var bubbleTextList = { 1 : 'Hello my name is boaz Hello my name is boaz Hello my name is boaz Hello my name is boaz Hello my name is boaz Hello my name is boaz Hello my name is boaz Hello my name is boaz Hello my name is boaz Hello my name is boaz Hello my name is boaz Hello my name is boaz ', 2 : 'In eight months, I heard many, many staff discussions, but not three meaningful, substantive policy discussions.... On social policy and related issues, the lack of even basic policy knowledge, and the only casual interest in knowing more, was somewhat breathtaking', 3 : 'When the President was unable to get his faith-based bill through Congress, he just put it into effect anyway by means of two executive orders, going to Philadelphia to sign the second one. One of Karl Roves celebratory signs was unfurled over the stage: COMPASSION IN ACTION', 235 : 'The right wing in America likes to think that the United States government was, at its inception, highly religious, specifically highly Christian, and even more specifically highly biblical. That was not true of that government or any later government', 236 : 'La ala lalal lala lala alal ala
yeah
yeah
lalalallalala', 237 : 'There was to be no outbreak of cholera in New Orleans, nor among the residents who fled. Despite raw sewage and decomposing bodies floating in the toxic brew that drowned the city, cholera was never likely to happen: there was little evidence that the specific bacteria that cause cholera were present. But the point had be', 238 : 'One of the points I try to make in “Through the Children’s Gate”—or, maybe more accurately, one of the themes I try to dramatize—is how different anxiety and fear are as civic emotions, even though we use the words interchangeably. Anxiety has always been a New York emotion, the New York emotion—anxiety about crime, anxiety about success, anxiety about the sources of one’s anxiety. But anxiety is essentially an active, and activating, emot', 239 : 'frequently hear people refer to Debussy, Satie, and Ravel as new music, or at least precursors of it. But then again, there are period instrument recordings of Debussy songs and an extremely revelatory set of Ravel\'s complete piano music performed by Gwendolyn Mok on an Erard, all of which make a compelling case for impressionism to be folded into early music', 240 : 'Robert Rauschenberg (born 1925) A wildly inventive painter, sculptor, printmaker, and photographer known for his artistic representation of everyday people and objects. Robert Rauschenberg is best known for his innovative collages and “combines,” sculptures that blended strange mixes of items.', 241 : 'Jerry Uelsmann (1934– )
An American photographer and teacher, Jerry Uelsmann is known for merging multiple images to create mysterious, surreal montages—undertaking the meticulous task in the darkroom long before the today’s computer programs made it easier. His photography appears in the permanent collections of many museums worldwide, including the Modern Museum of Art in New York and Victoria and Albert Museum in London.', 242 : 'Schenker's theory of tonal music evolved over a period that spanned most of his career. During this time he wrote many other essays which discussed a wide range of topics from close analyses of rhythm and texture to studies of improvisation. Like many musicians then (and now), he felt that the key to understanding the structure of tonal music lay in the pitch organisation. Although his analyses discuss all the various parameters of a musical work, it is nevertheless pitch that his theory concentrates on. ', 243 : 'According to sources in the ultra-Orthodox community, the sides have reached agreement on all issues with the exception of the release of the protesters and the dropping of all charges against them. The sources said that on that point, the understandings have yet to be finalized.According to sources in the ultra-Orthodox community, the sides have reached agreement on all issues with the exception of the release of the protesters and the dropping of all charges against them. The sources said that on that point, the understandings have yet to be finalized. ', 244 : 'Very good monarchs must surely dislike innovation, if only to acknowledge the fact that innovation must surely dislike them. It may be said that Queen Elizabeth II has been especially skilled in this respect, having fought every day since her coronation on June 2, 1953, to oppose any sort of change in the habits of tradition and to preserve the British monarchy from the encroaching vulgarity of public feeling. ', 259 : '

Ansel Adams (1902–1984)

Ansel Adams’ first ambition was to become a concert pianist, and many urged him not to give it up for photography. But he was also an ardent conservationist who fell in love with nature, particularly the Yosemite Sierra, and he ultimately became famous for his signature black-and-white Western landscapes, photographing at different times and seasons to show nature’s changing patterns. In fact, he won three Guggenheim grants to photograph national parks. A believer in “straight photography,” he founded the anti-pictorialist Group f/64 with Edward Weston in 1932. Adams also developed the Zone System, an exposure technique for black-and-white photography that allows photographers to control the tonal range in a negative, giving them more control over finished photographs. While Adams is known for his landscapes, he also did commercial portraits and documentary work.

', 247 : '

Robert Rauschenberg (born 1925 )

A wildly inventive painter, sculptor, printmaker, and photographer known for his artistic representation of everyday people and objects. Robert Rauschenberg is best known for his innovative collages and “combines,” sculptures that blended strange mixes of items.

Recommened links about Robert Rauschenberg: www.pbs.org/wnet/americanmasters/database/rauschenberg_r.html
http://www.findarticles.com/p/articles/mi_m2479/is_n5_v25/ai_20582798]

', 248 : 'kljkjhkj ', 249 : '

Robert Rauschenberg (1925)

A wildly inventive painter, sculptor, printmaker, and photographer known for his artistic representation of everyday people and objects. Robert Rauschenberg is best known for his innovative collages and “combines,” sculptures that blended strange mixes of items.

Links:
www.pbs.org/wnet/americanmasters/database/rauschenberg_r.html
http://www.findarticles.com/p/articles/mi_m2479/is_n5_v25/ai_20582798

', 250 : '

Robert Rauschenberg (1925)

A wildly inventive painter, sculptor, printmaker and photographer known for his artistic representation of everyday people and objects. Robert Rauschenberg is best known for his innovative collages and "combines," sculptures that blended strange mixes of items.

Links:

PBS
FindArticles.com', 251 : '

Jerry Uelsmann (born 1934)

An American photographer and teacher, Jerry Uelsmann is known for merging multiple images to create mysterious, surreal montages—undertaking the meticulous task in the darkroom long before the today’s computer programs made it easier. His photography appears in the permanent collections of many museums worldwide, including the Modern Museum of Art in New York and Victoria and Albert Museum in London.

links: uelsmann.net & pdngallery.com

', 252 : '

Bruce Davidson (born 1933)

A freelance photographer based in New York City, Bruce Davidson began his career shooting for Life magazine and in 1958 became a member of MAGNUM Photos, the prestigious agency for photojournalists. His compelling photographs have documented various aspects of American life including the civil rights movement, the behind-the-scenes emotions of football players, and a block in East Harlem.

links: Washington Post & Magnum Photos

', 253 : '

Pete Turner (born 1934)

Known for the vibrant, contrasting colors of his images, Pete Turner has traveled the world shooting photo essays, ad campaigns, and personal projects. His career launched with the rich, lush photos he took of the Ndebele tribe in South Africa, and Africa continues to call. He recently completed a book entitled Pete Turner African Journey, Turner's photographs are in the permanent collection of major museums all over the world, and he has received more than 300 awards for his photography.

Links:
pdngallery.com

peteturner.com

', 254 : '

Emmet Gowin (born 1941)

Emmet Gowin first became known for a series of carefully-crafted large-format photographs he took of his family. The spontaneous black-and-white images reveal intimate bonds and convey the details of everyday life. For the last 30 years, Gowin has been taking landscape photographs, including aerial photos of land masses that have been altered by either nature or man. His photographs been exhibited in museums and galleries around the world. He has received several honors, including NEA and Guggenheim fellowships.

links:
pewarts.org

eastman.org

tfaoi.com

', 255 : '

Robert Rauschenberg (born 1925)

A wildly inventive painter, sculptor, printmaker, and photographer known for his artistic representation of everyday people and objects. Robert Rauschenberg is best known for his innovative collages and “combines,” sculptures that blended strange mixes of items.

Recommended links: PBS & Find Articles

', 256 : '

Pete Turner (born 1934)

', 261 : '

Ansel Adams (1902–1984)

Ansel Adams’ first ambition was to become a concert pianist, and many urged him not to give it up for photography. But he was an ardent conservationist who fell in love with nature, particularly the Yosemite Sierra, and he ultimately became famous for his signature black-and-white Western landscapes, photographed in different seasons to show nature’s changing patterns. He won three Guggenheim grants to photograph national parks.

A believer in “straight photography,” he founded the antipictorialist Group f/64 with Edward Weston in 1932. Adams also developed the Zone System, an exposure technique for black-and-white photography that allows photographers to control the tonal range in a negative, giving them more control over finished photographs. Though known for his landscapes, he also did commercial portraits and documentary work.

', 260 : 'Bubble Bubble Bubble
', 262 : '

Aaron Siskind (1903–91)

After initially working as a documentary photographer for the New York Photo League, Aaron Siskind eventually turned to abstract expressionism. A pioneer in photography education, he taught with Harry Callahan in North Carolina, headed the photography department at the Rhode Island School of Design, and was a founding member of the Society for Photographic Education (SPE). Today, the Aaron Siskind Foundation provides cash grants to individual photographic artists every year.

', 263 : '

Aaron Siskind (1903–91)

', 264 : '

Edward Weston (1886–1958)

An influential American photographer known for his interpretive eye and superbly printed photographs, Edward Weston’s initial style was soft-focused and pictorialist. However, after joining the London Salon in 1917—and meeting Alfred Stieglitz and Paul Strand a few years later—he began shooting his subjects in sharp focus and emphasizing more abstract forms. After a stint in Mexico City, he moved to California and began the work for which he would become renowned—landscapes, nudes, and exquisite still lifes of objects such as shells and vegetables. (He eventually burned most of his early negatives, wanting to be remembered for his later work.) Along with Ansel Adams, Weston helped form the famous Group f/64 in 1932, and was the first photographer to receive a Guggenheim Fellowship.

', 265 : '

Garry Winogrand (1928–1984)

Garry Winogrand (1928–1984)
An American photographer who captured the zeitgeist of an era with his 1960s street photographs, Garry Winogrand began his career working for Collier’s, Sports Illustrated, and other magazines. But feeling hemmed in by his editors’ directives—and inspired by Walker Evans’ book American Photographs—Winogrand eventually began to take a more artistic approach to his work, developing a style often characterized by grainy textures, tilted frames, and complex interactions between the subjects in his photos. Winogrand’s work earned legitimacy thanks to noted curator John Szarkowski, who gave him exhibitions at The Museum of Modern Art. Today, his work can be found in many notable collections. A prolific photographer, Winogrand left more than 2,500 rolls of undeveloped film at the time of his death.

', 266 : '

Aaron Siskind (1903–1991)

After initially working for years as a documentary photographer for the New York Photo League, Aaron Siskind eventually turned to abstract expressionism. A pioneer in photography education, he taught with Harry Callahan in North Carolina, headed the photography department at the Rhode Island School of Design, and was a founding member of the Society for Photographic Education (SPE). Today, the Aaron Siskind Foundation provides cash grants to individual photographic artists every year.

