Florida - Photography

In this holographic collage the artist, and inventor Thomas Cvetkovich uses a method of recording an object image of a first hologram as a second hologram is provided. This holographic method is known as compact holographic human interface, and was invented by him. Reconstructed images of holograms, in this case a fish, a banyan leaf and flora and fauna abstract forms, generally become visible when illuminated by a source of light having an angle of reconstruction. Thse are created with laser and computer technology. An artile in Life magazine was all it took it took to influence Tom Cvetkovich's career path, one that has brought his Youngstown company, Chromagem, an international clientele. It focused on new technology that linked the use of lasers in producing holograms, three-dimensional and free-standing images. Reminiscing on Chromagem's past work, Cvetkovich said, One of the things we're most proud of is a series of U.S. postage stamps, achievement in space. We did three stamps for that. We've done postage stamps for Canada, the German government. We've also done work for Moet & Chandon, the champagne; Estee Lauder; and the cover of the 'Star Trek Generations' box set. Over the past two Christmases, Chromagem created a special variety of Reynolds Wrap that features snowflake holograms stamped on the entire roll. Cvetkovich created his first hologram when he was a student at Kent State University in 1974. He took science and art classes to gain the knowledge on how to make the creations running through his head and onto a sketchpad into a fully realized form. "I'm coming at it, primarily, from an art background, but with some science background." He continued his studies at Lake Forest College. It was the first place in the world to offer a workshop in holography. I was there for their third year. Combining art, science Next, he earned a master's degree from the Art Institute of Chicago. The Art Institute was just starting a holography lab. Actually, I had to build my own because theirs wasn't ready. When I was going to college, I would do a math class and then make art. I could tell I was using different parts of my brain. Over the years, Cvetkovich has developed a mental truce between the creative and scientific sides of his brain. At this point, it's more of a craft, he said. I don't rely on a lot of math or science at all. I try to keep abreast at what's being invented, what new...

Neal Slavin (American, b. 1941) Product Managers, AT&T Long Lines, Somerset, New Jersey Vintage C-print [Chromogenic development print; Ektacolor prints] Hand signed and numbered by ...

This is an aerial view photograph. As an aerial photographer, MacLean aims to portray the history and evolution of the land from vast agricultural patterns to city grids, recording changes brought about by human intervention and natural processes. Alex S. MacLean (born 1947) is an American photographic artist who is best known for his aerial photographs. His photographs have portrayed the history and evolution of the land from vast agricultural patterns to city grids, recording changes brought about by human intervention and natural processes. MacLean graduated from Harvard College...

Chromogenic Print – Unframed Free Shipping – Ask us for custom framing options. 40 x 48 inches - edition of 5 48 x 60 inches - edition of 5 71 x 88.5 inches - edition of 5 "My ph...

40x40in ed.18 Archival Pigment Print MOUNTED AND FRAMED Also available in 48x48in and 60x60in. Limited edition signed print by Guido Argentini. Guido Argentini was born in Florenc...

"Women of the IDF" Large Exhibition color Photograph 30 x 40 inches, mounted on masonite and laminated. Edition of 4 + 2 artists proof. minor dings and bumps to edges Born in Tehran, Iran, Ashkan Sahihi moved with his family to West Germany at the age of seven. Although he began taking photographs as a teenager, Sahihi traces the beginning of his professional trajectory to New York in 1987, a thriving “pop culture metropolis” where he could do the kind of photography work that he wanted to do, exploring the underbelly of the society around him. Taking assignments from German publications such as the Süddeutsche Zeitung Magazine, Der Spiegel, Dummy and GEO, he photographed subjects like prisoners on death row, players in the hip-hop scene, and the downtown art scene of New York. Neither black nor white, an insider among outsiders, he found himself able to navigate spaces and dynamics that others might have had difficulty entering. He considered this both a privilege and an obligation – to visit these places and tell these stories. His success led to commissions from American publications as well, including the New York Times Magazine, the New Yorker, Rolling Stone, and Vogue. Put off by the limitations of photojournalism (the expectation that he would illustrate the writer’s perspective rather than author a narrative of his own), Sahihi began to embark on independent, highly compact conceptual series. His main goal in these series has been to drive forward public discourse on topics he believes have not provoked enough or the right kind of discussion: drugs, gender in the media, women in the military, etc. His portraits draw on a familiar visual language – often seated subjects before a neutral backdrop – but push the viewer to feel and think about entirely new things. Although he constantly challenges the comfort level of both the viewer and the subject, Sahihi never removes himself from the line of fire; all of his work requires the artist to immerse himself in uncomfortable situations and challenge his own emotional fortitude. Photographic Series In the “Face Series”, latex-gloved hands manipulate the subjects’ features, stretching, pushing, squeezing, pinching at the whim of external direction – from the artist? The customer? The public? The “Hypnosis Series” comprises 8 portraits of hypnotized subjects each experiencing a single emotion, e.g. helplessness, withholding/anger, or regret. In a society that rewards the suppression of such naked emotion, the purity of these depictions is arresting. In 2006, Sahihi photographed himself in the homes and with the families of six ex-girlfriends and one ex-wife, imposing himself more or less awkwardly on the constellations that emerged after he had exited their lives (“Exes Series”). For Sahihi’s most well-known work, the “Drug Series,” he convinced 11 non–drug users to consume a particular drug, then took their portraits over the course of their trips. The series was born out of Sahihi’s frustration with the hypocrisy of the political conversation about drugs in the United States. “By attempting to present an objective image of drug use, the artist addresses the cultural politics that allow our society to simultaneously glamorize the ‘drug look’ in fashion magazines and the entertainment industry and meanwhile turn a blind eye to the complicated, and vast, problem of drug abuse.” Sahihi has exhibited this series at MoMA PS1 New York in 2001, in Dresden in 2008, and alongside his installation “100 Million in Ready Cash." Sahihi’s dense explorations through small photographic series include “Women of the IDF," portraits of female Israeli soldiers...

Mitchell Funk takes skyscraper photography to new heights in his current exhibition: Mitchell Funk Photographs the Chrysler Building for 50 Years. The present work reimagines the m...

Printed by Muse X in Los Angeles. These are unsigned from a small edition. sepia-toned platinum palladium photographs on paper by Skip Arnold, show the always attractive artist, nude...

Man in Wheel Chair , Titled Terminal patient, Bird Cover Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-B...

K-narf, French (b. 1970) Collage photo artwork (Graffiti Vans) (2011) Tape-o-graph photography Signed lower right, numbered 1/5 16 x 12 7/8 inches K-NARF was born in 1970 in Saint-Etienne, France and now lives in Tokyo. K-NARF invented PHOTOGRAFFITI a contemporary way of making street photography that lead him to develop his singular Tape-o-Graphy technique. It involves the application of adhesive tape strips on developed photographs in order to manually process the photographs giving them a unique surface texture and extraordinary appearance. Open to influences from street art and video, he uses the medium of photography as a toy to create and play. Both conceptual and experimental, definitely non-conventional, his work documents, recycles and collects the visual anachronisms of a world in a perpetual mutation. Through the years, K-narf often got support from key figures of the art world such as Teruo Kurosaki (Idee, Tokyo), Rotraut and Daniel Klein-Moquay (Yves Klein Estate), Joel Meyerowitz (pioneer of contemporary color photography), Jacques Attali (French writer), Olivier Gay (Architect & Art collector) and Yoichi Nakamuta (curator & Art producer). He collaborates on regular basic with...

Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Born in Scotland of a Hungarian physicist/inventor and an English art dealer, she grew up in an international environment. Her father encouraged original thinking and experimentation; her mother nourished her creativity and her intuitive skills. Leaving her home in Schaffhausen, Switzerland, for Munich, Germany, she apprenticed to Bauhaus photographer Frl. Berthe Himmler. The next step was New York City where Hatay began to freelance in all aspects of photography. It was when she photographed Jimi Hendrix at Madison Square Garden on May 18, 1969 and was inspired by his music that she got a chance to spread her wings artistically. She was initially inspired by his energy, his vision and his originality. "Jimi Hendrix was absolutely amazing - it is not possible to put words to the Experience. He was, and still is, unique. I didn't know at the time I photographed him that he was interested in his music being a healing power. I learned a lot about this aspect of Hendrix about ten years later when I met people who knew him. When they heard how much I was interested in the healing aspects of his music, they shared their stories with me. I used some of this information in my two books, Jimi Hendrix, The Spirit Lives On and Jimi Hendrix, Reflections and Visions". Nona's experimental techniques were used in her photographs on many other Rock stars, such as Tina Turner, James Brown, and Frank Zappa. She had a major exhibit of her work in Paris. ORIGINAL PHOTO ART one of a kind - experimental & hand painted...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

A former student of the American landscape photographer Ansel Adams, Neil Folberg is known for his color landscapes of the Middle East and black-and-white techniques that champion the wizardry of his master teacher. Born in San Francisco, Folberg became a pupil of Adams at age 17, followed by his education at the University of California at Berkeley and individualized study with landscape photographer William Garnett. By 1976, Folberg had relocated to Jerusalem, where he began producing color landscapes throughout the deserts of Israel, Egypt, and Jordan. Folberg was commissioned by Aperture to document synagogues across the world, followed by a return to black-and-white in a series of night skies among ancient ruins of the Middle East. He used that same lighting to evoke the colors and light of the French Impressionists in his innovative re-creation of their world (“Travels with Van Gogh and the Impressionists”, Abbeville Press). His current project places man on the stage of nature in brilliantly lit scenes. SELECTED SOLO EXHIBITIONS 2015 Celestial Nights, The Dryansky Gallery, San Francisco 2012 Topography/Time/Israel, Flomenhaft Gallery, New York 2008 Celestial Nights: An Aperture Traveling Exhibition, Yeshiva University Museum, New York 2007 Celestial Nights: An Aperture Traveling Exhibition, Hammond Art Gallery, Fitchburg, MA Celestial Nights: An Aperture Traveling Exhibition, Miller Jewish Museum, Tulsa, Oklahoma Celestial Nights: An Aperture Traveling Exhibition, Museum of the Southwest, Midland, TX 2006 The Impressionists' Salon, Holden Luntz Gallery...

