Posts Tagged ‘Jack Delano


Exhibition: ‘Color! American Photography Transformed’ at the Amon Carter Museum of American Art, Fort Worth, Texas

Exhibition dates: 5th October 2013 – 5th January, 2014


Alex Prager (b.1979) 'Crowd #1 (Stan Douglas)' 2010


Alex Prager (American, b. 1979)
Crowd #1 (Stan Douglas)
Dye coupler print
© Alex Prager, courtesy of the artist and Yancey Richardson Gallery



A very big subject to cover in one exhibition.


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


Jack Delano (1914-1997) 'Chopping cotton on rented land near White Plains, Greene County, Georgia, 1941' 1941


Jack Delano (American, 1914-1997)
Chopping cotton on rented land near White Plains, Greene County, Georgia, 1941
Inkjet print, 2013
Courtesy the Library of Congress


Laura Gilpin (1891-1979) 'Still Life with Peaches' 1912


Laura Gilpin (American, 1891-1979)
Still Life with Peaches
Lumière Autochrome
© 1979 Amon Carter Museum of American Art, Fort Worth, Texas


Jan Groover (1943-2012) 'Untitled' 1978


Jan Groover (American, 1943-2012)
Dye coupler print
© 1978 Jan Groover
Amon Carter Museum of American Art, Fort Worth, Texas


Unknown photographer. 'Untitled (Woman with two daughters)' c. 1850s


Unknown photographer 
Untitled (Woman with two daughters)
c. 1850s
Salted paper print with applied color
Amon Carter Museum of American Art


Gregory Crewdson (b. 1962) 'Untitled (Dylan on the Floor)' from the 'Twilight Series' 1998-2002


Gregory Crewdson (American, b. 1962)
Untitled (Dylan on the Floor) from the Twilight Series
Dye coupler print
© Gregory Crewdson, Courtesy Gagosian Gallery



On October 5, the Amon Carter Museum of American Art opens Color! American Photography Transformed, a compelling examination of how colour has changed the very nature of photography, transforming it into today’s dominant artistic medium. Color! includes more than 70 exceptional photographs by as many photographers and is on view through January 5, 2014.

“Colour is so integral to photography today that it is difficult to remember how new it is or realise how much it has changed the medium,” says John Rohrbach, senior curator of photographs.

The exhibition covers the full history of photography, from 1839, when Frenchman Louis-Jacques-Mandé Daguerre (1787-1851) introduced his daguerreotype process, to the present. From the start, disappointed that photographs could only be made in black and white, photographers and scientists alike sought with great energy to achieve colour. Color! begins with a rare direct-colour photograph made in 1851 by Levi L. Hill (1816-1865), but explains how Hill could neither capture a full range of colour nor replicate his achievement. It then shows finely rendered hand-coloured photographs to share how photographers initially compensated for the lack of colour.

When producing colour photographs became commercially feasible in 1907 in the form of the glass-plate Autochrome, leading artists like Alfred Stieglitz (1864-1946) were initially overjoyed, according to Rohrbach. Color! offers exquisite examples of their work even as it explains their ultimate rejection of the process because it was too difficult to display and especially because they felt it mirrored human sight too closely to be truly creative.

“Although many commercial photographers embraced colour photography over succeeding decades, artists continued to puzzle over the medium,” Rohrbach explains. Color! reveals that many artists from Richard Avedon (1923-2004) to Henry Holmes Smith (1909-1986) tried their hand at making colour photographs through the middle decades of the 20th century, and it shows the wide range of approaches they took to colour. It also shares the background debates among artists and photography critics over how to employ colour and even whether colour photographs could have the emotional force of their black-and-white counterparts.

Only in 1976, when curator John Szarkowski at the Museum of Modern Art in New York heralded the young Memphis photographer William Eggleston’s (b. 1939) snapshot-like colour photographs as the solution to artful colour, did fine art colour photography gain full acceptance.

“Eggleston revealed how colour can simultaneously describe objects and stand apart from those objects as pure hue,” Rohrbach says. “In so doing, he successfully challenged the longstanding conception of photography as a medium that found its calling on close description.”

Color! illustrates through landmark works by Jan Groover (1943-2012), Joel Meyerowitz (b. 1938) and others the blossoming of artists’ use of colour photography that followed in the wake of Szarkowski’s celebration of Eggleston. It also reveals artists’ gradual absorption of the notion that colour could be used flexibly to critique cultural mores and to shape stories. In this new colour world, recording the look of things was important, but it was less important than conveying a message about life. In this important shift, led by artists as diverse as Andres Serrano (b. 1950) and Laurie Simmons (b. 1949), the exhibition explains, photography aligned itself far more closely with painting.