', 267 : '

Harry Callahan (1912–99)

Harry Callahan, who is probably best known for his placid nude portraits of his wife Eleanor, studied with Ansel Adams and later taught at the Rhode Island School of Design. As his career progressed, he shot landscapes, building façades, and collages, but all of his work conveyed a certain serenity and calmness. Callahan’s work has been exhibited at the Museum of Modern Art and the National Gallery of Art in Washington DC, among other places.

', 268 : '

Peter Bunnell

Peter Bunnell is a former McAlpin professor of the history of photography and modern art at Princeton University, the nation’s first endowed professorship of the history of photography. During his 30 years at Princeton, he mentored a number of students, several of whom became respected curators at museums and galleries around the world, including Doug Nickel (Center for Creative Photography) and Malcolm Daniel (the Metropolitan Museum of Art). Bunnell also served as the faculty curator of photography and was responsible for the Minor White Archive and the Clarence H. White Collection.

Prior to joining Princeton in 1972, he was curator of photography at the Museum of Modern Art. A leading thinker in his field, Bunnell has written essays on numerous photographic topics, including collecting photography, portraiture, and large-format photography, as well as on specific photographers and galleries. He is also the author of Minor White: The Eye That Shapes and Degrees of Guidance, a collection of essays on 20th-century American photography.

', 269 : '

Harry Callahan (1912–1999)

Harry Callahan, who is probably best known for his placid nude portraits of his wife Eleanor, studied with Ansel Adams and later taught at the Rhode Island School of Design. As his career progressed, he shot landscapes, building façades, and collages, but all of his work conveyed a certain serenity and calmness. Callahan’s work has been exhibited at The Museum of Modern Art and the National Gallery of Art, among other places.

', 275 : '

Harry Callahan (1912–1999)

Harry Callahan, who is probably best known for his placid nude portraits of his wife Eleanor, studied with Ansel Adams and later taught at the Rhode Island School of Design. As his career progressed, he shot landscapes, building façades, and collages, but all of his work conveyed a certain serenity and calmness. Callahan’s work has been exhibited at The Museum of Modern Art and the National Gallery of Art, among other places.

', 272 : '

W. Eugene Smith (1918–1978)

Beginning his career as a fashion and portrait photographer, W. Eugene Smith eventually became a leading photojournalist, working for such publications as Life, Parade, and Flying. He was badly wounded while working as a war photographer in Japan in 1945. Following an arduous recovery he rejoined Life, where he contributed several photo essays, including Country Doctor and A Man of Mercy (about Albert Schweitzer). At Life, he pushed for control of the magazine’s photo essay format, knocking heads with fellow photographers and editors. In 1955, he joined Magnum and embarked on several notable projects, including Pittsburgh, for which he took thousands of photos throughout the city. Smith’s archive is held at the Center for Creative Photography.

', 270 : '

Ansel Adams (1902–1984)

', 271 : '

Richard Avedon (1923–2004)

A leading fashion photographer, Richard Avedon revamped the genre by capturing his models’ personalities on film to create arresting, theatrical images. Discovered by Alexey Brodovitch at Harper’s Bazaar when he was just 22, Avedon worked for the magazine for 20 years, while also contributing to Life, Look, and other publications. In 1965 he joined Vogue, where he developed his signature style, shooting his subjects against a stark white backdrop. He produced several books, including Observations (celebrity portraits and images of Italian street life, with an essay by Truman Capote) and Nothing Personal (celebrity portraits and photographs of the mentally ill and prisoners). His work has been exhibited at the Smithsonian Institution, the Metropolitan Museum of Art, and the Whitney Museum of American Art.

', 273 : '

Harry Callahan (1912–1999)

Harry Callahan, who is probably best known for his placid nude portraits of his wife Eleanor, studied with Ansel Adams and later taught at the Rhode Island School of Design. As his career progressed, he shot landscapes, building façades, and collages, but all of his work conveyed a certain serenity and calmness. Callahan’s work has been exhibited at The Museum of Modern Art and the National Gallery of Art, among other places.

', 274 : '

Peter Bunnell

', 278 : '

Aaron Siskind (1903–1991)

After initially working for years as a documentary photographer for the New York Photo League, Aaron Siskind eventually turned to abstract expressionism. A pioneer in photography education, he taught with Harry Callahan in North Carolina, headed the photography department at the Rhode Island School of Design, and was a founding member of the Society for Photographic Education (SPE ). Today, the Aaron Siskind Foundation provides annual cash grants to photographic artists.

', 276 : '

Ansel Adams (1902–1984)

', 277 : '

Peter Bunnell

', 279 : '

Ansel Adams (1902–1984)

', 280 : '

Harry Callahan (1912–1999)

Harry Callahan, who is probably best known for his placid nude portraits of his wife Eleanor, studied with Ansel Adams and later taught at the Rhode Island School of Design. As his career progressed, he shot landscapes, building façades, and collages, but all of his work conveyed a certain serenity and calmness. Callahan’s work has been exhibited at The Museum of Modern Art and the National Gallery of Art, among other places.

', 281 : '

Harry Callahan (1912–1999)

Harry Callahan, who is probably best known for his placid nude portraits of his wife Eleanor, studied with Ansel Adams and later taught at the Rhode Island School of Design. As his career progressed, he shot landscapes, building façades, and collages, but all of his work conveyed a certain serenity and calmness. Callahan’s work has been exhibited at The Museum of Modern Art and the National Gallery of Art, among other places.

', 282 : '

Garry Winogrand (1928–1984)

An American photographer who captured the zeitgeist of an era with his 1960s street photographs, Garry Winogrand began his career working for Collier’s, Sports Illustrated, and other magazines. But feeling hemmed in by his editors’ directives—and inspired by Walker Evans’ book American Photographs—Winogrand eventually began to take a more artistic approach to his work, developing a style often characterized by grainy textures, tilted frames, and complex interactions between the subjects in his photos. Winogrand’s work earned legitimacy thanks to noted curator John Szarkowski, who gave him exhibitions at The Museum of Modern Art. Today, his work can be found in many notable collections. A prolific photographer, Winogrand left more than 2,500 rolls of undeveloped film at the time of his death.

', 283 : '

Jim Enyeart (born 1943)

A photographer, author, scholar, and educator, Jim Enyeart was the curator of photography at the University of Kansas, director of the Center for Creative Photography at the University of Arizona, and then director of the George Eastman House.

', 284 : '

Peter Bunnell

', 285 : '

Malcolm Daniel (born 1956)

Since joining New York’s Metropolitan Museum of Art in 1990 as a curatorial assistant, Malcolm Daniel has steadily risen through the ranks to his current position, curator in charge of the department of photographs. A specialist in 19th-century French and British photography, he has curated numerous exhibitions at the Met, including The Photographs of Édouard Baldus: Landscapes and Monuments of France (1994); Edgar Degas, Photographer (1998-1999); and The Dawn of Photography: French Daguerreotypes, 1839-1855 (2003-2004). A widely published scholar, Daniel founded and still runs the Alfred Stieglitz Society, is a widely published scholar, and has taught at Columbia University.

', 286 : '

Ellen Handy (born 1961)

Ellen Handy is an associate professor at City College of New York, where she teaches art history and the history of photography. She is a former executive curator of photography and visual collections at the Harry Ransom Humanities Research Center at the University of Texas at Austin, where she oversaw the Ransom Center’s impressive art, film, and photography collections. She has also been curator for the International Center of Photography, New York City’s leading photography museum, where she oversaw 50,000 photographs, curated exhibitions, and managed acquisitions. She has published and spoken on various topics related to fine art and photography.

', 287 : '

Germaine Krull (1897–1985)

A prolific German photographer who had a wide-ranging career, Germaine Krull produced portraits, advertising images, photojournalism, and architectural work. In her late twenties, she moved to Paris, where she hobnobbed with a coterie of avant-garde photographers and took modernistic industrial photographs, quickly becoming a leader in the postpictorialist New Vision movement. As a political activist, she supported the Free French Movement and photographed the 1944 invasion of southern France.

', 288 : '

Carleton E. Watkins (1829–1916)

Drawn to the West by the Gold Rush, Carleton E. Watkins took striking, detailed photographs of the remote Yosemite Valley—among the best landscape photos of the 19th century—hauling his giant custom-made camera, tripods and heavy glass-plate negatives on horseback to do so. His award-winning images ultimately inspired creation of the Yosemite Bill in 1864, which safeguarded the valley and the nearby redwoods from exploitation, preserving them for generations to come. Watkins also photographed widely in San Francisco and along the Pacific Coast. Sadly, the 1906 earthquake and fire in San Francisco destroyed Watkins’ studio and his negatives, which Stanford University was about to archive.

', 289 : '

Andreas Gursky (born 1955)

Andreas Gursky, one of the most influential color photographers of the early 21st century, is known for his giant panoramic images of contemporary culture—from supermarkets and factory floors to international stock exchanges and trash dumps. Because of their scale, Gursky’s photographs require stepping back to see the Big Picture. But, detailed and richly colored, the images reveal a new perspective when the viewer moves in closer. In the 1990s, the German photographer began digitally manipulating his photos, often using labor-intensive processes to achieve the desired effects. His work is exhibited around the world, and his photographs have broken auction records.

', 290 : '

Cindy Sherman (born 1954)

American photographer Cindy Sherman rocketed to fame after releasing her Untitled Film Stills (1977–1980), a breakthrough series of 69 black-and-white photographs that raised questions about female identity. Echoing movie stills, the photographs feature Sherman herself as the subject and parody archetypal female roles, from starlet to librarian to sex kitten. In later works, she took on other culturally prevalent images of women, including those in pornographic and fashion magazines, adding disturbing elements such as scars and bodily fluids to suggest the rejection of culturally imposed standards of femininity. Sherman, one of the most successful artists of the late 20th century, has influenced numerous young photographers.

', 291 : '

Eugène Atget (1898–1991)

Eugène Atget made documentary photographs of sights and people in Paris in the late 19th and early 20th centuries using a simple 18-by-24-centimeter view camera and no exposure meter. While his methods were simple and rarely varied, several of his contemporaries—including Man Ray, André Breton, and others—were impressed with the hidden world he was able to reveal in his photos, many of which he shot in the early mornings when the streets were empty. Following his death, his remaining prints and negatives were rescued by his friend and fellow photographer Berenice Abbott, who kept his reputation alive, especially in the United States. While Abbott sold her collection to The Museum of Modern Art, most of Atget’s 8,000 negatives—which were bought during his lifetime—remain in France, many in Paris museums and libraries.