Antony Zega (1962-2019). Bed, ca. 1985. Photographic print, 12 5/8 x 8.5 inches. Mounted to acid free matting board measuring 16 x 20 inches. Unsigned. Estate stamp on verso.

Antony Zega (1962-2019). Ceiling, ca. 1985. Photographic print, 10 x 10 inches. Mounted to acid free matting board measuring 16 x 20 inches. Unsigned. Estate stamp on verso.

Antony Zega (1962-2019). For Sale, ca. 1985. Photographic print, 10 x 10 inches. Mounted to acid free matting board measuring 16 x 20 inches. Unsigned. Estat...

Antony Zega (1962-2019). Corsage, ca. 1985. Photographic print, 12 5/8 x 8.5 inches inches. Mounted to acid free matting board measuring 16 x 20 inches. Unsigned. Estate stamp on ve...

A rare unsigned proof print from Muse X. this is the original Cibachrome print on heavy metallic photography paper. this is an original vintage color print c print. Lyle Ashton Harris (born 1965) is an American artist who has cultivated a diverse artistic practice ranging from photographic media, collage, photo montage, installation art and performance art. Born in the Bronx, Harris was raised between New York City and Dar Es Salaam, Tanzania. He graduated with a BA from Wesleyan University and received his MFA from the California Institute of the Arts. His work explores intersections between the personal and the political, examining the impact of ethnicity, gender and desire on the contemporary social and cultural dynamic. Known for his self-portraits and use of pop culture icons (such as Billie Holiday and Michael Jackson), His work has been exhibited internationally, including at the Whitney Museum of American Art, the Solomon R. Guggenheim Museum and the 52nd Venice Biennale. His work has been acquired by major international museums, most recently by the Museum of Modern Art in New York. His commissioned work has been featured in a wide range of publications, including The New York Times Magazine and the New Yorker. In 2014 Harris joined the board of trustees at the American Academy in Rome and was named the 10th recipient of the David C. Driskell Prize by the High Museum of Art in Atlanta. Born in the Bronx New York City, He currently lives and works in New York City and is an Associate Professor at New York University. Education Whitney Museum Independent Study Program, 1992 National Graduate Photography Seminar, Tisch School of the Arts, New York University, 1991 Master of Fine Arts, California Institute of the Arts, 1990 Bachelor of Arts (with Honors), Wesleyan University, 1988 Works in Public Collections Los Angeles County Museum of Art Miami Art Museum Museo de Arte Contemporáneo de Castilla y León, Spain Museum of Contemporary Art, Los Angeles Museum of Contemporary Art, San Diego Museum of Fine Arts, Boston Museum of Modern Art, New York Princeton University Art Museum The Solomon R. Guggenheim Museum, New York The Studio Museum in Harlem The Walker Art Center, Minneapolis The Whitney Museum of American Art, New York Selected Solo Exhibitions 2010Untitled (Black Power), Cokkie Snoei Gallery, Amsterdam Netherlands Ghana, CRG Gallery, NY 2008Sketches from the Shore, The Neil L. and Angelica Zander Rudenstine Gallery, Harvard University,Cambridge, MA 2004Lyle Ashton Harris, Galerie Nathalie Obadia, Paris, France Blow Up, Rhona Hoffman Gallery, Chicago, IL Rrose is a Rrose is a Rrose: Gender Performance in Photography, The Solomon R. Guggenheim Museum, New York, NY (catalogue) Traveled to The Andy Warhol Museum, Pittsburgh, PA Bang! The Gun as Image, Museum of Fine Arts, Florida State University, Tallahassee, FL 1998Distillation, Galerie Analix Forever, Geneva, Switzerland Alchemy, in collaboration with Thomas Allen Harris, New Langston Arts, San Francisco, CA. Traveled to Corcoran Gallery of Art, Washington, DC (catalogue) 1994The Good Life, Jack Tilton Gallery, New York, NY Face, Broadway Window, New Museum of Contemporary Art, New York, NY Selected Group Exhibitions 2014Radical Presence: Black Performance in Contemporary Art, The Studio Museum in Harlem, New York “The Progress of Love”, The Menil Collection, Houston, TX “The Romare Bearden Project”, The Studio Museum in Harlem, New York, NY 2011 “Hide/Seek: Difference and Desire in American Portraiture”, Brooklyn Museum of Art, Brooklyn, NY (catalogue) Kreyol Factory, Grande Hale de la Villete, Paris, France (catalogue) S&M: Shines and Masquerades in Cosmopolitan Times, [Co-Curator], 80 Washington Square East Galleries, New York University, New York, NY 2007 Think with the Senses, Feel with the Mind, 52nd Venice Biennale, Venice, Italy (catalogue) (NOT) GAY ART NOW, Curated by Jack Pierson, Paul Kasmin Gallery, New York, NY 2005 Male Desire Two, Mary Ryan Gallery, NY African Queen, The Studio Museum in Harlem, New York, NY The Squared Circle: Boxing in Contemporary Art, Walker Art Center, Minneapolis, MN 2002 Typical Men: Recent Photography of the Male Body by Men, Gallery of Modern Art, Glasgow Goddess, Galerie Lelong, New York, NY Welcome, Curated by Renato Bianchini, Citta Sant’Angelo, Pescara, Italy 1998 Diana.98, Museum fur Gegenwartskunst, Zurich, Switzerland Millenovecento, Galerie Analix B Polla & C Cargnel, Paris, France Black Nudes: New Identities, Gay Games Amsterdam 1998, Amsterdam, Netherlands Portraits, James Graham and Sons, New York, NY The Paranoid Machine, Shoshana Wayne Gallery, Santa Monica, CA Published Photographs Stanley, Alessandra, “Berlusconi, The Return,” The New York Times Magazine, April 15, p. 40, (photographed Silvio Berlusconi) Hyland, John, “Hot Chicks, Cool Rooms,” The New York Times Magazine’s Fashions of the Times, Spring Issue, p.185 2000Portraits of Cuban Link, Fat Joe, Jermaine Dupri, Jill Scott...

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...

Framed and signed, black and white, 1970's, silver gelatin print by street photographer Jed Fielding. An internationally recognized street photographer, Jed Fielding has made photographs for over forty-eight years, working extensively in Peru, Greece, Egypt, Spain, France, Mexico, Italy, and the United States. Inspired by mentors Aaron Siskind and Harry Callahan, Fielding explores the diversity of emotion, culture, and humanity through his art. Fielding’s photographs have been widely collected and exhibited, and are represented in private and public collections, including: The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Art Institute of Chicago; International Center of Photography, New York; Museum of Fine Arts, Houston; Fogg Art Museum, Harvard University, Cambridge; Museum of Fine Arts, Boston; and The Goldman Sachs Collection, New York. His monograph, City of Secrets: Photographs of Naples by Jed Fielding, was published in 1998 by The Museum of Contemporary Photography (Chicago) and Takarajima Books (New York and Tokyo). His second monograph, Look at me: Photographs from Mexico City by Jed Fielding, was published in 2009 by the University of Chicago Press. In 2000, he was awarded an Illinois Artists...

Spaceloom XXIII The Photographer is John Reed. It bears his stamp verso. An East Hampton Photographer who shot Jackson Pollock, Lee Krasner, Larry Rivers, Philip Guston, Conrad Marca-Relli, Syd Solomon, and James Brooks amongst other art luminaries. This is for the original vintage photograph. I believe the inscription is in the hand of Ibram Lassaw some also bear the photographers stamp. Lassaw was born in Alexandria, Egypt, of Russian Jewish émigré parents, he went to the U.S. in 1921. His family settled in Brooklyn, New York. He became a US citizen in 1928. He first studied sculpture in 1926 at the Clay Club and later at the Beaux-Arts Institute of Design in New York. He made abstract paintings and drawings influenced by Kandinsky, Sophie Tauber Arp...