Color! shows how the rise of digital technologies furthered this transformation, as photographers such as Gregory Crewdson (b. 1962), Richard Misrach (b. 1949) and Alex Prager (b. 1979) have explicitly embraced the hues, scale, and even subjects of painting and cinema.

“Photography still gains its power and wide popularity today from its ability to closely reflect the world,” explains Rohrbach, “but Color! reveals how contemporary artists have been using reality not as an end unto itself, but as a jumping off point for exploring the emotional and cultural power of colour, even blurring of line between record and fiction to make their points. These practices, founded on colour, have transformed photography into the dominant art form of today even as they have opened new questions about the very nature of the medium.”

The exhibition will include an interactive photography timeline enabling visitors to contribute to the visual dialogue by sharing their own colour images. The photographs will be displayed along the timeline and on digital screens in the museum during the exhibition to illustrate how quantity, format and colour quality have evolved over time.

“By telling the full story of colour photography’s evolution, the exhibition innovatively uncovers the fundamental change that colour has brought to how photographers think about their medium,” says Andrew J. Walker, museum director. “The story is fascinating and the works are equally captivating. Photography fans and art enthusiasts in general will revel in the opportunity to see works by this country’s great photographers.

Press release from the Amon Carter Museum of American Art website


Patrick Nagatani (b. 1945) and Andree Tracey (b.1948) 'Alamogordo Blues' 1986


Patrick Nagatani (American, b. 1945)
Andree Tracey (American, b. 1948)
Alamogordo Blues
Dye diffusion print
© Patrick Nagatani and Andree Tracey
Center for Creative Photography, University of Arizona


Laurie Simmons (b. 1949) 'Woman/Red Couch/Newspaper' 1978


Laurie Simmons (American, b. 1949)
Woman/Red Couch/Newspaper
Silver dye-bleach print
© Laurie Simmons
Los Angeles County Museum of Art, Ralph M. Parsons Fund


Sandy Skoglund (b. 1946) 'Revenge of the Goldfish, 1980' 1980


Sandy Skoglund (American, b. 1946)
Revenge of the Goldfish, 1980
Silver dye-bleach print
© 1981 Sandy Skoglund
St. Louis Art Museum, Gift of Mr. and Mrs. Fielding Lewis Holmes


Mark Cohen (b. 1943) 'Boy in Yellow Shirt Smoking' 1977


Mark Cohen (American, b. 1943)
Boy in Yellow Shirt Smoking
Dye coupler print
© Mark Cohen
Courtesy the artist and ROSEGALLERY


John F. Collins (1888?-1988) 'Tire' 1938


John F. Collins (American, 1888?-1988)
Silver dye-bleach print
Courtesy Howard Greenberg Gallery


Richard Misrach (b.1949) 'Paradise Valley (Arizona), 3.22.95, 7:05 P.M.' 1995


Richard Misrach (American, b.1949)
Paradise Valley (Arizona), 3.22.95, 7:05 P.M.
Dye coupler print
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Marc Selwyn Fine Art, Los Angeles and Pace/MacGill Gallery, NY


Henry Holmes Smith (1909-1986) 'Tricolor Collage on Black' 1946


Henry Holmes Smith (American, 1909-1986)
Tricolor Collage on Black
Dye imbibition print over gelatin silver print
© Smith Family Trust
Indiana University Art Museum, Henry Holmes Smith Archive


Mitch Epstein (b. 1952) 'Flag' 2000


Mitch Epstein (American, b. 1952)
Dye coupler print
© Black River Productions
Private collection


Trevor Paglen (b. 1974) 'The Fence (Lake Kickapoo, Texas)' 2010


Trevor Paglen (American, b. 1974)
The Fence (Lake Kickapoo, Texas)
Dye coupler print, 2011
© Trevor Paglen
Amon Carter Museum of American Art, Fort Worth, Texas


Joaquin Trujillo (b. 1976) 'Jacky' 2003


Joaquin Trujillo (American, b. 1976)
From the series Los Niños
Inkjet print, 2011
© Joaquin Trujillo 2013
Amon Carter Museum of American art, purchase with funds provided by the Stieglitz Circle of the Amon Carter Museum of American Art


James N. Doolittle (1889-1954) 'Ann Harding' c. 1932


James N. Doolittle (American, 1889-1954)
Ann Harding
c. 1932
Tricolor carbro print
Nelson-Atkins Museum of Art, Kansas City, MO



Amon Carter Museum
3501 Camp Bowie Boulevard
Fort Worth, TX 76107-2695

Opening hours:
Tuesday, Wednesday, Friday, Saturday:
 10am – 5pm
Thursday: 10am – 8pm
Sunday: 12am – 5pm
Closed Mondays and major holidays.