', 292 : '

Beaumont Newhall (1908–1993)

An influential photo historian, curator, and photographer, Beaumont Newhall was the founding director of the photography department at The Museum of Modern Art, where he mounted the 1937 exhibition Photography 1839–1937, the first significant retrospective show in the history of photography. Beaumont later served as the curator and director of the International Museum of Photography at George Eastman House. He wrote many books, articles, and exhibition catalogues on photography, including the important text The History of Photography.

', 293 : '

Walker Evans (1903–1975)

An important documentary photographer whose career spanned 50 years, Walker Evans captured scores of iconic images—a rural whiteboard church, the wife of a sharecropper, and other scenes from the Great Depression—that are etched into the American psyche. His work was championed by The Museum of Modern Art in New York. He taught graphic arts at Yale University in the 1960s, influencing many students, and he was a talented writer of poems, fiction, criticism, and essays (in English and in French). His photography is widely collected by top museums and private collectors. Evans’ archive was acquired by the Metropolitan Museum of Art in 1994.

', 294 : '

Carleton E. Watkins (1829–1916)

Drawn to the West by the Gold Rush, Carleton E. Watkins [ www.carletonwatkins.org/] took striking, detailed photographs of the remote Yosemite Valley—among the best landscape photos of the 19th century—hauling his giant custom-made camera, tripods and heavy glass-plate negatives on horseback to do so. His award-winning images ultimately inspired creation of the Yosemite Bill in 1864, which safeguarded the valley and the nearby redwoods from exploitation, preserving them for erations to come. Watkins also photographed widely in San Francisco and along the Pacific Coast. Sadly, the 1906 earthquake and fire in San Francisco destroyed Watkins' studio and his negatives, which Stanford University was about to archive.

', 295 : '

Wynn Bullock (1902-1975)

A dedicated student of philosophy, Wynn Bullock [ www.luminous-lint.com/_switchbox.php?action=ACT_SING_PH&p1=Wynn__Bullock&p2=ABCDEFGHIJKLN ] and [ www.creativephotography.org/pdf/bullock.pdf ] was intrigued by the philosophical and symbolic meaning of images. Admired for his superbly printed photographs of nudes and landscapes, Bullock was greatly influenced by the photographer Edward Weston [ www.edward-weston.com/edward_weston.htm ], who was also his lifelong friend. Bullock's photographs can be found in more than 80 museums, including The Museum of Modern Art [www.moma.org], the Center for Creative Photography [www.creativephotography.org], and the San Francisco Museum of Modern Art [www.sfmoma.org].

', 296 : '

Aaron Siskind (1903-1991)

After initially working for years as a documentary photographer for the New York Photo League, Aaron Siskind [ www.aaronsiskind.org ] eventually turned to abstract expressionism. A pioneer in photography education, he taught with Harry Callahan [ www.brown.edu/Facilities/David_Winton_Bell_Gallery/callahan.html ] in North Carolina, headed the photography department at the Rhode Island School of Design [www.risd.edu], and was a founding member of the Society for Photographic Education (SPE) [www.spenational.org]. Today, the Aaron Siskind Foundation provides annual cash grants to photographic artists.

', 297 : '

Frederick Sommer (1905-1999)

An Italian-born American landscape architect, artist, musician, poet, and photographer, Frederick Sommer [ www.fredericksommer.org ] didn't focus on his photography until 1938, when he met Alfred Stieglitz [ www.pbs.org/wnet/americanmasters/database/stieglitz_a.html ], Edward Weston [ www.edward-weston.com/edward_weston.htm ], and Georgia O'Keefe. His first images, of an amputated foot and decomposing animals, stirred strong reactions. He eventually moved to landscapes and also made interesting photomontages and clichés-verre (a hybrid of drawing, photography, and printmaking).

', 298 : '

Harry Callahan (1912-1999)

Harry Callahan [ www.brown.edu/Facilities/David_Winton_Bell_Gallery/callahan.html ], who is probably best known for his placid nude portraits of his wife Eleanor, studied with Ansel Adams [ www.anseladams.com ] and later taught at the Rhode Island School of Design [www.risd.edu]. As his career progressed, he shot landscapes, building façades, and collages, but all of his work conveyed a certain serenity and calmness. Callahan's work has been exhibited at The Museum of Modern Art [www.moma.org] and the National Gallery of Art [www.nga.gov], among other places.

', 299 : '

Wynn Bullock (1902-1975)

A dedicated student of philosophy, Wynn Bullock and was intrigued by the philosophical and symbolic meaning of images. Admired for his superbly printed photographs of nudes and landscapes, Bullock was greatly influenced by the photographer Edward Weston, who was also his lifelong friend. Bullock's photographs can be found in more than 80 museums, including The Museum of Modern Art, the Center for Creative Photography, and the San Francisco Museum of Modern Art.

', 300 : '

Aaron Siskind (1903-1991)

', 301 : '

Frederick Sommer (1905-1999)

An Italian-born American landscape architect, artist, musician, poet, and photographer, Frederick Sommer didn't focus on his photography until 1938, when he met Alfred Stieglitz, Edward Weston, and Georgia O'Keefe. His first images, of an amputated foot and decomposing animals, stirred strong reactions. He eventually moved to landscapes and also made interesting photomontages and clichés-verre (a hybrid of drawing, photography, and printmaking).

', 302 : '

Harry Callahan (1912-1999)

Harry Callahan, who is probably best known for his placid nude portraits of his wife Eleanor, studied with Ansel Adams and later taught at the Rhode Island School of Design. As his career progressed, he shot landscapes, building façades, and collages, but all of his work conveyed a certain serenity and calmness. Callahan's work has been exhibited at The Museum of Modern Art and the National Gallery of Art, among other places.

', 303 : '

Edward Weston (1886-1958)

An influential American photographer known for his interpretive eye and superbly printed photographs, Edward Weston's initial style was soft-focused and pictorialist. However, after joining the London Salon in 1917-and meeting Alfred Stieglitz and Paul Strand a few years later-he began shooting his subjects in sharp focus and emphasizing more abstract forms. After a stint in Mexico City, he moved to California and began the work for which he would become renowned-landscapes, nudes, and exquisite still lifes of objects such as shells and vegetables. (He eventually burned most of his early negatives, wanting to be remembered for his later work.) Along with Ansel Adams, Weston helped form the famous Group f/64 in 1932, and was the first photographer to receive a Guggenheim Fellowship.

', 304 : '

Garry Winogrand (1928-1984)

An American photographer who captured the zeitgeist of an era with his 1960s street photographs, Garry Winogrand and began his career working for Collier's, Sports Illustrated, and other magazines. But feeling hemmed in by his editors' directives-and inspired by Walker Evans' book American Photographs-Winogrand eventually began to take a more artistic approach to his work, developing a style often characterized by grainy textures, tilted frames, and complex interactions between the subjects in his photos. Winogrand's work earned legitimacy thanks to noted curator John Szarkowski, who gave him exhibitions at The Museum of Modern Art. Today, his work can be found in many notable collections. A prolific photographer, Winogrand left more than 2,500 rolls of undeveloped film at the time of his death.

', 305 : '

Peter Bunnell

', 306 : '

Malcolm Daniel (born 1956)

Since joining New York's Metropolitan Museum of Art in 1990 as a curatorial assistant, Malcolm Daniel has steadily risen through the ranks to his current position, curator in charge of the department of photographs. A specialist in 19th-century French and British photography, he has curated numerous exhibitions at the Met, including The Photographs of Édouard Baldus: Landscapes and Monuments of France (1994); Edgar Degas, Photographer (1998-1999); and The Dawn of Photography: French Daguerreotypes, 1839-1855 (2003-2004). A widely published scholar, Daniel founded and still runs the Alfred Stieglitz Society, is a widely published scholar, and has taught at Columbia University.

', 307 : '

Ellen Handy (born 1961)

Ellen Handy is an associate professor at City College of New York, where she teaches art history and the history of photography. She is a former executive curator of photography and visual collections at the Harry Ransom Humanities Research Center at the University of Texas at Austin, where she oversaw the Ransom Center's impressive art, film, and photography collections. She has also been curator for the International Center of Photography, New York City's leading photography museum, where she oversaw 50,000 photographs, curated exhibitions, and managed acquisitions. She has published and spoken on various topics related to fine art and photography.

', 308 : '

Carleton E. Watkins (1829-1916)

Drawn to the West by the Gold Rush, Carleton E. Watkins took striking, detailed photographs of the remote Yosemite Valley-among the best landscape photos of the 19th century-hauling his giant custom-made camera, tripods and heavy glass-plate negatives on horseback to do so. His award-winning images ultimately inspired creation of the Yosemite Bill in 1864, which safeguarded the valley and the nearby redwoods from exploitation, preserving them for generations to come. Watkins also photographed widely in San Francisco and along the Pacific Coast. Sadly, the 1906 earthquake and fire in San Francisco destroyed Watkins' studio and his negatives, which Stanford University was about to archive.

', 309 : '

Edward Steichen (1879-1973)

One of the most important artistic figures of his time, Edward Steichen was originally a painter who burst onto the international photography scene by creating romantic pictorialist images. His pioneering work-which involved manipulating images and working creatively with filters-helped establish photography as a fine art. After Alfred Stieglitz bought some of his prints, the two became friends and Stieglitz promoted Steichen's work in his publication Camera Work. Steichen joined the advertising industry in 1923. He was instrumental in boosting the number of advertisements that used photography from 15 percent to 80 percent in just a decade. In 1947, Steichen became the director of photography for The Museum of Modern Art, where he organized The Family of Man in 1955, an exhibition of 503 photos that examined the universal themes of life, love, children, and death in 68 countries.

', 310 : '

Weegee (1899-1968)

The Austrian-born American photographer Weegee (Arthur Fellig) got his start as a freelance police beat photographer, capturing images of gangsters in the slums of New York. He lived behind a police station and often made it to the crime scene before the police arrived. (Observers credited him with having a sixth sense, like a Ouija board, earning him his nickname.) He eventually began photographing movie stars, including Marilyn Monroe, Marlene Dietrich, and Gregory Peck, often using kaleidoscopic lenses and mirrors to manipulate the images. The main character in the film The Public Eye, starring Joe Pesci, was based on Weegee.

', 311 : '

Minor White (1908-1976)

One of the most respected figures of his generation, Minor White focused his lens primarily on the natural world and is often associated with his textural photographs-images of rough bushes, a tree, cracks in a road, or frost crystals on glass. He was also an influential photography teacher, and in 1952 he co-founded the influential magazine Aperture with a group of fellow photography enthusiasts that included Ansel Adams, Dorothea Lange, and Beaumont Newhall. For the last 11 years of his life, White taught at MIT, where he had tremendous influence on the university's photography department.