An artist who puts his life on the line for his art. Chris Burden was at the forefront of the conceptual art movement in the early 1970s. Prelude to 220, or 110 is one of his most important works where the artist puts his life on the line for his art. Burden voluntarily lays on his back. His neck and wists are have copper bands that bolt him to the floor. To his immediate left and right are two buckets of water with a 110-volt line inside. If the buckets were compromised in any way by a passerby or an unexpected event - Burden would have been electrocuted in a literal shocking performance. Art history is replete with artists who put themselves in harm's way to accomplish their art. Michelangelo risked a misstep to a certain death as he elevated himself over 60 feet to paint the ceiling of the Sistine Chapel. Francisco Goya's "The Disasters of War" may have put him at odds with a governing orthodoxy. Picasso walked a very narrow line with during the Nazi occupation. Gutzon Borglum dangled himself off the face of Mount Rushmore and War Photographer Robert Capa, landed on Omaha Beach during D-Day. But it was Chris Burden whose art spotlighted...

A little boy who just received a penicillin shot. signed on back with studio stamp. along with an old description label. this is mounted to wood and not framed or behind glass. it has some wear and surface soiling but it is a lovely charming piece and shows well. Peter Merom ( Hebrew : פטר מירום, born 1919 ) is an Israeli photographer born in Germany. He specializes in landscape photography and landscape detail. He was born in Lower Silesia and in 1934 emigrated from Germany to the British Mandate Palestine , where he settled four years later in the kibbutz Chulata . In 1935 he bought the first compact camera and began to amateur photography. After working as a fisherman in the kibbutz, he began to photograph Lake Chulus and then recorded his desiccation in 1951 to 1958. He gained his first artistic education as a self-taught specialist literature, international magazines and photographic anniversaries. In 1957 he studied photography in France . In Paris, he worked in a printing works where many photographers, such as Henri Cartier-Bresson and other photographers, printed their photographs. At that time, he made a series of photos of The Dying Lake , which he presented at the Telaviv Museum of Art . In 1974 he stopped working as a photographer and began to produce and sell photographs from his archive printed on plywood. In 2000 he received an award from the Israeli Museum for a lifetime work in the field of photography. In 2010, he received the Israel prize for a photograph taken every five years. Education 1957 Photography...

Genre: Photographic Subject: Music Medium: Photograph, Gelatin Silver Print Surface: Photographic Paper Country: United States Dimensions: 10" x 8" Dimensions w/Frame: 14.75" x 11.75" Fred W. McDarrah, 1926-2007 Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists presented by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” artists in their studios, (Alice Neel, Philip Guston, Stuart Davis, Robert Smithson...

Meyerowitz first drew acclaim for his remarkable ability to capture subtlequalities of light with the 1978 publication of Cape Light, which went on to become a color photography classic, selling more than 130,000 copies. This evocative new collection of images and commentary invites readers to experience the essence of Tuscany; sunlight gilding fields of ripe wheat, darkness lowering under threatening summer skies, and townspeople riding their bicycles through the dappled streets. For those who appreciate the beauty of the Italian landscape and for lovers of photography everywhere,Tuscany is a personal and loving portrait of a truly unforgettable place.Joel Meyerowitz (born March 6, 1938) is a street photographer, and portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught the first color course at the Cooper Union in New York City where many of today's renowned color photographers studied with him. Inspired by seeing Robert Frank at work, Meyerowitz quit his job as an art director at an advertising agency and took to the streets of New York City with a 35mm camera and black-and-white film, alongside Garry Winogrand, Tony Ray...

Greetings, 1992 Photograph 10.25 h × 7.5 w in (26 × 19 cm), Frame 11 x 8 inches Photo mounted to foamcore and framed behind acrylic Hand signed and dated 'Rimma and Valeriy 1992'; Rimma Gerlovina and Valeriy Gerlovin were founding members of the underground conceptual movement Samizdat in the Soviet Union, described in their book Russian Samizdat Art. Based on a play of paradoxes, their work is rich with philosophic and mythological implications, reflected in their writing as well. Their book Concepts was published in Russia in 2012. The work by Rimma Gerlovina and Valeriy Gerlovin is emphatically contemporary. The artist couple were part of the Moscow Conceptualists, their performance Costumes, from 1977, deepened their ongoing work with linguistic semiotic systems and their own bodies. Considering the context in which Gerlovina and Gerlovin made their work—that of political restrictions on public life, of unfreedom, and censorship—their collaborative togetherness must also be read as a space of possibility for political community and resistance. Rimma Gerlovina’s hair is featured prominently in the art of the Gerlovins as a constructing element of the body. Used for the linear drawings her braids transmit transpersonal waves reminiscent of an aura of live filaments. Long loose hairs function as threads of life; streaming in abundance, they allude to Aphrodisiac vitality and Samsonian strength. On the other hand, they are the haircloth worn during mourning and penitence. In New York they continued to make sculptural objects, and their photographic projects grew into an extended series called Photoglyphs. In their photographs, they use their own faces to explore the nature of thought and what lies beyond it. Since coming to the United States in 1980, they had many exhibitions in galleries and museums including the Art Institute of Chicago. The New Orleans Museum of Art launched a retrospective of their photography, which traveled to fifteen cities. Group exhibitions include the Venice Biennale, the Guggenheim Museum, New York, Smithsonian National Museum of American Art, Washington D.C., Bonn Kunsthalle, Germany, Tokyo Metropolitan Museum of Photography, State Tretyakov Gallery, Moscow, and others. Samizdat or “self-published” began in the Soviet Union, and Samizdat art consists mainly of books and magazines published and distributed by the artists who made them. Samizdat art has sources in the innovative books and magazines turned out by the early 20th century Russian avant-garde—artists and writers like Olga Rozanova, Vladimir Mayakovsky, El Lissitzky, and Alexander Rodchenko. Artists as varied as Alexander Archipenko, Leon Bakst, Marc Chagall, Naum Gabo, Alexandra Exter...

Meyerowitz first drew acclaim for his remarkable ability to capture subtlequalities of light with the 1978 publication of Cape Light, which went on to become a color photography classic, selling more than 130,000 copies. This evocative new collection of images and commentary invites readers to experience the essence of Tuscany; sunlight gilding fields of ripe wheat, darkness lowering under threatening summer skies, and townspeople riding their bicycles through the dappled streets. For those who appreciate the beauty of the Italian landscape and for lovers of photography everywhere,Tuscany is a personal and loving portrait of a truly unforgettable place.Joel Meyerowitz (born March 6, 1938) is a street photographer, and portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught the first color course at the Cooper Union in New York City where many of today's renowned color photographers studied with him. Inspired by seeing Robert Frank at work, Meyerowitz quit his job as an art director at an advertising agency and took to the streets of New York City with a 35mm camera and black-and-white film, alongside Garry Winogrand, Tony Ray...

Contemporary Jewish artist Ken Goldman, born: 1960, Memphis Tenn. Education: Pratt Institute, Masters of industrial Design, 1985 Brooklyn College, B.A Fine Arts, 1981 Made Aliyah: 1985-member Kibbutz Shluchot Art in the collection of Mishkan LeOmanut Ein Harod Israel - Wolfson Museum Jerusalem Israel - Rodeph Shalom - Philadelphia Museum of Jewish Art Shows 2017 - Here Is Your Ketubbah Museum Of Art Ein Harod Israel 2016 - Ima Ilya – Hebrew University Gallery – Jerusalem Israel 2016 - It Was Evening it was Morning – Rishon Le Zion Community gallery Israel 2016 - Jerusalem Biennial select works Leichtag Foundation – San Diego 2015 - Some Body Jewish - solo show - Jewish Museum Of Philadelphia Congregation Rodeph Shalom - Philadelphia 2015 - Rooted in Time - Rishon LeZion City Gallery 2015 - Black and White - Neve Schechter Tel Aviv 2015 - Rooted - Manny Cantor Center - New York 2015 - To Forgive and Remember - Reshaping American Consciousness - Derfner Judaica Museum - New York 2015 - Magenim Jewish Cuts - En Harod Museum of Art Israel 2015 - Fields of Dreams - Living Shmita in the modern world - Yeshiva University Museum New York 2015 - The Second Jerusalem Biennial - The Fine Line- Achim Hasid Gallery - Jerusalem Israel 2015 - The Second Jerusalem Biennial - Ima Iyla'a- Hechal Shlomo Museum -Jerusalem Israel 2015 - Vashti The Untold Story -Neve Schechter Gallery Tel Aviv 2015 - Active Hands - Crafts by Soldiers - Craft in America Museum - California 2014 - Through the Others Eyes - Wolfson Museum - Jerusalem Israel 2014 - Off Label - The Laurie Tisch Gallery - New york - curated by Tobi Kahn 2013 - The first Biennial of Jewish art Jerusalem Israel 2013 - Golden Ghetto of Venice - competition- second prize 2013 - First Prize in Museum of Imajewnation Four Cups of Freedom competition 2012 - First Prize-Cover thy Head - Morris and Sally Justein Heritage Museum - Toronto, Canada 2012 - Portraits of Cain - Ben Gurion University gallery Chaim Maor curator 2010 - Zimmun - Mishkan Le Omanut Ein Harod Israel 2010 - Seduced by the Sacred - Charter Oak Foundation Hartford Ct 2007 - “Kabbalah dolls” chosen and marketed by F.A.O. Schwarz at annual toy auditions. 2006 - City of Jerusalem – competition- original succah model designs - “best in concept” 2003 - Temple Judea Museum - Judith Altman Memorial Judaica Competition - “It Holds Light”- finalist 2001 - “FromWithin” – solo exhibition Mishkan Le Omanut, Museum of Art, Ein Harod, Israel. 1999 – The Philip and Sylvia Spertus Judaica Prize – The Havdalah spice...

