Thomas Barrow (born 1938 in Kansas City, Missouri) studied with Aaron Siskind at the Art Institute of Design, Chicago, and graduated with an MA in 1967. [1] He has been at the forefront of a generation of photographers who came of age during the sixties counterculture and has worked with numerous experimental processes. [2] In the 1970s he created his Cancellations series in which he manipulated his photographs of buildings and urban landscapes and used an ice pick to manipulate the negatives before printing. [3] He has utilized different mediums such as spray paint and builder's caulk to disrupt the pictorial image. Often he physically deconstructs and reassembles his prints to draw attention to the materiality of the photograph. [4] Barrow has filled multiple roles as curator, editor, educator, and practitioner during his career. He held the titles of curator, assistant director and editor at George Eastman House from 1965-1972. In 1976 Barrow began teaching photography at the University of New Mexico and became Director of the university's Art Museum in 1985. [5]
Inspired by the atmospheric haze and the closeness to what he considers “pure photography,” Barrow has worked intermittently with pinhole photography since 1997. His work can be found in public collections worldwide, including the Los Angeles County Museum of Art, the Museum of Modern Art in New York, the Museum of Fine Arts in Houston, the Denver Art Museum, the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Center for Creative Photography, [6] where Barrow's archive is held, and scores of others. [7] Barrow has received two NEA Photographers Fellowships (1973, 1978).
Barrow has written Reading into Photography: Selected Essays, 1959-1980 (1982) [8] and Cancellations (2012). [9] He has co-authored multiple photography books including Photography New Mexico, [10] Perspectives on Photography: Essays in Honor of Beaumont Newhall, [11] and Stories from the Camera: Reflections on the Photograph [12]
Ansel Easton Adams was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. He and Fred Archer developed a system of image-making called the Zone System, a method of achieving a desired final print through a technical understanding of how the tonal range of an image is the result of choices made in exposure, negative development, and printing.
Edward Henry Weston was a 20th-century American photographer. He has been called "one of the most innovative and influential American photographers" and "one of the masters of 20th century photography." Over the course of his 40-year career Weston photographed an increasingly expansive set of subjects, including landscapes, still lifes, nudes, portraits, genre scenes and even whimsical parodies. It is said that he developed a "quintessentially American, and especially Californian, approach to modern photography" because of his focus on the people and places of the American West. In 1937 Weston was the first photographer to receive a Guggenheim Fellowship, and over the next two years he produced nearly 1,400 negatives using his 8 × 10 view camera. Some of his most famous photographs were taken of the trees and rocks at Point Lobos, California, near where he lived for many years.
Edward Jean Steichen was a Luxembourgish American photographer, painter, and curator, renowned as one of the most prolific and influential figures in the history of photography.
Paul Strand was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. In 1936, he helped found the Photo League, a cooperative of photographers who banded together around a range of common social and creative causes. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe, and Africa.
Minor Martin White was an American photographer, theoretician, critic, and educator. He had an intense interest in how people viewed and thought about photographs and a personal vision guided by several spiritual and intellectual philosophies.
Street photography is photography conducted for art or enquiry that features unmediated chance encounters and random incidents within public places. Although there is a difference between street and candid photography, it is usually subtle with most street photography being candid in nature and some candid photography being classifiable as street photography. Street photography does not necessitate the presence of a street or even the urban environment. Though people usually feature directly, street photography might be absent of people and can be of an object or environment where the image projects a decidedly human character in facsimile or aesthetic.
Aperture magazine, based in New York City, is an international quarterly journal specializing in photography. Founded in 1952, Aperture magazine is the flagship publication of Aperture Foundation.
Nancy Wynne Newhall was an American photography critic. She is best known for writing the text to accompany photographs by Ansel Adams and Edward Weston, but was also a widely published writer on photography, conservation, and American culture.
Theodore Brett Weston was an American photographer.
Beaumont Newhall was an American curator, art historian, writer, photographer, and the second director of the George Eastman Museum. His book The History of Photography remains one of the most significant accounts in the field and has become a classic photographic history textbook. Newhall was the recipient of numerous awards and accolades for his accomplishments in the study of photo history.
