Milton Greene

Marilyn Monroe, Glass Balanced on Left Knee

4-20-1978

New York #121 Silver Gelatin print, 1980 Signed in ink below the image (see photo) Annotated verso in pencil: "New York #121 ©, New York, 1980" (see photo) Provenance: Reader's Digest Association Collection #23214 (label) Condition: Excellent Image size: 12-5/8 x 18-3/4" (32 x 47.6 cm.) Mat size: 19-1/2 x 25-1/2" Photographs by Fielding are in the collections of: Museum of Modern Art Brooklyn Museum International Center of Photography (New York) Museum of Contemporary Photography (Chicago) Art Institute of Chicago Walker Art Center (Minneapolis) Center for Creative Photography (Tucson) Fielding was born in Boston, Massachusetts. He attended the Rhode Island School of Design, where he studied with photographers Aaron Siskind and Harry Callahan; he received his BFA in 1975. He received his MFA in 1980 from the School of the Art Institute of Chicago, where he studied with photographer Kenneth Josephson. He has photographed in such countries as Italy, Peru, Spain, Greece, Egypt, Mexico, Portugal and the United States. His work has particularly concentrated on the Italian cities of Rome and Naples, as well as Mexico City. Of Fielding's City of Secrets, critic Vince Aletti wrote: [Naples'] citizens, from wiseass kids in diapers to weathered old men, loom into the frame like characters out of Fellini, bursting with antic, earthy energy. Fielding confronts and embraces his subjects, building up a portrait of a place that's as visceral as it is cinematic--a true theatre of the streets. Photography curator and collector W. M. Hunt wrote about the book: Jed Fielding is from the old school: a photographer with vision and technique. I've been to Naples twice in my lifetime; once by ship, and, even more lastingly, through Jed Fielding's astonishing images. At the time of a 2009 New York City exhibition of Fielding's photographs from Look at me, a New Yorker review[who?] said: Fielding's photographs of the blind children he met at schools in Mexico City are not in the tradition of photojournalistic muckraking. Like his terrific earlier series from the streets of Naples, these images are vivacious, audacious, and in your face. His subjects are not pitiable victims; they're rambunctious, apparently happy kids at play, responding to Fielding's attention with curiosity and delight. They may be cut off from the visual world, but they relish physical contact, both with one another and with the patient photographer. The best of the work was made at close range, where that connection was most tangible, and young faces fill the frames with fragile, vivid life. He has had solo exhibitions at venues including the Andrea Meislin Gallery...

Untitled (Portrait of Roberta Kimmel Cohn) Silver gelatin print on photographic paper c. 1981 Signed with the photographer's hand stamp verso From a presentation portfolio given the ...

Juniper, Lake Tenaya Gelatin silver print, 1937 Unsigned Edward Weston Estate stamp verso (see photo) A lifetime printing by Brett Weston, supervised by his father Edward, printed in...

Shaker Interior, Sabbathday Lake, Maine Silver print, selenium toned, 1971 Signed in pencil lower right (see photo) Titled verso (see photo) Printed c. 1971 Condition: Excellent Image: 6 1/2 x 9 3/8 inches Frame: 14 x 17 inches Original Kulicke welded frame George A. Tice, born in Newark, New Jersey, United States, October 13, 1938, the son of a college-educated New Jerseyan, William S. Tice, and Margaret Robertson, a Traveller of Irish, Scottish, and Welsh stock with a fourth-grade education. George was raised by his mother, maintaining regular visiting contact with his father, whose influence and advice he valued highly. Education His first contact with photography was in the albums of family photographs belonging to his father, and this gave him the desire to create images of his own. George Tice began with a Kodak Brownie. In 1953, having bought a Kodak Pony, which gave him some control over exposure and focus, and a Kodak developing kit, he began to advance his craft. George Tice also joined the Carteret Camera Club. Tice's photographs of homeless men on the Bowery won second place in the black and white print competitions. George Tice decided at this point to make photography his career. In 1955 George Tice attended the Newark Vocational and Technical High School, where he briefly studied commercial photography under Harve Wobbe. When he turned sixteen, he quit school and took a job as a darkroom assistant for Classic Photo, a portrait studio in Newark. He also worked as a stock boy at Kreske's Department Store in Newark, then as an office boy in the circulation department of the Newark Evening News. In 1956 George Tice enlisted in the United States Navy, in which he rose to the rank of Photographer's Mate Third Class. After boot camp and two years at Naval Air Station Memphis, he was transferred to sea duty aboard the aircraft carrier, USS Wasp...

Huntsville, Texas, 1968 / Printed 2011 The Walls is a walled penitentiary. It is the oldest unit of the system and is located near the center of the town of Huntsville. Gelatin sil...

From a portfolio of ten gelatin silver prints from original Meatyard negatives (1959-71) Printed April 1974 Edition of 130 Credit stamp, verso 7 x 7.5 inches, image 15 x 12 inches, mount This photograph is offered by ClampArt, located in New York City. An optician by trade, Ralph Eugene Meatyard was a self-described “dedicated amateur” photographer. He pursued his own vision to produce an exquisitely enigmatic, widely admired body of work. Meatyard began taking photographs in 1950, roaming the backwoods and towns in Kentucky, experimenting with framing, multiple exposures, and blurring to produce haunting, abstracted images of natural and manmade environments. In the late 1950s, he began incorporating monstrous, oversized latex masks...

From a portfolio of ten gelatin silver prints from original Meatyard negatives (1959-71) Printed April 1974 Edition of 130 Credit stamp, verso 7 x 7.5 inches, image 15 x 12 inches, mount This photograph is offered by ClampArt, located in New York City. An optician by trade, Ralph Eugene Meatyard was a self-described “dedicated amateur” photographer. He pursued his own vision to produce an exquisitely enigmatic, widely admired body of work. Meatyard began taking photographs in 1950, roaming the backwoods and towns in Kentucky, experimenting with framing, multiple exposures, and blurring to produce haunting, abstracted images of natural and manmade environments. In the late 1950s, he began incorporating monstrous, oversized latex masks...

From a portfolio of ten gelatin silver prints from original Meatyard negatives (1959-71) Printed April 1974 Edition of 130 Credit stamp, verso 7 x 7 inches, image 15 x 12 inches, mount This photograph is offered by ClampArt, located in New York City. An optician by trade, Ralph Eugene Meatyard was a self-described “dedicated amateur” photographer. He pursued his own vision to produce an exquisitely enigmatic, widely admired body of work. Meatyard began taking photographs in 1950, roaming the backwoods and towns in Kentucky, experimenting with framing, multiple exposures, and blurring to produce haunting, abstracted images of natural and manmade environments. In the late 1950s, he began incorporating monstrous, oversized latex masks...