Contemporary Jewish artist Ken Goldman, born: 1960, Memphis Tenn. Education: Pratt Institute, Masters of industrial Design, 1985 Brooklyn College, B.A Fine Arts, 1981 Made aliyah: 1985-member Kibbutz Shluchot Art in the collection of Mishkan LeOmanut Ein Harod Israel - Wolfson Museum Jerusalem Israel - Rodeph Shalom - Philadelphia Museum of Jewish Art Shows 2017 - Here Is Your Ketubbah Museum Of Art Ein Harod Israel 2016 - Ima Ilya – Hebrew University Gallery – Jerusalem Israel 2016 - It Was Evening it was Morning – Rishon Le Zion Community gallery Israel 2016 - Jerusalem Biennial select works Leichtag Foundation – San Diego 2015 - Some Body Jewish - solo show - Jewish Museum Of Philadelphia Congregation Rodeph Shalom - Philadelphia 2015 - Rooted in Time - Rishon LeZion City Gallery 2015 - Black and White - Neve Schechter Tel Aviv 2015 - Rooted - Manny Cantor Center - New York 2015 - To Forgive and Remember - Reshaping American Consciousness - Derfner Judaica Museum - New York 2015 - Magenim Jewish Cuts - En Harod Museum of Art Israel 2015 - Fields of Dreams - Living Shmita in the modern world - Yeshiva University Museum New York 2015 - The Second Jerusalem Biennial - The Fine Line- Achim Hasid Gallery - Jerusalem Israel 2015 - The Second Jerusalem Biennial - Ima Iyla'a- Hechal Shlomo Museum -Jerusalem Israel 2015 - Vashti The Untold Story -Neve Schechter Gallery Tel Aviv 2015 - Active Hands - Crafts by Soldiers - Craft in America Museum - California 2014 - Through the Others Eyes - Wolfson Museum - Jerusalem Israel 2014 - Off Label - The Laurie Tisch Gallery - New york - curated by Tobi Kahn 2013 - The first Biennial of Jewish art Jerusalem Israel 2013 - Golden Ghetto of Venice - competition- second prize 2013 - First Prize in Museum of Imajewnation Four Cups of Freedom competition 2012 - First Prize-Cover thy Head - Morris and Sally Justein Heritage Museum - Toronto, Canada 2012 - Portraits of Cain - Ben Gurion University gallery Chaim Maor curator 2010 - Zimmun - Mishkan Le Omanut Ein Harod Israel 2010 - Seduced by the Sacred - Charter Oak Foundation Hartford Ct 2007 - “Kabbalah dolls” chosen and marketed by F.A.O. Schwarz at annual toy auditions. 2006 - City of Jerusalem – competition- original succah model designs - “best in concept” 2003 - Temple Judea Museum - Judith Altman Memorial Judaica Competition - “It Holds Light”- finalist 2001 - “FromWithin” – solo exhibition Mishkan Le Omanut, Museum of Art, Ein Harod, Israel. 1999 – The Philip and Sylvia Spertus Judaica Prize – The Havdalah spice...

from a Miami art collective. this piece was an experimental collaboration.

Contemporary Jewish artist Ken Goldman, born: 1960, Memphis Tenn. Education: Pratt Institute, Masters of industrial Design, 1985 Brooklyn College, B.A Fine Arts, 1981 Made aliyah: 1985-member Kibbutz Shluchot Art in the collection of Mishkan LeOmanut Ein Harod Israel - Wolfson Museum Jerusalem Israel - Rodeph Shalom - Philadelphia Museum of Jewish Art Shows 2017 - Here Is Your Ketubbah Museum Of Art Ein Harod Israel 2016 - Ima Ilya – Hebrew University Gallery – Jerusalem Israel 2016 - It Was Evening it was Morning – Rishon Le Zion Community gallery Israel 2016 - Jerusalem Biennial select works Leichtag Foundation – San Diego 2015 - Some Body Jewish - solo show - Jewish Museum Of Philadelphia Congregation Rodeph Shalom - Philadelphia 2015 - Rooted in Time - Rishon LeZion City Gallery 2015 - Black and White - Neve Schechter Tel Aviv 2015 - Rooted - Manny Cantor Center - New York 2015 - To Forgive and Remember - Reshaping American Consciousness - Derfner Judaica Museum - New York 2015 - Magenim Jewish Cuts - En Harod Museum of Art Israel 2015 - Fields of Dreams - Living Shmita in the modern world - Yeshiva University Museum New York 2015 - The Second Jerusalem Biennial - The Fine Line- Achim Hasid Gallery - Jerusalem Israel 2015 - The Second Jerusalem Biennial - Ima Iyla'a- Hechal Shlomo Museum -Jerusalem Israel 2015 - Vashti The Untold Story -Neve Schechter Gallery Tel Aviv 2015 - Active Hands - Crafts by Soldiers - Craft in America Museum - California 2014 - Through the Others Eyes - Wolfson Museum - Jerusalem Israel 2014 - Off Label - The Laurie Tisch Gallery - New york - curated by Tobi Kahn 2013 - The first Biennial of Jewish art Jerusalem Israel 2013 - Golden Ghetto of Venice - competition- second prize 2013 - First Prize in Museum of Imajewnation Four Cups of Freedom competition 2012 - First Prize-Cover thy Head - Morris and Sally Justein Heritage Museum - Toronto, Canada 2012 - Portraits of Cain - Ben Gurion University gallery Chaim Maor curator 2010 - Zimmun - Mishkan Le Omanut Ein Harod Israel 2010 - Seduced by the Sacred - Charter Oak Foundation Hartford Ct 2007 - “Kabbalah dolls” chosen and marketed by F.A.O. Schwarz at annual toy auditions. 2006 - City of Jerusalem – competition- original succah model designs - “best in concept” 2003 - Temple Judea Museum - Judith Altman Memorial Judaica Competition - “It Holds Light”- finalist 2001 - “FromWithin” – solo exhibition Mishkan Le Omanut, Museum of Art, Ein Harod, Israel. 1999 – The Philip and Sylvia Spertus Judaica Prize – The Havdalah spice...

