Oregon (1999-2000, below) impinges my consciousness like a Lernaean Hydra, an ancient, nameless, multi-headed serpent-like water beast. The eloquently understated series Listening to the River (1985-1987, several photographs below) completes the picture, a tour de force of apposition: each image positioned at rest in respect to another: quiet, still, but visually complex.

There is a crispness and cleanness to Adams work that belie the complexity of his subject matter. Tension and balance within the pictorial frame is the key: formal yet fecund, these intellectually productive images challenge us to imagine, and to name, our relationship with the earth and every place that we live.

Dr Marcus Bunyan

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Many thankx to the Vancouver Art Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images © the artist and Vancouver Art Gallery.

 

Robert Adams. 'Frame for a Tract House, Colorado Springs, Colorado' 1969

 

Robert Adams (American, b. 1937)
Frame for a Tract House, Colorado Springs, Colorado
1969
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from Trellis Fund, and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Longmont, Colorado' 1979

 

Robert Adams (American, b. 1937)
Longmont, Colorado
1979
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from Trellis Fund, and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Edge of San Timoteo Canyon, looking toward Los Angeles, Redlands, California' 1978

 

Robert Adams (American, b. 1937)
Edge of San Timoteo Canyon, looking toward Los Angeles,
Redlands, California
1978
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Santa Ana Wash, Redlands, California' 1983, printed 1991

 

Robert Adams (American, b. 1937)
Santa Ana Wash, Redlands, California
1983, printed 1991
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Quarried Mesa Top, Pueblo County, Colorado' 1978

 

Robert Adams (American, b. 1937)
Quarried Mesa Top, Pueblo County, Colorado
1978
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Ranch Northeast of Keota, Colorado' 1969

 

Robert Adams (American, b. 1937)
Ranch Northeast of Keota, Colorado
1969
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Southwest from the South Jetty, Clatsop County, Oregon' 1992

 

Robert Adams (American, b. 1937)
Southwest from the South Jetty, Clatsop County, Oregon
1992
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund

 

 

Over the past four decades photographer Robert Adams has come to be widely regarded as one of the most original and significant chroniclers of the western American landscape. The first large-scale exhibition of Adams’ work to be presented in Canada, The Place We Live traces his longstanding engagement with the degradation of the environment in the face of suburban development. The exhibition includes more than 300 photographs representing each of Adams’ major projects, from his austere photographs of the Colorado prairie that pay homage to earlier inhabitants, to his unflinching images of the land, workplaces, shopping centres and homes around Denver, as well as recent images of the remains of the great rainforest near his present home in the American Pacific Northwest.

Spare and dispassionate, yet rich with formal invention, Adams’ remarkable images resist simplification of subjects both ordinary and grand, balancing the complexities and contradictions found in modern life. Seen as a whole, the exhibition clearly reveals an approach to art-making that on the one hand seeks to bear witness to humanity’s tenuous relationship with the natural world and, on the other, to celebrate the unexpected sublimity that persists in the face of despoliation.

The reach of Adams’ work has been felt primarily through his publications, which include more than 30 monographs. Adams’ books are an integral component of the exhibition and provide the viewer with the opportunity to further consider the manner in which he has addressed the fear, curiosity and inspiration the American landscape has engendered throughout his career. The international tour of this exhibition is being launched at the Vancouver Art Gallery and is accompanied by a catalogue and a three-volume, hard cover book.

Text from the Vancouver Art Gallery website [Online] Cited

 

Robert Adams. 'In a New Subdivision, Colorado Springs, Colorado' 1969

 

Robert Adams (American, b. 1937)
In a New Subdivision, Colorado Springs, Colorado
1969
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from Trellis Fund, and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Sitka spruce, Cape Blanco State Park, Curry County, Oregon' 1999-2000

 

Robert Adams (American, b. 1937)
Sitka spruce, Cape Blanco State Park, Curry County,
Oregon
1999-2000
Gelatin silver print
Yale University Art Gallery.
Purchased with a gift from
Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Kerstin, Next to an Old-Growth Stump, Coos County, Oregon' 1999-2003

 

Robert Adams (American, b. 1937)
Kerstin, Next to an Old-Growth Stump, Coos County, Oregon
1999-2003
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund

 

Robert Adams. 'Untitled' from the series 'Listening to the River' 1985-87

 

Robert Adams. 'Untitled' from the series 'Listening to the River' 1985-87

 

Robert Adams. 'Untitled' from the series 'Listening to the River' 1985-87

 

Robert Adams. 'Untitled' from the series 'Listening to the River' 1985-87

 

Robert Adams (American, b. 1937)
Untitled
from the series Listening to the River
1985-87
Gelatin silver print
Yale University Art Gallery
Purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund

 

 

Vancouver Art Gallery
750 Hornby Street, Vancouver
BC V6Z 2H7
Info Line: 604.662.4719

Gallery hours:
Daily 10 am to 5 pm
Tuesdays until 9 pm

Vancouver Art Gallery website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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