', 312 : '

Walker Evans (1903-1975)

An important documentary photographer whose career spanned 50 years, Walker Evans captured scores of iconic images-a rural whiteboard church, the wife of a sharecropper, and other scenes from the Great Depression-that are etched into the American psyche. His work was championed by The Museum of Modern Art in New York. He taught graphic arts at Yale University in the 1960s, influencing many students, and he was a talented writer of poems, fiction, criticism, and essays (in English and in French). His photography is widely collected by top museums and private collectors. Evans' archive was acquired by the Metropolitan Museum of Art in 1994.

', 313 : '

Eugène Atget (1898-1991)

Eugène Atget made documentary photographs of sights and people in Paris in the late 19th and early 20th centuries using a simple 18-by-24-centimeter view camera and no exposure meter. While his methods were simple and rarely varied, several of his contemporaries-including Man Ray, André Breton, and others-were impressed with the hidden world he was able to reveal in his photos, many of which he shot in the early mornings when the streets were empty. Following his death, his remaining prints and negatives were rescued by his friend and fellow photographer Berenice Abbott, who kept his reputation alive, especially in the United States. While Abbott sold her collection to The Museum of Modern Art, most of Atget's 8,000 negatives-which were bought during his lifetime-remain in France, many in Paris museums and libraries.

', 314 : '

Andreas Gursky (born 1955)

Andreas Gursky, one of the most influential color photographers of the early 21st century, is known for his giant panoramic images of contemporary culture-from supermarkets and factory floors to international stock exchanges and trash dumps. Because of their scale, Gursky's photographs require stepping back to see the Big Picture. But, detailed and richly colored, the images reveal a new perspective when the viewer moves in closer. In the 1990s, the German photographer began digitally manipulating his photos, often using labor-intensive processes to achieve the desired effects. His work is exhibited around the world, and his photographs have broken auction records.

', 315 : '

Cindy Sherman (born 1954)

American photographer Cindy Sherman rocketed to fame after releasing her Untitled Film Stills (1977-1980), a breakthrough series of 69 black-and-white photographs that raised questions about female identity. Echoing movie stills, the photographs feature Sherman herself as the subject and parody archetypal female roles, from starlet to librarian to sex kitten. In later works, she took on other culturally prevalent images of women, including those in pornographic and fashion magazines, adding disturbing elements such as scars and bodily fluids to suggest the rejection of culturally imposed standards of femininity. Sherman, one of the most successful artists of the late 20th century, has influenced numerous young photographers.

', 316 : '

Walker Evans (1903-1975)

', 317 : 'ok and a one
', 318 : 'and a two', 319 : 'and a one two three four
', 320 : '

Oracle

Oracle is an international nonprofit organization of museum professionals, scholars, independent curators, and others working in the field of photography. The organization holds an annual conference.

', 321 : '

Edward Weston (1886-1958)

', 322 : '

Julia Margaret Cameron (1815-1879)

British photographer Julia Margaret Cameron began taking photos merely to pass the time while her husband was away but quickly showed true talent as a portrait photographer. She ran in lofty circles, and her male subjects-Robert Browning, Charles Darwin, Henry Longfellow, Alfred Tennyson-were some of the great intellectuals and artists of the day. She usually shot against a dark background, draping her models' bodies in dark cloth and carefully lighting them from one side, to dramatic effect. Though Cameron also photographed female celebrities, she tended to select them for their beauty rather than their accomplishments.

', 323 : '

Harry Callahan (1912-1999)

Harry Callahan, who is probably best known for his placid nude portraits of his wife Eleanor, studied with Ansel Adams and later taught at the Rhode Island School of Design. As his career progressed, he shot landscapes, building façades, and collages, but all of his work conveyed a certain serenity and calmness. Callahan's work has been exhibited at The Museum of Modern Art and the National Gallery of Art, among other places.

', 324 : '

Garry Winogrand (1928-1984)

An American photographer who captured the zeitgeist of an era with his 1960s street photographs, Garry Winogrand began his career working for Collier's, Sports Illustrated, and other magazines. But feeling hemmed in by his editors' directives-and inspired by Walker Evans' book American Photographs-Winogrand eventually began to take a more artistic approach to his work, developing a style often characterized by grainy textures, tilted frames, and complex interactions between the subjects in his photos. Winogrand's work earned legitimacy thanks to noted curator John Szarkowski, who gave him exhibitions at The Museum of Modern Art. Today, his work can be found in many notable collections. A prolific photographer, Winogrand left more than 2,500 rolls of undeveloped film at the time of his death.

', 325 : '

Ruth Bernhard (1905-2006)

Known for her radiant female figures, German-born Ruth Bernhard was hailed by Ansel Adams as the "greatest photographer of the nude." A chance encounter with Edward Weston, who became a mentor, compelled her to explore her more artistic side. In addition to her signature nudes, most photographed in San Francisco, she was also known for her intriguing, often geometric still lifes. Bernhard published two portfolios, The Gift of the Commonplace, which she considers to include some of her finest work, and The Eternal Body. An eloquent speaker on the art of photography, Bernhard was known as a well-respected teacher who influenced many photographers’ careers.

', 326 : '

Henri Cartier-Bresson (1908-2004)

One of the greatest photographers of his time, Henri Cartier-Bresson was among the first photographers to use the new (at the time), smaller, 35mm camera, whose speed and mobility he loved. The father of modern photojournalism, he was known for recognizing "the decisive moment" to shoot. He took many iconic photos, and his candid "street photography" style influenced scores of photographers who followed. Cartier-Bresson's career took him across the United States and Europe, as well as to China, India, and Russia. Several volumes of his photographs have been published, and in 1960, a 400-print exhibition of his work toured the United States. He was one of the founders of Magnum, the prestigious picture agency in New York, London, Paris, and Tokyo. The Foundation Henri Cartier-Bresson-which the photographer created with his wife, Martine Franck, and their daughter to preserve and share his legacy-was the first of its kind in France. Cartier-Bresson was also a painter.

', 327 : '

John Gutmann (1905-1998)

Born in Germany, John Gutmann was an important teacher and painter of expressionist art in Berlin until, as a Jew, he was forced by the Nazis to quit his job. In 1933, he bought a Rolleiflex camera and moved to San Francisco, where he focused his artistic eye on American pop culture, reporting back to magazines in Germany. He eventually started the photography department at San Francisco State University and became a vibrant link between European modernism in the early 20th century and the burgeoning artistic culture in the San Francisco Bay Area in the last half of the century. His influence is seen today in the works of many contemporary photographers.

', 328 : '

Ansel Adams (1902-1984)

A believer in "straight photography," he founded the antipictorialist Group f/64 with Edward Weston in 1932. Adams also developed the Zone System, an exposure technique for black-and-white photography that allows photographers to control the tonal range in a negative, giving them more control over finished photographs. Though known for his landscapes, he also did commercial portraits and documentary work.

', 329 : '

Andreas Gursky (born 1955)

', 330 : '

Diane Arbus (1923-1971)

A documentary photographer best known for her intriguing images of people living on the fringes of society-carnival sideshow performers, nudists, religious zealots-Diane Arbus (pronounced Dee-ANN) got to know many of her subjects and felt true affection for them. Curator John Szarkowski recognized Arbus' unique talent and gave her two shows at The Museum of Modern Art, in 1965 and 1967, further boosting her notoriety. In 1971, she became the first photographer to be included in the Venice Biennale, a renowned art exhibition dating back to 1895.

', 331 : '

Nan Goldin (born 1953)

Nan Goldin became a sensation for her intimate, snapshot-like images of herself and her circle of friends, taken mostly in Boston and New York. Many of her photographs focus on themes such as drugs, domestic violence, cross-dressing, and death. Goldin's grunge style strongly influenced fashion photography, but was criticized by some for popularizing "heroin chic" in the 1990s. Her often monochromatic images get a boost of vibrancy from her artful use of flash lighting, an effect that is now considered the "Goldin look."

', 332 : '

Cindy Sherman (born 1954)

', 333 : '

John Szarkowski (born 1925)

John Szarkowski is an influential photography curator, historian, and critic, and a respected photographer in his own right. He was the director of photography at The Museum of Modern Art from 1962 until 1991, during which time he produced 160 exhibitions. He elevated the careers of many visionary photographers, including Diane Arbus, Lee Friedlander, and Garry Winogrand. He has written numerous books, including the classic Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art, a series of examples on how to think about photography.

', 334 : '

William Eggleston (born 1939)

A pioneer in artistic color photography, William Eggleston photographs ordinary subjects-a nondescript interior, an open refrigerator, a tricycle-but is known for creating rich, vibrant images. A native of Memphis, Tennessee, Eggleston worked often in the Deep South, photographing quintessential American scenes in his signature snapshot-like style. In 1976 he presented his breakout, one-man show, William Eggleston's Guide, at The Museum of Modern Art. In the years since, he has photographed throughout Europe, Africa, and Asia, creating several substantial photo series.

', 335 : '

Bill Dane (born 1938)

Since the 1970s, street photographer Bill Dane has been captivating fans with his unique shots of urban California, which often show two opposing images meeting in interesting, sometimes unexpected ways. Dane has received two NEA Fellowships and two Guggenheim Fellowships.

', 336 : '

Cindy Sherman (born 1954)

', 337 : '

Berenice Abbott (1898-1991)

widely respected American photographer who spent most of her career in New York, Berenice Abbott's experimentation to documentation and scientific images. She spent the 1920s in Paris, where she was a photographic assistant to Man Ray and met the French master photographer Eugène Atget, whose remaining prints and negatives she rescued after his death and sold to The Museum of Modern Art, thereby establishing his reputation in the United States.

Abbott received four U.S. patents for photographic and other devices, launched the photography program at the New School for Social Research, and wrote several books, including the noted Guide to Better Photography.

', 338 : '

Julia Margaret Cameron (1815-1879)

', 339 : '

Julia Margaret Cameron (1815-1879)

', 340 : '

John Szarkowski (born 1925)

John Szarkowski is an influential photography curator, historian, and critic, and was a respected photographer in his own right. He was the director of photography at The Museum of Modern Art from 1962 until 1991, during which time he produced 160 exhibitions. He elevated the careers of many visionary photographers, including Diane Arbus, Lee Friedlander, and Garry Winogrand. He has written numerous books, including the classic Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art, a series of examples on how to think about photography.

', 341 : '

Minor White (1908-1976)

', 342 : 'Jarru Callahan', 343 : '

Doug Nickel (1522-1622)

I think there's a desire at both ends-at the institutional end and at the photographer end-for this kind of information to be sort of formulated for the first time and then shared. The field has acted like the proverbial herd of cats. Everyone's been going in their own direction and doing things according to organic practices based on habit and tradition. And I think that it would mark a moment of maturity of the field to begin talking about these things. The danger is you have to give up a habit. The advantage is that you hear how other people do it and maybe they're doing it in a way that's better, and makes more sense for you"

', 344 : '

why oh why?

jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjsssssssssssssssssssssssssjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjs

', 345 : '

schaeffer

biggus wiggus

smell

', 346 : 'bored teenagers who consume video games on one monitor whilst they play interactive war massacres on the other.
', 347 : 'society might exist
', 348 : 'not nice - avoid at all costs
', 349 : 'means based on a concept
', 350 : '

Nipomo, California,

are framed by the whole series of shots that came before the one we recognize. This is a rare and fascinating perspective on the interaction between a photographer and her subject.