Amon Carter Museum of American Art website


Back to top


Exhibition: ‘Un/Natural Color’ at the Santa Barbara Museum of Art, Santa Barbara, CA

Exhibition dates: 7th July – 29th September 2013


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



Installation photograph of the exhibition 'Un/Natural Color' at the Santa Barbara Museum of Art

Installation photograph of the exhibition 'Un/Natural Color' at the Santa Barbara Museum of Art

Installation photograph of the exhibition 'Un/Natural Color' at the Santa Barbara Museum of Art


Installation photographs of the exhibition Un/Natural Color at the Santa Barbara Museum of Art



This exhibition looks at the powerful relationship between colour and memory by considering photographs and the ways in which their unique colour palettes evoke specific moments of the historical past. From the pastel hues of 19th-century hand-painted portraits, to the vibrant colours of late-1930s Kodachrome transparencies, and the faded, shifted tones of snapshots from the 1970s, different kinds of colour reproduction are closely associated with the time periods that they most frequently represent. Each experiment in colour photography was originally meant to convey a sense of the natural hues of the world, but as our expectations for realistic representation have evolved, these earlier technologies for representing colour have also taken on new meaning. Today, the distinctive colours found in many vintage photographs speak as loudly to contemporary viewers about the period in which they were made as the content that they render visible. The exhibition suggests that the aesthetics of colour are closely related to the evolution of photographic technology over the past 100 years, and encourages visitors to rethink the significance of colour in contemporary photography through the lens of its multi-coloured past. This exhibition was organised by Kim Beil, an art historian who teaches at the University of California, Santa Cruz.

Text from the Santa Barbara Museum of Art website


Jack Delano. 'Barker at the Grounds of the Vermont State Fair, Rutland' 1941, printed 1983


Jack Delano (American, 1914-1997)
Barker at the Grounds of the Vermont State Fair, Rutland
1941, printed 1983
Dye transfer print
Santa Barbara Museum of Art, Gift of the Bruce Berman and Nancy Goliger Berman Collection


Jack Delano. 'At the Vermont State Fair, Rutland' 1941, printed 1985


Jack Delano (American, 1914-1997)
At the Vermont State Fair, Rutland
1941, printed 1985
Dye transfer print
Santa Barbara Museum of Art, Gift of the Bruce Berman and Nancy Goliger Berman Collection


William Eggleston. 'Farm truck, Memphis, Tennessee' 1972


William Eggleston (American, b. 1939)
Farm truck, Memphis, Tennessee
Dye-transfer print


Leroy Grannis (American, 1917-2011) 'Greg Noll Surf Team at Duke Kahanamoku Invitational, Sunset Beach' 1966, printed 2005


Leroy Grannis (American, 1917-2011)
Greg Noll Surf Team at Duke Kahanamoku Invitational, Sunset Beach
1966, printed 2005
C-print, ed. 1/9
Santa Barbara Museum of Art, Museum purchase with funds provided by Janet and Michael G. Wilson



Un/Natural Color, an exhibition of colour photography from the Santa Barbara Museum of Art’s (SBMA) permanent collection, illustrates the history of colour photography since the 19th century and examines how the shifted or faded colours of old photographs can evoke moments in the historical past. Responding to the widespread use of nostalgic filters in popular photography and social media apps, such as Instagram and Twitter, this presentation enables visitors to see first-hand the historical processes that inspired the aesthetics of these digital manipulations. Despite their reputation for preserving memories and stopping time, photographs themselves are susceptible to material changes over time. These changes are often most visible in the radical colour shifts seen in old photographs, from the characteristic pink hue of snapshots from the 1950s to the yellowed borders and cool cast of prints from the 1970s. These changes also serve to complicate any simple belief in the ability of photography to faithfully represent the natural colours of the world.

