Fred McDarrah

Larry Rivers, Sylvia Miles Vintage Silver Gelatin Photograph Photo Print Pop Art

1976

Mark Citret, American, b. 1949. "Third Story Arches", Fort Point, 1998 Silver gelatin print hand signed and editioned 1/45 in pencil along lower edge. Published: "Along the Way" Mark Citret, Published Custom & Limited Editions, San Francisco, 1999. Plate #23. Dimensions: Image area measures 8.25"h x 6.25"w., Frame measures 17.5 x 14.5 Mark Citret was born in 1949 in Buffalo, New York, and grew up in San Francisco. He began photographing seriously in 1968 and received both his BA and MA in Art from San Francisco State University. He has worked on many photographic projects over the course of his career and continues to do so. From 1973 to 1975 he lived in and photographed Halcott Center, a farming valley in New York's Catskill Mountains. In the mid to late 1980s, he produced a large body of work with the working title of "Unnatural Wonders", which is his personal survey of architecture in the national parks. He spent four years, 1990 to 1993, photographing "Coastside Plant", a massive construction site in the southwest corner of San Francisco. Since he moved to his current home in 1986, he has been photographing the ever-changing play of ocean and sky from the cliff behind his house. Currently, he is in the midst of a multi-year commission from the University of California San Francisco, photographing the construction of their 43 acre Mission Bay life-sciences campus. He has taught photography at the University of California Berkeley Extension since 1982 and the University of California Santa Cruz Extension since 1988, and for organizations such as the Center for Photography at Woodstock, the Ansel Adams Gallery, and Santa Fe Workshops.He was included in the Weston Gallery exhibition NIGHT VISION: PHOTOGRAPHING IN THE DARK works by: Berenice Abbott, Wynn Bullock, Mark Citret, Harold Davis, Robert Frank, Ernst Haas, Chip Hooper, Rolfe Horn, Dale Johnson, Robb Johnson, Michael Kenna, André Kertész, Bob Kolbrener, Paul Kozal, Sally Mann and Jerry Uelsmann and PATTERNS IN ARCHITECTURE works by Ansel Adams, Brett Weston, Edward Weston, Oliver Gagliani, Pirkle Jones...

These were from a show of her work. Influenced by Surrealism and Dada Photographs these are images of old children's dolls in various states of decay. These bear the influence of Hans Bellmer, Dora Maar and Man Ray. Jo Ann Krivin born in Reasnor, Iowa in 1933, daughter to Earl Guthrie and Lillie Cramer. She graduated from Simpson College in Indianola, Iowa, with a bachelor of music degree in voice. She became a copywriter for the CBS Television affiliate in Des Moines, and then a public relations writer for Columbia Records in New York. She later owned and directed The Cramer Gallery in Glen Rock, N.J. Krivin photographed many jazz musicians during the 1980s and 1990s, and published two books of her jazz photos, "25 Years of the Jazz Room at William Paterson University" and "Jazz Studies." Her jazz and doll portraits have been exhibited in group and solo shows, museums, university galleries, and jazz festivals. She was married for over 50 years to painter, musician, and educator Martin Krivin. One of the few women in the field of jazz photography, JoAnn Krivin documented the professional jazz scene from the late 1970's until the late 1990's photographing close to 700 musicians. Her works have been exhibited frequently in solo shows at festivals, museums and galleries across the country. She has served as a still photographer for New Jersey Public Television and has contributed to a variety of national jazz publications. Her book, Twenty Five Years of the Jazz Room at William Paterson University, was published in 2003. Woman artist with a feminist tinge to these photographs. Her work was exhibited at the Ben Shahn Galleries. The exhibit featured photographs of some of the jazz world’s most well-known musicians, including Sonny Rollins, Joe Williams, Art Farmer, Benny Golson, Milt Hinton...

Signed by the photographer.

Ed Feingersh photographed Marilyn Monroe for Redbook magazine in March 1955 for a story which would follow Monroe through her daily routine, the photography to be candid and shot without flash in available light. The photographs he made of her during the week March 24–30, 1955 as she prepares for two appearances; opening night of Cat on a Hot Tin Roof at the Morosco Theatre and being fitted with a burlesque corset for her ride on a pink elephant at a charity event at Madison Square Garden. (from Wikipedia) This is a unique silver gelatine print, made in 1988 from the original negative.