', 351 : 'Fascinated by photography and its power to evoke a sense of mysticism...', 352 : 'Fascinated by photography and its power to evoke a sense of mysticism...', 353 : 'Fascinated by photography and its power to evoke a sense of mysticism...', 354 : 'one two three four
', 355 : 'five six seven eight
', 356 : 'But a band visible around Whitman's finger', 357 : 'anotehr test
', 358 : 'Peter Bunnel was 'ere. He was also at Princeton, appointed in 1972 as the first endowed cahir in the history of photography. Peter also took responsibility for the University's Photography collection which has grown froma single Steiglitz to over 8,000 items. He has written numerous books and presented acadremic material to loads of people wearing glasses and some wih contact lenses.', 359 : '

W. Eugene Smith (1918-1978)

Beginning his career as a fashion and portrait photographer, W. Eugene Smith eventually became a leading photojournalist, working for such publications as Life, Parade, and Flying. He was badly wounded while working as a war

photographer in Japan in 1945. Following an arduous recovery he rejoined Life, where he contributed several photo essays, including Country Doctor and A Man of Mercy (about Albert Schweitzer). At Life, he pushed for control of the magazine's photo essay format, knocking heads with fellow photographers and editors. In 1955, he joined Magnum and embarked on several notable projects, including Pittsburgh, for which he took thousands of photos throughout the city.

Smith's archive is held at the Center for Creative Photography

', 360 : '

Garry Winogrand (1928-1984)

', 361 : 'Edward Weston (1886-1958)
An influential American photographer known for his interpretive eye and superbly printed photographs, Edward Weston's initial style was soft-focused and pictorialist. However, after joining the London Salon in 1917-and meeting Alfred Stieglitz and Paul Strand a few years later-he began shooting his subjects in sharp focus and emphasizing more abstract forms. After a stint in Mexico City, he moved to California and began the work for which he would become renowned - landscapes, nudes, and exquisite still lifes of objects such as shells and vegetables. (He eventually burned most of his early negatives, wanting to be remembered for his later work.) Along with Ansel Adams, Weston helped form the famous Group f/64 in 1932, and was the first photographer to receive a Guggenheim Fellowship.
', 362 : '

Peter Bunnell

Peter Bunnell is a former McAlpin professor of the history of photography and modern art at Princeton University, the nation's first endowed professorship of the history of photography. During his 30 years at Princeton, he mentored a number of students, several of whom became respected curators at museums and galleries around the world, including Doug Nickel (Center for Creative Photography) and Malcolm Daniel (the Metropolitan Museum of Art [www.metmuseum.org]). Bunnell also served as the faculty curator of photography and was responsible for the Minor White Archive and the Clarence H. White Collection. Prior to joining Princeton in 1972, he was curator of photography at the Museum of Modern Art. A leading thinker in his field, Bunnell has written essays on numerous photographic topics, including collecting photography, portraiture, and large-format photography, as well as on specific photographers and galleries. He is also the author of Minor White: The Eye That Shapes and Degrees of Guidance, a collection of essays on 20th-century American photography.

', 363 : 'Edward Weston (1886-1958)
An influential American photographer known for his interpretive eye and superbly printed photographs, Edward Weston's initial style was soft-focused and pictorialist. However, after joining the London Salon in 1917 - and meeting Alfred Stieglitz and Paul Strand a few yaers later - he began shooting his subjects in sharp focus and emphasizing more abstract forms. After a stint in Mexico City, he moved to California and began the work for which he would become renowned - landscapes, nudes, and exquisite still lifes of objects such as shells and vegetables. (He eventually burned most of his early negatives, wanting to be remembered for his later work.) Along with Ansel Adams, Weston helped form the famous Group f/64 in 1932, and was the first photographer to receive a Guggenheim Fellowship.', 364 : 'W. Eugene Smith (1918-1978)
Beginning his career as a fashion and portrait photographer, W. Eugene Smith eventually became a leading photojournalist, working for such publications as Life, Parade, and Flying. He was badly wounded while working as a war photographer in Japan in 1945. Following an arduous recovery he rejoined Life, where he contributed several photo essays, including Country Doctor and A Man of Mercy (about Albert Schweitzer). At Life, he pushed for control of the magazine's photo essay format, knocking heads with fellow photographers and editors. In 1955, he joined Magnum and embarked on several notable projects, including Pittsburgh, for which he took thousands of photos throughout the city. Smith's archive is held at the Center for Creative Photography.', 365 : 'Garry Winogrand (1928-1984)
An American photographer who captured the zeitgeist of an era with his 1960s street photographs, Garry Winogrand began his career working for Collier's, Sports Illustrated, and other magazines. But feeling hemmed in by his editors' directives - and inspired by Walker Evans' book American Photographs - Winogrand eventually began to take a more artistic approach to his work, developing a style often characterized by grainy textures, tilted frames, and complex interactions between the subjects in his photos. Winogrand's work earned legitimacy thanks to noted curator John Szarkowski, who gave him exhibitions at The Museum of Modern Art. Today, his work can be found in many notable collections. A prolific photographer, Winogrand left more than 2,500 rolls of undeveloped film at the time of his death.', 366 : 'Ansel Adams was really great and took some splendid shots whilst out walking in the hills and countryside. aaaaaaaaaaah.
', 367 : '

Edward Weston (1886-1958)

', 368 : '

Wynn Bullock (1902-1975)

A dedicated student of philosophy, Wynn Bullock was intrigued by the philosophical and symbolic meaning of images. Admired for his superbly printed photographs of nudes and landscapes, Bullock was greatly influenced by the photographer Edward Weston, who was also his lifelong friend. Bullock's photographs can be found in more than 80 museums, including The Museum of Modern Art the Center for Creative Photography, and the San Francisco Museum of Modern Art.

', 369 : '

Garry Winogrand (1928-1984)

n American photographer who captured the zeitgeist of an era with his 1960s street photographs, Garry Winogrand began his career working for Collier's, Sports Illustrated, and other magazines. But feeling hemmed in by his editors' directives-and inspired by Walker Evans' book American Photographs-Winogrand eventually began to take a more artistic approach to his work, developing a style often characterized by grainy textures, tilted frames, and complex interactions between the subjects in his photos. Winogrand's work earned legitimacy thanks to noted curator John Szarkowski, who gave him exhibitions at The Museum of Modern Art. Today, his work can be found in many notable collections. A prolific photographer, Winogrand left more than 2,500 rolls of undeveloped film at the time of his death.

', 370 : '

Harry Callahan (1912-1999)

Harry Callahan, who is probably best known for his placid nude portraits of his wife Eleanor, studied with Ansel Adams and later taught at the Rhode Island School of Design . As his career progressed, he shot landscapes, building faÂades, and collages, but all of his work conveyed a certain serenity and calmness. Callahan's work has been exhibited at The Museum of Modern Art and the National Gallery of Art among other places.

', 371 : '

Aaron Siskind (1903-1991)

After initially working for years as a documentary photographer for the New York Photo League, Aaron Siskind eventually turned to abstract expressionism. A pioneer in photography education, he taught with Harry Callahan in North Carolina, headed the photography department at the Rhode Island School of Design and was a founding member of the Society for Photographic Education (SPE). Today, the Aaron Siskind Foundation provides annual cash grants to photographic artists.

', 372 : '

Jim Enyeart (born 1943)

', 373 : '

Malcolm Daniel (born 1956)

Since joining New York's Metropolitan Museum of Art in 1990 as a curatorial assistant, Malcolm Daniel has steadily risen through the ranks to his current position, curator in charge of the department of photographs. A specialist in 19th-century French and British photography, he has curated numerous exhibitions at the Met, including The Photographs of ƒdouard Baldus: Landscapes and Monuments of France (1994); Edgar Degas, Photographer (1998-1999); and The Dawn of Photography: French Daguerreotypes, 1839-1855 (2003-2004). A widely published scholar, Daniel founded and still runs the Alfred Stieglitz Society, is a widely published scholar, and has taught at Columbia University.

', 374 : '

Ellen Handy (born 1961)

Ellen Handy is an associate professor at City College of New York, where she teaches art history and the history of photography. She is a former executive curator of photography and visual collections at the Harry Ransom Humanities Research Center at the University of Texas at Austin, where she oversaw the Ransom Center's impressive art, film, and photography collections. She has also been curator for the International Center of Photography, New York City's leading photography museum, where she oversaw 50,000 photographs, curated exhibitions, and managed acquisitions. She has published and spoken on various topics related to fine art and photography.

', 375 : 'Kunsthalle (literally "art hall") is generally a German term for an arts center mounting temporary exhibitions, and supported b the local Kunstverein, an art association of local collectors and artists. In many German cities, the local Kunstverein established permanent collections similar to those of the Kunstmuseum, which derive mainly from earlier fuedal times. ', 376 : 'Bill Gates is a patient man. And it’s a good thing. He launched Corbis, an independent company focusing on digital imagery distribution, 16 years ago. Finally, this year, he expects it to break even for the first time.

', 377 : '

Pop Art and Its Affinities

July 29, 2006 - September 30, 2007

Highlighting works from the 1960s and early 1970s, this installation captures a pivotal moment in the history of American art. Works by Pop artists, including Andy Warhol, Roy Lichtenstein, and Claes Oldenburg, are featured, as well as pieces by their predecessors, whose work resonates with Pop Art, such as Robert Rauschenberg.

Pop Art and Its Affinities also features paintings by Op Artists such as Edna Andrade, Richard Anuszkiewicz, and Josef Albers, who were among the first artists to base their work entirely upon optical impressions examined in the science of perceptual psychology, such as the after-image and chromatic vibration.

', 378 : '

Darren Almond (1971- )

Darren Almond was the youngest artist to exhibit at the infamous Sensation show at The Saatchi Gallery in 1997, an event that established the term "YBAs" (Young British Artists) into art historical canon. Almond, however, has since distinguished himself from the garish shock tactics of his contemporaries by turning to calm sculpture, films, and photographs that reorder traditional notions of place and time. Almond's work draws an acknowledgement of larger unknowns, touching upon ideas of mysticism, hermeticism, and subjective cultural experiences of place. Almond is a Lancastrian, occasionally referencing his family, their emotional position, and personal appreciations of life. He has had solo exhibitions at Tate Britain, Kunsthalle Zurich in Switzerland, and The Renaissance Society in Chicago.