While the exhibition includes a number of experimental early processes, including the chromolithographically-derived Photochrom process as well as an early Autochrome, the bulk of the imagery is drawn from the decades following the pivotal invention of Kodachrome, the first colour slide film, which was made commercially available in 1936. Because this film, as well as Kodacolor negative film (1942), was sent back to Eastman-Kodak for processing, photographers’ control over their imagery was greatly reduced, leading many art photographers to resist the transition to colour until decades later.

Un/Natural Color includes rarely-seen colour work by two notable documentary photographers of the Depression era, Jack Delano and Marion Post Wolcott. Both worked for the Farm Security Administration (a government program associated with the New Deal) and made limited use of colour film while on assignment documenting the effects of the Great Depression on rural American. Very few (if any) of these images were reproduced in the popular press, however, owing to the difficulty and cost of reproducing colour photographs, and to colour photography’s overwhelming association with commercial advertising at this time (as in Elmar Ludwig and Edmund Nägele’s image of the popular resort chain, Butlin’s).

The art establishment at large expressed little interest in colour photography until the mid-1970s, following the inclusion of colour work in two groundbreaking exhibitions: Stephen Shore’s vernacular landscapes in New Topographics: Photographs of a Man-Altered Landscape at the George Eastman House in Rochester, NY (1975) and the solo exhibition of William Eggleston’s colour photography at the Museum of Modern Art, NY (1976). Both of these important photographers are represented in Un/Natural Color, as well as work by photographers exploring similar uses of colour to record everyday American scenes, including Jeff Brouws, Jim Dow, and Joel Meyerowitz.

Prior to the 1970s, some tentative forays into colour photography were made by art photographers primarily known for their work in black-and-white (notably Harry Callahan), but colour was more often derided for its populist associations and was typically allied with either snapshot photography or advertising and Hollywood. The negative connotation that colour photography had acquired over the years in the art world was critical to its adoption by photographers like Shore and Eggleston, who used it to challenge conventional expectations for photographic art and to force viewers to look with new eyes at the familiar world around them.

An image such as Greg Noll Surf Team at Duke Kahanamoku Invitational, Sunset Beach by Leroy Grannis highlights the powerful ability of colour photography to summon a unique historical moment. It is not just the classic haircut and short surf trunks sported by the surf legend, Greg Noll, that situates this photograph in the 1960s. Colour photography at this time typically recorded colour in a highly saturated, though fairly uniform manner, leaving some aspects of this photograph looking flat, rather than mimicking the subtle modulation of tone that is more commonly associated with the perception of depth by human vision.

The characteristic manner by which different colour processes represent the colours of the world, as well as the changes that such colour photographs suffer over time, are powerful indicators of the photograph’s history. When we look at colour photographs, all of these markers are brought to bear on our interpretation of their subjects, leading us to question: what is natural colour anyway?

Press release from the Santa Barbara Museum of Art website


Roman Freulich. 'Gloria Swanson' Nd


Roman Freulich (American, born Poland 1898-1974)
Gloria Swanson
Dye transfer print
Santa Barbara Museum of Art, Gift of Judith Caditz, Allan M. Caditz, Ellen Joan Abramson and Norman Abramson


William Edwin Gledhill (Canadian, 1888-1976) 'Amanda Duff' 1935


William Edwin Gledhill (Canadian, 1888-1976)
Amanda Duff
Dye transfer print
Santa Barbara Museum of Art, Gift of Keith Gledhill


Elmar Ludwig and Edmond Nagele. 'The Indoor-Heated Pool, Butlin’s Mosney' Nd


Elmar Ludwig (German, b. 1935) and Edmund Nägele (German, b. 1942)
The Indoor-Heated Pool, Butlin’s Mosney


William Henry Jackson. 'Colorado Railway Mountain View' 1898


William Henry Jackson (American, 1843-1942)
Colorado Railway Mountain View
Santa Barbra Museum of Art, Museum purchase




William Henry Jackson (American, 1843-1942)
Colorado Grand Canyon of the Arkansas
Santa Barbara Museum of Art, Museum purchase


Saul Leiter. 'Snow' 1960


Saul Leiter (American, 1923-2013)



Santa Barbara Museum of Art
1130 State Street, Santa Barbara, CA

Opening hours:
Tuesday – Sunday 11am – 5pm
Thursday Evenings 5 – 8pm

Santa Barbara Museum of Art website


Back to top

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: ‘Orphans and small groups’ 1994-96 Part 2

If you would like to unsubscribe from the email list please email me at and I will remove you asap. Thank you.

Join 2,742 other followers

If you would like to unsubscribe from the email list please email Marcus at and I will remove you asap. Thank you.

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

August 2021