Malcolm Lubliner was in the right place at the right time. The artist had been working and teaching in Southern California for a number of years before he became a full-time photographer in 1968. Entrenched in Los Angeles’s burgeoning art scene, Lubliner was hired as a contract photographer for the publishing workshop Gemini G.E.L. to document its behind-the-scenes activities. He would later become the official photographer for the Art and Technology Program at the Los Angeles County Museum of Art (LACMA), which paired artists with technology companies in the region. Lubliner’s collection of negatives, contact sheets, and prints—newly catalogued as part of the special collections at the Getty Research Institute—showcases some of the 20th century’s most notable artists and demonstrates his insight into their artistic processes. Lubliner photographed the technical and collaborative efforts that went into producing iconic works such as Jasper Johns’s Numerals, Claes Oldenburg’s Giant Ice Bag, and Frank Stella’s Protractor series, while also creating intimate portraits of the individual artists as the driving forces behind them. He captured artists such as Roy Lichtenstein, Robert Rauschenberg, Robert Irwin, Richard Serra, John Altoon, and Sam Francis at work both at Gemini and in their own studios. Also present in many of the photographs are staff members of Gemini, including Kenneth Tyler and Stanley Grinstein. An equally important part of the collection are Lubliner’s photographs of social events that were held by Los Angeles’s prominent art collectors and dealers. Accomplished and rising artists alike mingled and celebrated with the art world’s movers and shakers, such as Leo Castelli, Betty Asher, and Maurice Tuchman, establishing partnerships that would help define their careers. EDUCATION 1962 MFA Degree, Otis Art Institute, Los Angeles, Ca Received a California State Teaching Credential EXHIBITION HISTORY, SOLO 2013 The Automotive Landscape, St. Mary’s College Art Gallery, Moraga, CA 2011 Anxious Landscape, Richmond Art Center, Richmond, CA. 2011 Pacific Party Time, Craig Krull Gallery and Getty Foundation, Los Angeles, CA 2010 Garden of Arbitrary Volition, Togonon Gallery, San Francisco, CA 2008 Tableaus, City Hall Rotunda, Walnut Creek, CA 2007 Portraits of American Artists, The 8 Gallery, San Francisco, CA 2003 Significant Places, Fresno Museum of Art, Fresno, CA 2003 Significant Places, Bedford Gallery, City Council Chambers, Walnut Creek, CA 2001 Significant Places, Point of View, College of Marin, Kentfield, CA 2001 Osceola Gallery Emeryville, CA 1999 Sixteen Tableaus, Berlex Corporation. The Richmond Art Museum 1995 Sixteen Tableaus, The Collectors Gallery, Oakland Museum of California Oakland, CA 1995 Sixteen Tableaus, University of Alabama at Tuscaloosa 1988 Introductions 1988, Vision Gallery, San Francisco, CA 1988 Mitzie Landau Gallery, Solo Exhibition, Los Angeles, CA 1975 Automotive Research, The Comsky Gallery, Los Angeles, CA EXHIBITION HISTORY, GROUP 2014 Pilot Project at the Richmond Art Center Annual Members Show, June 14 to August 22 2013 Me Two, Self portrait, Syracuse University permanent collection, Syracuse, NY 2009 Seduction of Duchamp, Slaughterhouse Space, Healdsburg, CA 2009 Glimpses in Time, National Competition, Joyce Gordon Gallery, Oakland CA 2009 Anxious Landscape, Togonon Gallery, San Francisco, CA 2008 Banned and Recovered, African American Museum, Oakland, CA 2006 The 8 Gallery, Inaugural exhibition, San Francisco, CA 2006 Rush Creek Editions Gallery, Inaugural exhibition, Santa Fe, NM 2006 Transmissions Gallery, Berkeley CA 2005 The Bedford Gallery, Dean Lesher Center, Walnut Creek, CA 2003 Grabado sin Fronteras, Kala Art Institute, Berkeley, CA , Mission Cultural Center, San Francisco, CA and Estamperia of Quito Ecuador. 2002 Crocker Art Museum, Crocker-Kingsley 73rd Biennial Exhibition Sacramento,CA 1997 Oakland Museum of California, “In Front of the Lens” Photographers Portraits and Self Portraits, Oakland, CA 1996 Photographing The L.A. Art Scene 1955-1975, Group exhibition at The Craig Krull Gallery, Los Angeles 1994 Living in Balance, Richmond Art Center, Richmond, CA 1993 36th Annual Chautauqua National Exhibition of American Art, Chautauqua, N.Y. 1993 Third Annual Juried Exhibition, Sid Jacobson Jewish Community Center, East Hills, N.Y. 1993 4th Annual Art Equinox, Paris Gibson Square Museum of Art, Great Falls, Montana. 1993 Portraits in Black and White, ZYZZYVA benefit, Edith Caldwell Gallery, San Francisco, CA 1993 Long Beach Arts 89th Open Exhibition, Long Beach, CA 1993 Fort Worth Arts Festival, Fort Worth, TX 1989 A Special Photographers Co., Group Exhibition, London, GB 1988 The Print Club, 64th Annual International Competition, Philadelphia, PA 1985 SNAP Photographic Competition, San Francisco Arts Commission Gallery San Francisco, CA 1981 L.A. As Seen By L.A. Artists, Invitational Exhibition, Los Angeles Municipal Art Gallery, Los Angeles, CA 1981 Architecture de Tour, Centre George Pompidou, Paris, France 1967 California Dreamin’, Los Angeles County Museum, Barnsdall Park. Los Angeles, CA 1980 Otis Art Institute Alumni Invitational, Otis Art Institute, Los Angeles, CA 1971 Art and Technology, Photographic documentation of the U.S. Arts entry at the Osaka Worlds Fair, sponsored by The Los Angeles County Museum of Art AWARDS AND GRANTS 2006 Vallejo Artist’s Guild, Vallejo, CA – First and second cash prizes 1997 Miranda Leonard Purchase Grant, Gift of four photographs to San Francisco Museum of Modern Art. 1994 California Exposition & State Fair, AWARD, Sacramento, CA 1975 Ohio Silver Gallery National Open Exhibition, PURCHASE AWARD, Ohio Silver Gallery, Los Angeles, CA 1962 All City Competition, AWARD, LA County Museum of Art, Barnsdall Park, Los Angeles, CA PUBLIC AND PRIVATE COLLECTIONS The Lafayette Library and Learning Center, Lafayette, CA. The National Portrait Gallery, The Smithsonian Institution, Washington, DC Crocker Art Museum, Sacramento, CA The Bancroft Library, Berkeley, CA San Francisco Museum of Modern Art San Francisco Arts Commission Oakland Museum of California The Los Angeles County Museum of Art The Fresno Museum of Art The California Museum of Photographic Arts, San Diego, CA. David Packard...

Signed with initial. Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Born in Scotland of a Hungarian physicist/inventor and an English art dealer, she grew up in an international environment. Her father encouraged original thinking and experimentation; her mother nourished her creativity and her intuitive skills. Leaving her home in Schaffhausen, Switzerland, for Munich, Germany, she apprenticed to Bauhaus photographer Frl. Berthe Himmler. The next step was New York City where Hatay began to freelance in all aspects of photography. It was when she photographed Jimi Hendrix at Madison Square Garden on May 18, 1969 and was inspired by his music that she got a chance to spread her wings artistically. She was initially inspired by his energy, his vision and his originality. "Jimi Hendrix was absolutely amazing - it is not possible to put words to the Experience. He was, and still is, unique. I didn't know at the time I photographed him that he was interested in his music being a healing power. I learned a lot about this aspect of Hendrix about ten years later when I met people who knew him. When they heard how much I was interested in the healing aspects of his music, they shared their stories with me. I used some of this information in my two books, Jimi Hendrix, The Spirit Lives On and Jimi Hendrix, Reflections and Visions". Nona's experimental techniques were used in her photographs on many other Rock stars, such as Tina Turner, James Brown, and Frank Zappa. She had a major exhibit of her work in Paris. ORIGINAL PHOTO ART one of a kind - experimental & hand painted...

digitally altered abstract photography.

Gerard Joseph Malanga (born March 20, 1943) is an American poet, photographer, filmmaker, curator and archivist. Malanga was born in the Bronx in 1943, the only child of Italian immigrant parents. In 1959, at the beginning of his senior year at the School of Industrial Art in Manhattan, Malanga became a regular on Alan Freed's The Big Beat, televised on Channel 5 (WNEW) in New York City. He graduated from high school with a major in Advertising Design (1960). He was introduced to poetry by his senior class English teacher, poet Daisy Aldan, who had a profound influence on his life and work from then on. He enrolled at the University of Cincinnati's College of Art & Design (1960), and was mentored by the poet, Richard Eberhart who was the university's resident poet for 1961. He dropped out at the end of the Spring semester. In the fall of 1961, Malanga was admitted to Wagner College in Staten Island on a fellowship anonymously donated for the express purpose of advancing his creative abilities as a poet and artist. At Wagner he befriended one of his English professors, Willard Maas, and his wife Marie Menken...

Jose Bassit Chapada Diamantina, Brazil Kepha series 40 x 60 inches Edition of 7 Archival Pigment Print Framed

The mat measures 21 X 16 the images are around 12 X 9 inches. They bear the blindstamp of the American Colony Jerusalem. I am not sure if these are hand colored but they are from the period. The Original American Colony was a colony established in Jerusalem in 1881 by members of a utopian society led by Anna and Horatio Spafford. Now a hotel in East Jerusalem, it is still known by that name today. After suffering a series tragic losses following the Great Chicago Fire of 1871 (see hymn "It is Well with My Soul"), Chicago residents Anna and Horatio Spafford led a small American contingent in 1881 to Jerusalem to form a utopian society. The "American Colony," as it became known, was later joined by Swedish Christians. The society engaged in philanthropic work amongst the people of Jerusalem regardless of religious affiliation, gaining the trust of the local Muslim, Jewish, and Christian communities.During and immediately after World War I, the American Colony carried out philanthropic work to alleviate the suffering of the local inhabitants, opening soup kitchens, hospitals, orphanages and other charitable ventures. Towards the end of the 1950s, the society's communal residence was converted into the American Colony Hotel. The hotel is an integral part of the Jerusalem landscape where members of all communities in Jerusalem still meet. In 1992 representatives from the Palestine Liberation Organization and Israel met in the hotel where they began talks that led to the historic 1993 Oslo Peace Accord. Panorama of Jerusalem, c. 1890-1920 The Colony moved to the large house of a wealthy Arab landowner, Rabbah Husseini, outside the city walls in Sheikh Jarrah on the road to Nablus. Part of the building was used as a hostel for visitors from Europe and America. A small farm developed with animals, a butchery, a dairy, a bakery, a carpenter's shop, and a smithy. The economy was supplemented by a shop selling photographs, craft items and archaeological artifacts. The American Colonists were embraced by the Jewish and Palestinian communities for their good works, among them, teaching in both Muslim and Jewish schools. Photography Around 1900, Elijah Meyers, a member of the American Colony, began taking photographs of places and events in and around the city of Jerusalem. Meyers's work eventually expanded into a full-fledged photographic division within the Colony, including Hol Lars (Lewis) Larsson and G. Eric Matson, who later renamed the effort as the Matson Photographic Service. Their interest in archeological artifacts (such as the Lion Tower in Tripoli pictured here), and the detail of their photographs, led to widespread interest in their work by archeologists. The collection was later donated to the Library of Congress. World War I When the Ottoman Empire entered World War I as an ally of Germany in November 1914, Jerusalem and Palestine became a battleground between the Allied and the Central powers. The Allied forces from Egypt, under the leadership of the British, engaged the German, Austrian and Turkish forces in fierce battles for control of Palestine. During this time the American Colony assumed a more crucial role in supporting the local populace through the deprivations and hardships of the war. Because the Turkish military...