', 379 : '

Lutz Bacher (1943- )

A Berkeley-based artist, Lutz Bacher has consistently challenged mainstream notions of gender, sexuality, violence, and power. While predominantly a video artist, he has successfully used multimedia, incorporating found objects, televised court footage, cropped celebrity TV stock, and other debris of modern culture. Bacher's manipulation of image and identity has drawn comparisons with Cindy Sherman, and his audio-visual juxtapositions are on occasion as piercing as Barbara Kruger's slogans. Bacher has exhibited internationally, with shows at the Whitney Biennial, White Columns in New York, Yerba Buena Center for the Arts in San Francisco, and the Museum of Contemporary Art, Zurich.

', 380 : '

Édouard Baldus (1813-1889)

Originally a painter, French photographer Édouard Baldus took up photography in 1848 and never looked back. He was a member of Société Héliographique and worked for Mission Héliographique, for which he created clear, vivid images of aging French architectural monuments using special waxed paper negatives that he had patented. That work eventually garnered him government support for a new project, Les Villes de France photographiées, a series of architectural images taken in Paris and the provinces. Baldus also documented the Louvre's reconstruction in the 1850s, producing 2,000 negatives. In July 1861, the Paris-Lyon-Méditerranée (PLM) Railroad commissioned Baldus to produce an album of photographs of the rail constructions. In 1994, The Metropolitan Museum of Art hosted a traveling exhibit on Baldus titled The Photographs of Édouard Baldus: Landscapes and Monuments.

', 381 : '

Matthew Barney (1967- )

Contemporary artist Matthew Barney uses a variety of media-sculptural installations, performance art, drawing, photography, video-to create some of the most innovative works of his generation. While at Yale, he planned to study medicine, an interest that shows up in his artwork, which often explores the human body's workings and limits. Barney is best known for The Cremaster Cycle, a series of five visually-rich, experimental films that explore male sexuality.

', 382 : '

Jim Campbell (1956- )

San Francisco-based artist Jim Campbell, who holds degrees in Mathematics and Engineering from MIT, leads the way in using computer technology as an art form via his customized electronic sculptures and installations. His works utilize low resolution, low information interfaces to engage viewers' perceptions and memories. His work has been shown at major institutions worldwide including the San Francisco Museum of Modern Art, The Power Plant in Toronto, The International Center for Photography in New York, and the NTT InterCommunication Center in Tokyo.

', 383 : '

Tom Crow

A Rosalie Solow Chair in Modern Art History at the Institute of Fine Arts, New York University (NYU), Crow's approach is one of community building that focuses on "advanced knowledge and ideas, sustained by traditions of free inquiry and unquestioned integrity." He is a widely published author, recently having written a survey of the life and work of artist Gordon Matta-Clark and major essays for The Museum of Contemporary Art (MOCA), Los Angeles, on Robert Smithson and Robert Rauschenberg. He is a contributing editor to Artforum. Professor Crow is the former director of the Getty Research Institute and has taught at both the University of Southern California and Yale University.

', 384 : '

Edgar Degas (1834-1917)

A French artist who had a well-rounded career that included drawing, sculpture, and printmaking, Edgar Degas is best known for his painting. He is considered one of the founders of Impressionism (although he objected to the name), a style that features prominent brush strokes and muted details. While he painted some landscapes, he was much more interested in portraits and portrayed human gestures, poses, and facial expressions in a way that might cause the viewer to wonder about the subjects. Although he painted different types of people-milliners, opera performers, laundresses-he became famous for his many images of ballet dancers practicing backstage.

', 385 : '

Omer Fast (1972- )

An American-Israeli who plays with the cinematic medium, Omer Fast uses subject matter that ranges from reconfigurations of Hollywood icons and accepted film formula, to political and personal "refractions" of visual and oral history, to testimony and memory. Fast toys with the documentary genre-surely an abomination-but his playfulness is consistent, referencing mass distributed films and audiences' passive absorption into cinematic content. Simultaneously a devoted practitioner and an uber-critic of the moving image, he has gained appreciation across the Western world. His work has been exhibited at George Eastman House, Rochester; Cornerhouse, Manchester; Copenhagen Center for Contemporary Art; Kunstmuseum, Basel; and the Carnegie Museum of Art, Pittsburgh.

', 386 : '

Roger Fenton (1819-1869)

One of the most influential photographers of the mid-19th century, British photographer Roger Fenton studied art in both Paris and London before taking up a camera. While many of his contemporaries settled into a particular genre, Fenton's work ran the gamut-from portraiture to documentary sequences, from architectural studies to complex still lifes. He was commercially successful and many of his photographs are now iconic, such as his haunting Crimean War photo Valley of the Shadow of Death.

', 387 : '

Robert Frank (1924- )

Swiss-born documentary photographer Robert Frank is best known for his book The Americans. Funded by a Guggenheim Fellowship, Frank traversed the U.S. and photographed honest depictions of everyday people. His method contrasted vividly with the sentimental preoccupations of other '50s photographers. While his photographs were hotly criticized, they ultimately inspired an entire generation of photojournalists. Frank became a key figure of the Beat generation (Jack Kerouac wrote the foreword to his book) and made more than 25 pioneering films and videos.

', 388 : '

Maria Hambourg

Maria Hambourg was curator in charge of the Department of Photographs at The Metropolitan Museum of Art from its inception in 1992 until 2004 and continues to consult to the museum. Her leadership brought international attention to The Met's photographic collection and enriched its holdings in 19th and 20th century works. By establishing a strong and supportive Visiting Committee of eminent collectors and scholars, Hambourg ushered in an authoritative curated exhibition program including The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection (1993); Nadar (1994-95); Hiroshi Sugimoto (1995-96); Paul Strand, Circa 1916 (1998); Earthly Bodies: Irving Penn's Nudes, 1949-50 (2002); and Richard Avedon: Portraits (2002-2003).

', 389 : '

Ann Hamilton (1956- )

Ann Hamilton, who trained in textile design at the University of Kansas and received an MFA from Yale University, creates installations, photographs, videos, performances, and objects. She has received a number of awards and honors, including a MacArthur Fellowship, a National Endowment for the Arts Visual Arts Fellowship, and a Guggenheim Memorial Fellowship. She represented the United States at the 48th Venice Biennale in 1999 and at the 21st International São Paulo Bienal in 1991. She is a professor in the Department of Art at Ohio State University.

', 390 : '

David Hammons (1943- )

New-York based conceptual installation artist David Hammons' career has been a slow meander that willfully avoids the illuminati of the art world. Influenced by Dada, he repeatedly blurs the distinction between art and life. He values a walk more than a three-month exhibition, explaining, "Doing things in the street is more powerful than art, I think. Like Malcolm X said, '[Art] is like novocaine. It used to wake you up, but now it puts you to sleep.'" His staunchly evasive approach has ultimately established his notoriety. Hammons has exhibited at The Fabric Workshop and Museum, Philadelphia; Galerie Hauser & Wirth, Zurich; Ace Gallery, New York; White Cube, London; Gallery Shimada, Yamaguchi, Japan; and the Museo Reina Maria Sofia, Madrid.

', 391 : '

Lewis Wickes Hine (1874-1940)

Self-taught photographer Lewis Wickes Hine started his career as an instructor in nature studies and the official photographer for the Ethical Culture School in New York. A trained sociologist, he ultimately turned his lens to social ills such as child labor. Hine added captions detailing the childrens' ages, working conditions, and wages. While he eventually took on other projects-photographing construction of the Empire State Building, for example-he remains best known for his child labor photos.

', 392 : '

F. Holland Day (1864-1933)

A pictorialist photographer whose images alluded to classical antiquity, F. Holland Day is probably best known for his photographic recreation of the Crucifixion in 250 negatives, for which he himself posed as Christ. The series was lauded by some and criticized as sacrilegious by others. His other important works were series of male nudes, some with a homoerotic flavor, which also stirred up controversy.

', 393 : '

William Ivins (1881-1961)

Originally an attorney, William Ivins gave up practicing law when he was invited in 1916 to take charge of The Metropolitan Museum of Art's small collection of prints. In accepting, he became curator and founder of the museum's Prints Department and ultimately built the collection from its humble beginnings into one of the most impressive print holdings of any museum in the country. His Notes on Prints, published in 1930, became a respected guide for the modern study of prints. In 1932, he hired Hyatt Mayor-who was unknown at the time-to be his assistant curator and gently shaped him. Ivins eventually worked his way up the ranks to become director of the museum.

', 394 : '

Gertrude Käsebier (1852-1934)

Best known for her mother-and-child photographs, American photographer Gertrude Käsebier gained notoriety after serving as a judge at the 1899 Philadelphia Photographic Salon, a role that dramatically jumpstarted business at her New York portrait studio. Although she was primarily a commercial photographer, Alfred Stieglitz devoted his first issue of Camera Work to her in 1903. Käsebier is less known for her Native American portraits, which captured her subjects' individual personalities and avoided presenting stereotypical images.

', 395 : '

Phyliss Lambert (1927- )

Born in Winnipeg, Phyliss Lambert is a distinguished academic and philanthropist. Working with architect Ludwig Mies van der Rohe, she was influential in his two most successful skyscraper projects, the Seagram Building and the Toronto-Dominion Centre. In 1974, she began to form a vast photographic collection, which later became the basis of the photographic collection at the Canadian Centre for Architecture (CCA) in Montreal, a renowned international museum and research center that Lambert founded in 1979. Comprising[KO1] over 50,000 images and spanning the entire history of photography, it is one of the most outstanding photographic collections in the world. Subsequently, Lambert established a field of discourse that considered the relationships between photography and architecture, landscape and image, the city and its representation. As Director of the CCA, Lambert pioneered groundbreaking exhibitions beginning with Photography and Architecture: 1839-1939 in 1982.

', 396 : '

Gustave Le Gray (1820-1884)

A French painter-turned-photographer, Gustave Le Gray practiced daguerreotype and calotype photography. A master of photographic technique, he pioneered the paper negative and gave lessons to many emerging photographers including Maxime Du Camp and Léon de Laborde. Le Gray was one of just five photographers selected for Mission Héliographique, a government-sponsored project to document France's aging architecture to determine where restoration was most needed. He ultimately made over 600 negatives as part of that project.

', 397 : '

Maria Marshall (1966- )

Maria Marshall is known for her video works that feature children in troubling adult situations. She uses digital techniques to create psychologically charged works that question the viewers' preconceived notions of social norms, behaviors, and cause. Her works are a public dissection of her personal inquiries of motherhood. She has exhibited at the California College of the Arts in Oakland, Palais de Tokyo in Paris, and Centre pour l'Image Contemporaine in Geneva. Her work has also been included in the group shows Casino 2001 at the Stedelijk Museum voor Actuele Kunst in Ghent, Slow Motion at the Ludwig Forum in Aachen, Germany and The American Effect at the Whitney Museum of American Art in New York. Marshall received a B.A. from the Wimbledon School of Art in London, and later studied sculpture at the Chelsea School of Art in London and the École des Beaux-Arts, Geneva.