Richard Misrach is an American photographer. He has photographed the deserts of the American West, and pursued projects that document the changes in the natural environment that have been wrought by various man-made factors such as urban sprawl, tourism, industrialization, floods, fires, petrochemical manufacturing, and the testing of explosives and nuclear weapons by the military. Curator Anne Wilkes Tucker writes that Misrach's practice has been "driven [by] issues of aesthetics, politics, ecology, and sociology." In a 2011 interview, Misrach noted: "My career, in a way, has been about navigating these two extremes - the political and the aesthetic."
Helmut Erich Robert Kuno Gernsheim was a historian of photography, a collector and a photographer.
Anne Wilkes Tucker is an American retired museum curator of photographic works. She retired in June 2015.
Frank Van Deren Coke, F. Van Deren Coke, or Van Deren Coke was an American photographer, scholar and museum professional. He was born in Lexington, Kentucky, and died in Albuquerque, New Mexico.
Mark Haworth-Booth is a British academic and historian of photography. He was a curator at the Victoria & Albert Museum in London from 1970 to 2004.
Moonrise, Hernandez, New Mexico is a black-and-white photograph taken by Ansel Adams, late in the afternoon on November 1, 1941, from a shoulder of highway US 84 / US 285 in the unincorporated community of Hernandez, New Mexico. The photograph shows the Moon rising in a dominating black sky above a collection of modest dwellings, a church and a cross-filled graveyard, with snow-covered mountains in the background. Adams captured a single image, with the sunset lighting the white crosses and buildings. Because Adams did not date the image, attempts have been made to determine a date from astronomical information in the photograph. It is one of Adams' most popular works.
Dody Weston Thompson was a 20th-century American photographer and chronicler of the history and craft of photography. She learned the art in 1947 and developed her own expression of “straight” or realistic photography, the style that emerged in Northern California in the 1930s. Dody worked closely with contemporary icons Edward Weston, Brett Weston and Ansel Adams during the late 1940s and through the 1950s, with additional collaboration with Brett Weston in the 1980s.
William Jay was a photographer, writer on and advocate of photography, curator, magazine and picture editor, lecturer, public speaker and mentor. He was the first editor of "the immensely influential magazine" Creative Camera (1968–1969); and founder and editor of Album (1970–1971). He is the author of more than 20 books on the history and criticism of photography, and roughly 400 essays, lectures and articles. His own photographs have been widely published, including a solo exhibition at the San Francisco Museum of Modern Art. He is known for his portrait photographs of photographers.
Jed Robert Fielding is an American street photographer, based in Chicago. His work has concentrated on the Italian cities of Rome and Naples, as well as Mexico City. He has published the monographs City of Secrets: Photographs of Naples (1997), Look at me: Photographs from Mexico City (2009), and Encounter: Photographs by Jed Fielding (2022).
Jonathan Green is an American writer, historian of photography, curator, teacher, museum administrator, photographer, filmmaker and the founding Project Director of the Wexner Center for the Arts. A recognized authority on the history of American photography, Green’s books Camera Work: A Critical Anthology (1973) and American Photography: A Critical History 1945–1980 (1984) are two notable commentaries and frequently referenced and republished accounts in the field of photography. At the same time Green’s acquisitions, exhibitions and publications consistently drew from the edges of established photographic practice rather than from its traditional center. He supported acquisitions by socially activist artists like Adrian Piper and graffiti artist Furtura 2000, and hosted exhibitions on Rape, AIDS, new feminist art, and the work of photographer, choreographer and dancer Arnie Zane, the Diana camera images of Nancy Rexroth, the Polaroids and imitation biplanes of folk artist Leslie Payne, and the digital photographic work of Mexican photographer Pedro Meyer. This alternative focus help prime Green and the competition jury to choose an unconventional, deconstructive architect, Peter Eisenman, previously known primarily as a teacher and theorist, as the architect for the Wexner Center for the Arts. Green has held professorial and directorial positions at Massachusetts Institute of Technology, Ohio State University, and University of California, Riverside.