Betty Hahn Title: Belladonna Date: 1980 Original Polaroid Large Format Print (Photo-Internal dye diffusion transfer) Location: Cambridge Massachusetts United States Dimensions: Image: 27 1/2 x 20 1/2 in. (69.9 x 52.1 cm), Paper: 29 1/4 x 21 1/2 in. (74.3 x 54.6 cm) This depicts a still life of a flower with an old botanical drawing print plate. From "Five Still Lifes" New York: Paradox Editions, Ltd., 1980. 5 original Polaroid color prints. Each hand signed, titled, dated and numbered 37/40 in ink in the margin. Each approximately 24 x 20in (image size). Each is on original as there are no negatives in this process. The photographers included: Robert Cumming, Robert Fichter, Betty Hahn, Victor Schrager and William Wegman. The photos were produced in the Polaroid Corporation’s 20×24 studio in Cambridge, Massachusetts. This is an internal Dye Diffusion print (large format) Polaroid print. These are exceedingly rare now. This format was used by many of the leading photographers of the second half of the 20th century, among them Peter Beard, Chuck Close, David Levinthal, Robert Frank, David Hockney, Lucas Samaras, Andy Warhol, Robert Mapplethorpe and, perhaps most significantly, Ansel Adams More recently Ellen Carey has created large abstract masterpieces using this format. Betty Hahn (born 1940) is an American photographer known for working in alternative and early photographic processes. She completed both her BFA (1963) and MFA (1966) at Indiana University. Initially, Hahn worked in other two-dimensional art mediums before focusing on photography in graduate school. She is well-recognized due to her experimentation with experimental photographic methods which incorporate different forms of media. By transcending traditional concepts of photography, Hahn challenges the viewer not only to assess the content of the image, but also to contemplate the photographic object itself. Betty Hahn was born on October 11, 1940 in Chicago, Illinois where she also grew up. At the age of ten, Hahn was given her first camera by an aunt. Hahn later on went to graduate from Scecina Memorial Catholic High School. Soon after, she enrolled at Indiana University with a full scholarship where she furthered her studies in Fine Arts, receiving both her BFA (1963) and her MFA (1966). Throughout her undergraduate years, she concentrated in drawing and painting; however, as she entered graduate study, she worked in photography. During this important developmental period, Hahn studied under one of the most well-known photography teachers of the time, Henry Holmes Smith, who encouraged Hahn's work in alternative processes. Once she graduated, Hahn moved to Rochester where she taught at the Rochester Institute of Technology until 1975. Hahn then relocated to Albuquerque where she was professor at University of New Mexico until her retirement in 1997. Hahn is best known for her explorations of alternative processes in photography, using both older methods of darkroom developing such as gum-bichromate and cyanotypes, with other art mediums, including hand-painting and even embroidery. She is noted as one of the first photographers to successfully integrate such a variety of art mediums. Hahn encourages the viewer to think more deeply through not only the use of different physical processes in her artwork, but also through the multiplicity of meanings in her photographs. In most of her work, Hahn integrates humor and irony as she explores the meanings generated by formal combinations. Some of her prints include the sprocket holes of the 35mm negative, which allude to its 35mm film origins: but by hand coloring with bright paints, she draws attention to the mixture of craft with industrial mediums. Once she started experimenting with the gum-bichromate process, Hahn started stitching into her photographs. Printing onto canvas and other fabrics allowed her to use thread to highlight certain aspects of the photograph. In combining her photographs with conventional practices, Hahn successfully intertwines formal and conceptual aspects. Not only does she speak to the mundane tasks of everyday life, but also about routine and normativity. In highlighting the ordinary in her work, Hahn elevates and revives that which has been lost in the practice of daily life. Embroidery references femininity, as Hahn underlines the feminist issue of the anonymity of women's handicraft. Her embroidery often emphasized flowers with its three-dimensionality, furthering the idea of femininity; she later on pursued this as a symbol and incorporated it in several of her other series. In her work, Hahn delivers a powerful feminist message in regards to women and embroidery. It is quite evident through time that women's labor is needlework, and that their labor is frequently undervalued as craft both when dissimilar and alike to men's work. In a time period where men overshadowed women in the traditional art, such as painting and sculpture, women oftentimes reverted to other mediums like textiles. It has been suggested that women's work, especially in embroidery, is of little value in the art field since it is considered a craft. Since "arts and crafts" are more often than not paired together, it is obvious they are in the same category; however, there is a clear distinction. For 300 years, women have been taught needlework through practice and tradition, and in inadvertently, promoted obedience and household effeminate behavior. As a result, instead of regarding stitching as an art, many viewed it as a thoughtless skill, lacking originality. On the contrary, however, it is far more than evident that the hand of woman is more than a mindless and conforming thing, it is one of sensitivity, thought, patience, perseverance, and strength. By incorporating embroidery and stitching, Betty Hahn pushes the audience to acknowledge the work of women not as craft or tradition, but as meticulous, creative and unique. Exhibitions The Division of Photographic History at the Smithsonian Institution exhibited Hahn's work in a group exhibit in the 1960s as a part of a developing series of displaying the works of women photographers. Afterwards her work was featured in multiple thematic exhibitions at the Smithsonian. Hahn's first solo show exhibiting her work was in 1973 at the Witkin Gallery in New York City. Thereafter, she received several grants from the National Endowment for the Arts in 1974, 1978, and 1983 to continue her work in explorative photography. Hahn's art has been exhibited throughout the country and worldwide featured in museums highlighting historical processes in Baltimore, Maryland (1972) and nature photography exhibitions in Osaka, Japan (1990). Her work has been displayed at the Albuquerque Museum of Art and Art History (2017), Phoenix Art Museum (2015), and the George Eastman House (2012, 2016). Hahn's work is held in private collectors, galleries, and in permanent museum collections, including the San Francisco Museum of Modern Art, Center for Creative Photography and the Museum of Modern Art. Exhibitions 1996 – George Eastman House International Museum of Photography and film, Rochester, New York 1997 – A History of Women Photographers, Akron Art Museum 1997 – Eye of the Beholder, Photographs of the Avon Collection, International Center of Photography, Midtown, New York City 1998 – Passing Shots: A Travel Series, University of New Mexico Art Museum, Albuquerque, New Mexico 1998 – The City Series, Taos, Albuquerque, Santa Fe, Cedar Rapids Museum of Art, Cedar Rapids, IA 1999 – Photography Or Maybe Not, a Betty Hahn traveling retrospective, Mikhailovsky Palace, St. Petersburg, Russia 2000 – 20/20 Twentieth Century Photographic Acquisitions by 20 leading patrons, Museum of New Mexico, Museum of Fine Arts 2000 – Photography Or Maybe Not, a Betty Hahn traveling retrospective, Santa Fe de Granada, Spain 2001 – In the Eyes of the Beholder: Ten Photographers View Albuquerque, The University of New Mexico Hospital, Albuquerque, NM 2002 – Sun Works Contemporary Alternative Photography, The Art Institute of Boston 2002 – Flowers from the Permanent Collection, The Albuquerque Museum, Albuquerque, New Mexico 2004 – 30th Anniversary Permanent Collection Exhibition, New Mexico State, University Art Gallery, Las Cruces, New Mexico 2005 – New Mexico State University Art Gallery, Las Cruces, New Mexico 2005 – Ace in the Hole, the legacy of Peter Walch, University Art Museum, University of New Mexico, Albuquerque, NM 2006 – The collectible moment, Norton Simon museum, Pasadena, California 2006 – The Social Lens, University of Virginia Art Museum, Charlottesville, Virginia 2007 – Seeing Ourselves: Masterpieces of American Photography, A Traveling 2007 – Exhibition, George Eastman House, Rochester, New York 2008 – Flower Power: a Subversive Botanical, New Mexico Museum of Art, Santa Fe, NM 2008 – Bernalillo County Arts Board Gallery, One Civic Plaza NW, Albuquerque, NM 2008 – Giving Shelter 516 Arts Albuquerque, NM (A Sister Exhibition to the Cradle Project) 2008 – Betty Hahn, Joyce Neimanas, and Judith Golden, Harwood Art Center Albuquerque, NM 2009 – Through the Lens: Creating Santa Fe, Palace of the Governors, The New Mexico History Museum, Santa Fe, 2009 – Altered Land: Photography in the 1970s, Sheldon Museum of Art, University of Nebraska, Lincoln, Nebraska 2010 – Sole Mates Cowboy Boots & Art, New Mexico Museum of Art 2010 – Rock Scissors Paper, Anderson Contemporary Arts, Albuquerque, NM 2010 – Recollection 2010, Works from the Colorado Photographic Arts Center, The Central Library, Vida Ellison Gallery, 2012 – 60 From the 60's (an exhibit of influential photos from the 1960s) George Eastman House, Rochester, New York 2012 – Albuquerque Now-Fall and Albuquerque Now-Winter, The Albuquerque Museum of Art and History, 2013 – It's About Time: 14,000 Years of Art in New Mexico, The New Mexico Museum of Art, Albuquerque, NM 2014 – Alternative Lineage – Honoring Betty Hahn; 5 Decades of Mentoring 2014 – Alternative Photographic Processes, Center for Photographic Art Carmel, California 2014 – Alternative Lineage, Northlight Gallery, Arizona State University, Tempe, Arizona 2014 – Transformational Imagemaking, Handmade Photography Since 1960 2014 – An Exhibition Curated by Robert Hirsch, CEPA Gallery, Buffalo, NY 2014 – Museum Project, dnj Gallery, Santa Monica, California 2014 – American Heritage Center and Art Museum, University of Wyoming, Laramie, Wyoming 2014 – Hubbard Museum of the American West, Ruidoso, New Mexico 2015 - One-Of-A-Kind, unique photographic objects from the Center of Creative Photography, University of Arizona, 2015 – Unconfined – Empowering Women Through Art, African American Performing Arts Center, New Mexico Expo, 2015 – Visualizing Albuquerque: Art of Central New Mexico, Albuquerque Museum, Albuquerque, NM 2015 – Healing ... For the Time Being, A mixed media exhibition in conjunction with On the Map: Albuquerque Art and Design, Jonathan Abrams MD 2015 – The AIPAD Photography Show, Represented by Joseph Bellows Gallery, New York, New York 2016 – Transformational Imagemaking, traveling exhibition March-16- April 16; Muhlenberg College, Allentown, Pa. 2016 – Fall-Rochester Institute of Technology, Bevier Gallery, Rochester, NY 2016 – 60 from the 60's: Selections from the George Eastman Museum, At the Hyde Collection, Glens Falls, New York (The featured artists included were Harry Callahan, Benedict J. Fernandez, Hollis Frampton...