', 398 : '

Hyatt Mayor (1901-1980)

Hyatt Mayor was the art curator of prints at The Metropolitan Museum of Art from 1946 until 1966, succeeding William Ivins and building on Ivins' important acquisitions of the first half of the century. Museum staff characterized Mayor's tenure as one of "filling in the valleys between Ivins' mountain-top masterworks." Mayor purchased less sought-after pieces from respected print collections of artists whose later reputations would validate his critical judgment. He broadened the collection to include all aspects of printing including wine labels, a fine collection of cigarette cards, and advertising print. Despite his footing in the art historical tradition, Mayor conceived of prints, ironically for a museum curator, as popular forms of communication. Prints and People: A Social History of Printed Pictures (1952) positioned graphics within the context of social communication. Mayor studied at Princeton Christ Church College, Oxford University (as a Rhodes Scholar) and the American School of Classical Studies. He taught art history at Vassar College and theatre at the School of the American Laboratory Theatre, both in New York, and contributed to the literary magazine Hound and Horn.

', 399 : '

John McKendry (1933-1975)

John McKendry was curator of prints at The Metropolitan Museum of Art from 1966 until 1975. He organized exhibitions of photographs by Paul Strand, Edward Weston, and Man Ray, among others. He was also in charge of The Met's Print Division centenary exhibition in 1970. McKendry is known for his discovery of Robert Mapplethorpe, and for providing him with his first camera. Mapplethorpe's portrait of McKendry was made only a day before McKendry's premature death. He has authored numerous books including 1968 Four Victorian Photographs, Robert Motherwell's a La Pintura: The Genesis of a Book, Helen Frankenthaler: 62 Painted Book Covers and Aesop: Five Centuries of Illustrated Fables. McKendry graduated from the University of Alberta and New York University's Institute of Fine Arts.

', 400 : '

Weston Naef (1942- )

Weston Naef has been curator of photographs at The Getty Museum since the establishment of its Photographic Department in 1984. He has authored over 30 books, with subjects including Alfred Stieglitz, Georgia O'Keefe, Eugene Atget, Andre Kertesz, Mary Ellen Mark, Carlton Watkins, Gustave le Gray, Paul Strand, Edward Weston, early Egyptian photography, pioneer photography of Brazil, and photography of the American West. Naef's reverence for photography is summarized by the landmark show in 2004 titled Photographers of Genius, which exhibited works by the most famous names in photography with unapologetic reverence.

', 401 : '

Georgia O'Keefe (1887-1986)

One of the most gifted artists of the 20th century, Georgia O'Keefe is most often associated with her stunning oil paintings of nature, particularly her close-up, erotic flower paintings and New Mexico landscapes and still lifes. O'Keefe's career got a boost when she met photographer and gallery owner Alfred Stieglitz, who became an ardent promoter of her work and eventually her husband. The two remained together for 20 years, during which time Stieglitz took many photographic portraits of O'Keefe.

', 402 : '

Paul Outerbridge, Jr. (1896-1958)

An American photographer who gained recognition for his innovative advertising work, Paul Outerbridge is known for his early experiments with color photography. He used the cabro-color process to meticulously control the hues of his photographs, for example. Outerbridge contributed regularly to Vogue, Vanity Fair, Harper's Bazaar, and other magazines. After 1930, he focused primarily on creating a series of erotic, fetishistic female nudes.

', 403 : '

Jacob Riis (1849-1914)

A Danish immigrant to the United States, Jacob Riis began his career as a court reporter for the New York Tribune and Evening Sun before taking up photography to expose the unhealthful living conditions of the poor, particularly immigrants. He did much of his work at night and used an open flash, sometimes inadvertently setting fire to the places he was photographing. His images of the squalor of New York's Lower East Side were published in How the Other Half Lives in 1890, which helped push through legislation that eventually improved the conditions he had so eloquently captured on film.

', 404 : '

Paul Sachs (1878-1965)

An investment businessman at Goldman Sachs (where his father was a partner), Paul Sachs was persuaded in 1914 to leave the profession to become assistant curator to Edward Forbes, his old Harvard classmate and the new director of the Fogg Art Museum. Together, Forbes and Sachs formed a team of fundraising, teaching, and museum development staff that set the standard for academic museum direction. In 1922, Sachs created the celebrated course in curatorship for Harvard graduate students, Museum Work and Museum Problems, and developed a program of museum education, developing what he termed the "connoisseur-scholar." One aspect included what was commonly called "the Print Course," a seminar-style analysis of prints and drawings drawn largely from Sachs' personal collection. Harvard awarded him an honorary doctorate in 1942. In 1945, Sachs and Forbes (the "mendicant Siamese twins") retired from the museum.

', 405 : '

Charles Sheeler (1883-1965)

Best known as a painter, Charles Sheeler took up photography primarily to earn a living. His sharply-focused urban and industrial photographs feature hard, flat, almost abstract forms and are devoid of any sign of life or motion. He coined the term "Precisionism" to describe his style, which influenced many photographers to follow. In 1920, he and fellow photographer Paul Strand made a short experimental film called Manhattan, which became one of the first American art films.

', 406 : '

Wolfgang Staehle (1950- )

Since the early 1990s, Wolfgang Staehle has worked almost exclusively as a collective artist. In 1991, he founded The Thing, an innovative online forum for artists and cultural workers. In 1996, he began to produce an ongoing series of live online video streams including Empire 24/7, a continuous live Web-broadcasted recording of the top of the Empire State Building. Berlin's Fernsehturm and the Comburg Monastery, both in Germany, received similar treatment. Staehle's name reached the mainstream when his month-long installation (Sept. 6- Oct. 6, 2001) at the Postmasters gallery in New York inadvertently recorded two planes colliding into the World Trade Center. He continues to serve as executive director of The Thing. Staehle attended the Freie Kunstschule, Stuttgart, and the School of Visual Arts, New York.

', 407 : '

John C. Waddell

In 1987, John Waddell's personal photograph collection-comprising 500 works of European and American photography made between the two World Wars-was acquired by The Metropolitan Museum of Art, thanks to a $2 million gift by Ford Motor Company. Now known as the Ford Motor Company Collection, it includes work by Berenice Abbott, Brassai, Walker Evans, Andre Kertesz, Man Ray, and Laszlo Moholy-Nagy, among others. The collection documents the urban, industrial, and psychological revolutions of the modern era. A graduate of Yale University and Harvard Business School, Waddell is vice chairman of the board at Arrow Electronics, where he previously served as director, executive vice president, CEO, and chairman. He is a member of both the Committee on Architecture and Design and the Committee on Photographs at The Met.

', 408 : '

Sam Wagstaff (1921-1987)

Sam Wagstaff, described as an urbane, visionary scholar, began collecting photography in 1973, before there was a recognized market for the medium, and amassed a vast collection. Educated at Yale and New York University's Institute of Fine Arts-where he studied Renaissance art-he was a curator at both the Wadsworth Atheneum Museum of Art and the Detroit Institute of Arts. Beginning in the early '70s, he was also a mentor, career-impresario, and partner of Robert Mapplethorpe. In 1984, his photography collection was sold to The Getty for $5 million.

', 409 : '

Paul Walter

An avid photography collector, Paul Walter was particularly interested in 19th century British and French photography. He accumulated a collection of 223 photographs including Julia Margaret Cameron's portrait of Sir John Herschel, exceptional Crimean War images by Roger Fenton, a group of calotypes by Scottish photographers David Octavius-Hill and Robert Adamson, and works by Gustave Le Gray and Charles Negre. His collection ultimately sold for over $2 million GBP at Sothebys, London in 2001. Walter is a trustee at the Museum of Modern Art and vice chairman of the MoMA Photography Committee.

', 410 : '

Benjamin Brecknell Turner (1815-1894)

Benjamin Brecknell Turner was a pioneer in photography using Talbot's calotype process starting in 1849. He is best known for his photographs of the English countryside. Beginning in 1852 he used the paper negative in combination with albumen positives on a large scale and used classical compositions to examine building types and rustic life. In 1854, he photographed the transfer of the Crystal Palace from central London to Sydenham Hill-important because of its subject matter and technical ambition. His work was shown at the Society of Arts and at the International Exhibition, both in London. He was a founding member of the London Photographic Society in 1854 and was also honorary secretary of the Photographic Exchange club.

', 411 : '

Colonel Alfred Capel-Cure

Colonel Alfred Capel-Cure, who flourished in the late 19th century, was most known for his photographs of medieval castles, monasteries, and churches that had been abandoned and were falling into ruin. Many of his photographs are of buildings that he owned or buildings that an educated man of romantic tastes would have sought out on his travels. Capel-Cure was one of many gentleman-amateurs who photographed Tintern Abbey, for example. Other subjects include informal portraits and romantic genre subjects.

', 412 : '

Colonel Alfred Capel-Cure

In detail, tonal range, and translation of color into black and white, Capel-Cure's work is greatly inferior to comparable pictures produced by modern processes, but it is precisely their sepia tones, soft outlines, and romantic mood that define them as pioneering and historically critical. Most of Capel-Cure's pictures were made by the calotype process, a process using paper negatives, which was already technically obsolete when he began using it in 1852.

', 413 : '

calotype

This early photographic process, which used paper coated with silver iodide, was discovered by William Henry Fox Talbot in 1840 by accident, but it revolutionized photography. Because the highly-sensitive paper allowed for dramatically reduced exposure times, living subjects could now be photographed. And because it was a negative-positive process, many copies of an image could be made. The calotype-also called the Talbotype-initially produced low-quality images and was used mostly by amateurs. Eventually, however, the process was improved and gained wider popularity.

', 414 : '

gentleman-amateur

The term "gentleman-amateur" refers to a Victorian era, upper-class male academically invested (and in some cases defining) emergent niches of science. Gentleman-amateur interests varied and included astronomy, chemistry, optics, and photography. By virtue of educational and social privilege, the gentleman-amateur of the 19th century was equipped to carry forth experiments in his chosen field and thus credited with many early discoveries. The gentlemen-amateur is associated with a pioneering spirit later ceded to larger institutions and academies, and is now a figure of nostalgia.

', 415 : '

Getty Research Institute

The Getty Research Institute-part of the renowned Getty Center located in Los Angeles-offers a rich array of art-related resources and activities for scholars and the general public. The institute comprises a Research Library boasting almost 900,000 books and periodicals, as well as Special Collections including rare books, prints, drawings, and audio and visual media. For those interested in photography, the center has a special Photo Study Collection of 2 million photographs from antiquity up through the modern era. The institute has a residential scholar program and also offers a rich selection of public programs including lectures, panel discussions, performances, and film screenings.