Still life photograph, red rose series, mounted on aluminum. Élisabeth Montagnier was born in Algeria. She is a little lost when she arrives in Marseille in 62, does not understand ...

Shimon Attie (b. 1957) Joachimstrasse, Ecke, Auguststrasse, Berlin, 1994 Edition 3/3 Dye coupler print on Kodak Ektacolor paper 27 x 34 inches (68.6 x 86.4 cm) (image) 34 x 40 inches (sheet) Presents well. Framed Dimensions 36.25 X 42.5 From series The Writing on the Wall. Attie projected found pre-war images of Jewish street-life in Berlin onto the same or nearby addresses in 1992/1993. Through this intervention, fragments of the past were introduced into the visual field of the present; long destroyed Jewish community life were visually simulated, momentarily recreated. The Writing on the Wall project was realized in Berlin’s former Jewish quarter, the Scheunenviertel, located in the Eastern part of the city, close to the Alexanderplatz. At the heart of Berlin, the Scheunenviertel was a center for eastern European Jewish immigrants from the turn of the century. The few historical photographs which remained after the Holocaust reflect the world of the Jewish working class rather than that of the more affluent and assimilated German Jews who lived mostly in the western part of the city.The juxtaposition between the projected images and the empty rooms reminds viewers of the fragility of memory, and how sites are activated/changed by presence and absence. Shimon Attie (born Los Angeles in 1957) is an American visual artist. He was awarded a Guggenheim Fellowship in 2008, The Rome Prize in 2001 and a Visual Artist Fellowship from Harvard University's Radcliffe Institute for Advance Study in 2007. His work spans a variety of media, including photography, site-specific installation, multiple channel immersive video installation, performance, and new media. Much of Attie's practice explores how a wide range of contemporary media may be used to re-imagine new relationships between space, time, place, and identity. Much, though not all, of Attie's work in the 90s dealt with the history of the second world war. He first garnered significant international attention by slide projecting images of past Jewish life onto contemporary locations in Berlin. More recent projects have involved using a range of media to engage local communities to find new ways of representing their history, memory and potential futures. Attie's artworks and interventions are site-specific and immersive in nature, and tend to engage subject matter that is both social, political and psychological. In 2013, Five monographs have been published on Attie's work, which has also been the subject of a number of films, which have aired on PBS, BBC, and ARD. Since receiving his MFA Degree in 1991, Attie has realized approximately 25 major projects in ten countries around the world. Most recently, in 2013-14, Shimon Attie was awarded the Lee Krasner Lifetime Achievement Award in Art. Judaica subject matter. He was born in 1957 and received an MFA in 1991. In 1991 he moved to Germany from his previous home in Northern California, and began to make work initially about Jewish identity and the history of the second world war. His work later evolved to engage broader issues of memory, place and identity more generally. Shimon Attie moved to New York City in 1997. Shimon Attie's work has been extensively reviewed by a wide variety of publications, including features and/or reviews in The New York Times, The Washington Post, The Los Angeles Times, Art in America, Art News, Art Forum, The Village Voice, The Boston Globe, and many others. Yasaman Alipour, writing in "The Brooklyn Rail: Critical Perspectives on Arts, Politics, and Culture", on Shimon Attie's solo exhibition "Facts on the Ground" at Jack Shainman Gallery in New York City: Attie achieves something profound: he presents a unique opportunity to contemplate Israel/Palestine without the distraction that is simultaneously a manifestation of the limitations of visual of written language and the possibilities of their alliance." Norman Kleeblatt, writing in a cover story for "Art in America" "Like many other artists in the wake of Marcel Broodthaers...

Shimon Attie (American, b. 1957), Untitled Memory (Projection of Marsha A.) Ektacolor photograph, 1998, from the Untitled Memory series, Gallery label to verso, Jack Shainman Gallery, New York matted and framed. Frame dimensions 27 3/4 x 32 1/4 in, photo 25 X 31 Provenance: from the Estate of the late Ron and Anne Dees, Fayetteville, North Carolina Ron and Anne Dees were longtime collectors, lovers, and patrons of art. Starting in the late 1990s, they began their art acquisition and collection, focusing substantially on contemporary art. Their affinity for art went far beyond simply collecting and displaying. Ron served as a docent at the esteemed Corcoran Gallery of Art in Washington, DC, from the late 1990s into the 2000s. In the series "Untitled Memory," Attie revisited his former (and then-deserted) apartment in San Francisco, projecting black-and-white snapshots of his friends and family in spaces that they previously occupied. The desaturated figures have a specter-like appearance and are often depicted in repose or rest, as if in a perpetual state of waiting. The juxtaposition between the projected images and the empty rooms reminds viewers of the fragility of memory, and how sites are activated/changed by presence and absence. Shimon Attie (born Los Angeles in 1957) is an American visual artist. He was awarded a Guggenheim Fellowship in 2008, The Rome Prize in 2001 and a Visual Artist Fellowship from Harvard University's Radcliffe Institute for Advance Study in 2007. His work spans a variety of media, including photography, site-specific installation, multiple channel immersive video installation, performance, and new media. Much of Attie's practice explores how a wide range of contemporary media may be used to re-imagine new relationships between space, time, place, and identity. Much, though not all, of Attie's work in the 90s dealt with the history of the second world war. He first garnered significant international attention by slide projecting images of past Jewish life onto contemporary locations in Berlin. More recent projects have involved using a range of media to engage local communities to find new ways of representing their history, memory and potential futures. Attie's artworks and interventions are site-specific and immersive in nature, and tend to engage subject matter that is both social, political and psychological. In 2013, Five monographs have been published on Attie's work, which has also been the subject of a number of films, which have aired on PBS, BBC, and ARD. Since receiving his MFA Degree in 1991, Attie has realized approximately 25 major projects in ten countries around the world. Most recently, in 2013-14, Shimon Attie was awarded the Lee Krasner Lifetime Achievement Award in Art. He was born in 1957 and received an MFA in 1991. In 1991 he moved to Germany from his previous home in Northern California, and began to make work initially about Jewish identity and the history of the second world war. His work later evolved to engage broader issues of memory, place and identity more generally. Shimon Attie moved to New York City in 1997. Shimon Attie's work has been extensively reviewed by a wide variety of publications, including features and/or reviews in The New York Times, The Washington Post, The Los Angeles Times, Art in America, Art News, Art Forum, The Village Voice, The Boston Globe, and many others. Yasaman Alipour, writing in "The Brooklyn Rail: Critical Perspectives on Arts, Politics, and Culture", on Shimon Attie's solo exhibition "Facts on the Ground" at Jack Shainman Gallery in New York City: Attie achieves something profound: he presents a unique opportunity to contemplate Israel/Palestine without the distraction that is simultaneously a manifestation of the limitations of visual of written language and the possibilities of their alliance." Norman Kleeblatt, writing in a cover story for "Art in America" "Like many other artists in the wake of Marcel Broodthaers...

"Tina Turner 'The Back'" framed black and white photograph by Lynn Goldsmith. Image size: 16 3/4 x 11 inches. This photograph was previously displayed in a guest room of the original...

Dimensions: 8" x 10" Dimensions w/Frame: 12.5" x 15.5" Shimon Attie (born Los Angeles in 1957) is an American visual artist. He was awarded a Guggenheim Fellowship in 2008, The Ro...

Neal Slavin (American, b. 1941) Firemen, New York City Fire Department FDNY Vintage C-print [Chromogenic development print; Ektacolor prints] Hand signed and numbered by the photogra...

Gillian was born in India in 1933. Her British parents were part of the twilight of the British Raj. Gillian completed her secondary education and entered The University of Reading, England to study Fine art and painting, a five year study. She worked in Dallas, Texas making paintings, creating embroidered wall hangings...

Series: SHADES OF A WOMAN All available sizes and editions: 40" x 40" editions of 18 50" x 50" editions of 7 60" x 60" editions of 3 Archival Pigment Print on Fine Art Baryta paper...

From the David C. and Sarajean Ruttenberg Collection The Ruttenbergs are longtime art lovers who have collected abstract expressionist paintings, African art, sculpture, graphics, old watches and photographs-lots and lots of photographs. They started collecting them in the 1960s when the medium was still the stepchild of the arts. They kept collecting until they had more than 3,000 prints, 99 of which are in the Art Institute exhibit, ``The Intuitive Eye: Photographs from the Collection of David C. and Sarajean Ruttenberg.`` The show encompasses the entire history of photography with black-and-white and color prints from every genre, It includes street photography by Walker Evans and Garry Winogrand, glamour shots by Edward Steichen and Richard Avedon, nudes by Robert Mapplethorpe and Nicholas Muray...

Genre: Contemporary Subject: Landscape Medium: Photograph Surface: Aluminum Country: France Dimensions: 19 3/4" x 19 3/4" Dimensions w/Frame: 19 3/4" x 19 3/4" Landscape Beach photograph...

Acrylic paint embellished silver gelatin print, signed on back and dedicated by the artist, "FOR JOHN". Photograph depicting a red and yellow oval organic mass at center surrounded by green and blue fields. Unframed Nobuyoshi Araki, born in Tokyo, Japan 1940, is one of Japan's foremost contemporary artists and one of the world's most controversial photographers. His work has drawn worldwide attention notably for its erotic content, which blurs the lines between art and photography. He studied photography at Chiba University, before moving on to work at advertising agency Dentsu; here he met and married Yōko Araki. During their married life Araki took abundant images of his wife before she died in 1990; he published Sentimental Journey, 1971 - photographs taken while on their honeymoon, and Winter Journey, 1991 - images taken during her last days, amongst others. Araki is part of a generation of artists who emerged in the 1960s as Japan was recovering from the Second World War...

Referencing immigrants and the disabled. Social commentary conceptual artwork. Provenance: Deaccessioned from a New York University. Condé + Beveridg...

"Untitled", acrylic paint embellished silver gelatin photograph, signed in black and red ink on verso of work. Photograph depicting a stark landscape with telephone wires accented in blue, red, pink and yellow. Unframed The artist created over painted photographs...

Provenance: Deaccessioned from a New York University. Condé + Beveridge Carole Condé and Karl Beveridge Condé born in Hamilton in 1940. Beveridge born in Ottawa in 1945. Both live an...

Mercedes Matter née Carles (1913 – December 2001) was an American painter and draughtswoman. Her father was the American modernist painter Arthur Beecher Carles who had studied with Henri Matisse. Her mother, Mercedes de Cordoba, was a model for Edward Steichen. Matter grew up in Philadelphia, New York and Europe. She first painted under her father's supervision at age 6 and would later recall being given a paintbox to use while working alongside him in the French countryside. At the age of 12, she returned to Europe and lived in Italy for over 2 years. She would later recount that her time in Italy—including Venice, Assisi, Rome, and Florence—was formative and her primary education in art history. Subsequent studies included at Bennett College in Millbrook, NY with sculptor Lu Duble, and in New York City with Maurice Sterne, Alexander Archipenko and Hans Hofmann. In the late 1930s, Matter was an original member of the American Abstract Artists. She also worked for the Works Progress Administration. She worked with Fernand Léger, who would become a close friend, on his mural for the French Line passenger ship company and again privately on another mural. Léger introduced her to Herbert Matter, the Swiss graphic designer and photographer whom she married in 1939. He also resided with the couple for a year sharing their studio and apartment. The Matters were active in the emerging mid-century New York art scene, and contact with other artists was important to them. Close friends included Jackson Pollock, Lee Krasner, Franz Kline, Philip Guston, Alexander Calder and Willem de Kooning. In 1943, the Matters moved to California. Matter was raising an infant son but the environment away from New York was affecting her work. She returned to New York in 1946. Beginning in 1953, Matter taught at the Philadelphia College of Art (now University of the Arts) for 10 years, and then at the Pratt Institute for 10 years. She later taught at New York University for several years. She was a visiting critic at Antioch, Brandeis, Cincinnati School of Art, Kansas City Art Institute, Maryland Institute College of Art, Yale University, Skowhegan and American University in Washington, DC.. In 1964, she founded the New York Studio School of Drawing, Painting, and Sculpture. A year earlier, she wrote an article for ARTnews titled What's Wrong with U.S. Art Schools? in which she criticised the phasing out of extended studio classes which served "that painfully slow education of the senses," which she considered essential. The article prompted a group of Pratt students, as well as some from Philadelphia, to ask Matter to form a school based on her ideas. The school was originally housed in a loft on Broadway and gained almost immediate support from the Kaplan Fund, Mrs. John D. Rockefeller III and the Ford Foundation. It granted no degrees, had only studio classes and emphasized drawing from life. Early teachers, chosen by the students, included the artists Philip Guston, Bradley Walker Tomlin, Charles Cajori, Louis Finkelstein...

"Jimi Hendrix, Monterey Pop Festival, 1967" black and white photograph by Jim Marshall. Image size: 14 x 21 inches. This framed photograph was previously ...

Neal Slavin (American, b. 1941) New York City Transit Authority, Brooklyn, N.Y. Subway workers Vintage C-print [Chromogenic development print; Ektacolor prints] Hand signed and numbe...

Robert Frank in Central Park. Shoot A film during Anti-War protests. April !5 1967 Robert Frank (born November 9, 1924) is an important figure in American photography and film. His most notable work, the 1958 book titled The Americans, was influential, and earned Frank comparisons to a modern-day de Tocqueville for his fresh and nuanced outsider's view of American society. Frank later expanded into film and video and experimented with manipulating photographs and photomontage. Frank was born in Switzerland. His father, Hermann originating from Frankfurt, Germany had become stateless after losing his German citizenship as a Jew. They had to apply for the Swiss citizenship of Frank and his older brother, Manfred. In 1946. Frank emigrated to the United States in 1947, and secured a job in New York City as a fashion photographer for Harper's Bazaar. After meeting Edward Steichen, participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA) He worked as a freelance photojournalist for magazines including McCall's, Vogue, and Fortune. Associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has termed The New York School of photographers during the 1940s and 1950s. With the aid of his major artistic influence, the photographer Walker Evans, Frank secured a grant from the John Simon Guggenheim Memorial Foundation in 1955 to travel across the United States and photograph all strata of its society. Cities he visited included Detroit, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. Shortly after returning to New York in 1957, Frank met Beat writer Jack Kerouac on the sidewalk outside a party and showed him the photographs from his travels. Kerouac immediately told Frank "Sure I can write something about these pictures," and he contributed the introduction to the U.S. edition of The Americans. Frank also became lifelong friends with Allen Ginsberg, and was one of the main visual artists to document the Beat subculture Les Américains was first published in 1958 by Robert Delpire in Paris, and finally in 1959 in the United States by Grove Press, where it initially received substantial criticism. The Americans became a seminal work in American photography and art history, and is the work with which Frank is most clearly identified. In 1961, Frank received his first individual show, entitled Robert Frank: Photographer, at the Art Institute of Chicago. He also showed at MoMA in New York in 1962. A celebratory exhibit of The Americans was displayed in 2009 at the National Gallery of Art in Washington D.C., the San Francisco Museum of Modern Art, and at the Metropolitan Museum of Art in New York. By the time The Americans was published in the United States, Frank had moved away from photography to concentrate on filmmaking. Among his films was the 1959 Pull My Daisy, which was written and narrated by Kerouac and starred Ginsberg, Gregory Corso and others from the Beat circle. The Beats emphasized spontaneity, and the film conveyed the quality of having been thrown together or even improvised. In 1960, Frank was staying in Pop artist George Segal's basement while filming Sin of Jesus with a grant from Walter K...

Neal Slavin (American, b. 1941) Grand Canyon National Park Service, Arizona Vintage C-print [Chromogenic development print; Ektacolor prints] Hand signed and numbered by the photogra...

Peter Newland of Fat