', 416 : '

The Gilman Collection

Comprising more than 8,500 photographs including important works of early British, French, and American photography and masterpieces from the early 20th century, the Gilman Paper Company Collection is widely considered the finest private photography collection ever assembled. It includes rare photographs by Gustave Le Gray, Henri Le Secq, Édouard Baldus, Nadar, and Eugène Atget, among other treasures. The collection was built by Howard Gilman, chairman of the paper company, with the help of his curator Pierre Apraxine beginning in 1977. It was acquired from the Howard Gilman Foundation by the Metropolitan Museum of Art in 2005.

', 417 : '

Photo-Secession

This photographer's movement formed in 1902 with the intent of forcing the art world to recognize photography "as a distinctive medium of individual expression." Alfred Stieglitz led the group which also included Edward Steichen, Gertrude Kasebier, Clarence White, and Alvin Langdon Coburn. Photo-Secession held its own exhibitions and published Camera Work, a meticulous and quality journal. The Photo-Secessionists used the pictorial style, arguing that art photography needed to emulate the painting and etching of the time. Photo-Secessionists valued purity and objectivity, practicing straight photography. Images were black and white or sepia-toned, and were not manipulated in the darkroom, aside from cropping.

', 418 : '

Phyliss Lambert (1927- )

Born in Winnipeg, Phyliss Lambert is a distinguished academic and philanthropist. Working with architect Ludwig Mies van der Rohe, she was influential in his two most successful skyscraper projects, the Seagram Building and the Toronto-Dominion Centre. In 1974, she began to form a vast photographic collection, which later became the basis of the photographic collection at the Canadian Centre for Architecture (CCA) in Montreal, a renowned international museum and research center that Lambert founded in 1979. Comprising over 50,000 images and spanning the entire history of photography, it is one of the most outstanding photographic collections in the world. Subsequently, Lambert established a field of discourse that considered the relationships between photography and architecture, landscape and image, the city and its representation. As Director of the CCA, Lambert pioneered groundbreaking exhibitions beginning with Photography and Architecture: 1839-1939 in 1982.

', 419 : 'Steichen and Stieglitz selected this photograph for inclusion in the International Exhibition of Pictorial Photography held at the Albright Art Gallery (now the Albright-Knox Art Gallery) in Buffalo, New York, in 1910. The exhibition of 600 photographs represented the capstone of Stieglitz's efforts to promote Pictorialist photography as a fine art.', 420 : 'Maria Morris Hambourg
Maria Morris Hambourg was curator in charge of the Department of Photographs at The Metropolitan Museum of Art from its inception in 1992 until 2004 and continues to consult to the museum. Her leadership brought international attention to The Met's photographic collection and enriched its holdings in 19th and 20th century works. By establishing a strong and supportive Visiting Committee of eminent collectors and scholars, Hambourg ushered in an authoritative curated exhibition program including The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection (1993); Nadar (1994-95); Hiroshi Sugimoto (1995-96); Paul Strand, Circa 1916 (1998); Earthly Bodies: Irving Penn's Nudes, 1949-50 (2002); and Richard Avedon: Portraits (2002-2003).

', 421 : '

Walker Evans (1903–1975)

An important documentary photographer whose career spanned 50 years, Walker Evans and captured scores of iconic images-a rural whiteboard church, the wife of a sharecropper and other scenes from the Great Depression-that are etched into the American psyche. His work was championed by The Museum of Modern Art in New York. He taught graphic arts at Yale University in the 1960s, influencing many students, and he was a talented writer of poems, fiction, criticism and essays (in English and in French). His photography is widely collected by top museums and private collectors. Evans' archive was acquired by the Metropolitan Museum of Art in 1994.

', 422 : 'Maria Morris Hambourg
Maria Morris Hambourg was curator in charge of the Department of Photographs at The Metropolitan Museum of Art from its inception in 1992 until 2004 and continues to consult to the museum. Her leadership brought international attention to The Met's photographic collection and enriched its holdings in 19th and 20th century works. By establishing a strong and supportive Visiting Committee of eminent collectors and scholars, Hambourg ushered in an authoritative curated exhibition program including The Waking Dream: Photography's First Century, Selections from the Gilman Paper Company Collection (1993); Nadar (1994-95); Hiroshi Sugimoto (1995-96); Paul Strand, Circa 1916 (1998); Earthly Bodies: Irving Penn's Nudes, 1949-50 (2002); and Richard Avedon: Portraits (2002-2003).

', 423 : 'William Henry Fox Talbot (1800–1877)
William Henry Fox Talbot, who invented the positive/negative photographic process, is known as The Father of Modern Photography. A true Renaissance man who studied the classics at Cambridge, he had a variety of interests—he was a mathematician, a physicist, a botanist, a Biblical scholar, and a transcriber of ancient Syrian and Chaldean texts.

', 424 : 'Peter Bunnell
Peter Bunnell is a former McAlpin professor of the history of photography and modern art at Princeton University, the nation's first endowed professorship of the history of photography. During his 30 years at Princeton, he mentored a number of students, several of whom became respected curators at museums and galleries around the world, including Doug Nickel and Malcolm Daniel. Bunnell also served as the faculty curator of photography and was responsible for the Minor White Archive and the Clarence H. White Collection. Prior to joining Princeton in 1972, he was curator of photography at the Museum of Modern Art. A leading thinker in his field, Bunnell has written essays on numerous photographic topics, including collecting photography, portraiture, and large-format photography, as well as on specific photographers and galleries. He is also the author of Minor White: The Eye That Shapes and Degrees of Guidance, a collection of essays on 20th-century American photography.

', 425 : 'Clarence H. White (1871-1925)
Earning early accolades for his soft-focus photography, mainly of women and children, Clarence H. White did much to bridge the crevasse between pictorialist and modernist styles. He was a founding member of the Photo-Secession Movement was also a co-founder of the Pictorial Photographers of America. In 1914, he founded the C.H. White School of Photography, whose students would become some of the leading photographers of their generation.

', 426 : 'Minor White (1908-1976)
One of the most respected figures of his generation, Minor White focused his lens primarily on the natural world and is often associated with his textural photographs - images of rough bushes, a tree, cracks in a road, or frost crystals on glass. He was also an influential photography teacher, and in 1952 he co-founded the influential magazine Aperture with a group of fellow photography enthusiasts that included Ansel Adams, Dorothea Lange and Beaumont Newhall. For the last 11 years of his life, White taught at MIT, where he had tremendous influence on the university's photography department.

', 427 : '

Clarence H. White (1871-1925)

Earning early accolades for his soft-focus photography, mainly of women and children, Clarence H. White did much to bridge the crevasse between pictorialist and modernist styles. He was a founding member of the Photo-Secession Movement was also a co-founder of the Pictorial Photographers of America. In 1914, he founded the C.H. White School of Photography, whose students would become some of the leading photographers of their generation.

', 428 : 'Minor White (1908-1976)
One of the most respected figures of his generation, Minor White focused his lens primarily on the natural world and is often associated with his textural photographs-images of rough bushes, a tree, cracks in a road, or frost crystals on glass. He was also an influential photography teacher, and in 1952 he co-founded the influential magazine Aperture with a group of fellow photography enthusiasts that included Ansel Adams, Dorothea Lange and Beaumont Newhall For the last 11 years of his life, White taught at MIT, where he had tremendous influence on the university's photography department.

', 429 : 'John Waddell
Waddell is a graduate of Yale University (B.A) and the Harvard School of Business (M.B.A.). He is Vice Chairman of the Board at Arrow Electronics, previously serving as Director, Executive Vice-President, CEO and Chairman. Waddell is currently a member of the Committee on Architecture and Design of The Museum of Modern Art and the Committee on Photographs of the Metropolitan Museum of Modern Art. In 1987, Waddell’s personal photograph collection was acquired by the Metropolitan Museum thanks to a $2M gift by Ford Motor Co. Known as the Ford Motor Company Collection, it comprises 500 works of European and American photography made between the two World Wars. In the collection, Abbott, Brassai, Evans, Kertesz, Man Ray and Moholy-Nagy, Strand to name a few, document the urban, industrial and psychological revolutions of the modern era.

', 430 : 'Julia Margaret Cameron (1815-1879)
British photographer Julia Margaret Cameron began taking photos merely to pass the time while her husband was away but quickly showed true talent as a portrait photographer. She ran in lofty circles, and her male subjects - Robert Browning, Charles Darwin, Henry Wadsworth Longfellow, Alfred Tennyson - were some of the great intellectuals and artists of the day. She usually shot against a dark background, draping her models' bodies in dark cloth and carefully lighting them from one side, to dramatic effect. Though Cameron also photographed female celebrities, she tended to select them for their beauty rather than their accomplishments.

', 431 : 'Georgia O’Keeffe (1887–1986)
One of the most gifted artists of the 20th century, Georgia O’Keeffe is most often associated with her stunning oil paintings of nature, particularly her close-up, erotic flower paintings and New Mexico landscapes and still lifes. O’Keeffe’s career got a boost when she met photographer and gallery owner Alfred Stieglitz, who became an ardent promoter of her work and eventually her husband. The two remained together for 20 years, during which time Stieglitz took many photographic portraits of O’Keeffe.

', 432 : 'Paul Strand (1890– 1976)
A photographer and filmmaker, Paul Strand helped pioneer the modernist movement in photography. While he made soft-focus images early in his career, a visit to Alfred Stieglitz’s 291 Art Gallery, which featured the work of forward-thinking photographers and artists, caused him to alter his path. Inspired by the Cubist principles of Picasso and Cézanne in particular, Strand shifted to more abstract compositions including a study of cups, bowls, and fruit, and another of chair and porch rails. Stieglitz eventually promoted Strand's work in both his gallery and his publication Camera Work. In his later years, Strand traveled throughout Europe and Ghana, making several photography books.', 433 : 'Richard Avedon (1923-2004)
A leading fashion photographer, Richard Avedon revamped the genre by capturing his models' personalities on film to create arresting, theatrical images. Discovered by Alexey Brodovitch at Harper's Bazaar when he was just 22, Avedon worked for the magazine for 20 years, while also contributing to Life, Look, and other publications. In 1965 he joined Vogue, where he developed his signature style, shooting his subjects against a stark white backdrop. He produced several books, including Observations (celebrity portraits and images of Italian street life, with an essay by Truman Capote) and Nothing Personal (celebrity portraits and photographs of the mentally ill and prisoners). His work has been exhibited at the Smithsonian Institution, the Metropolitan Museum of Art and the Whitney Museum of American Art.

', 434 : 'Diane Arbus (1923-1971)
A documentary photographer best known for her intriguing images of people living on the fringes of society - carnival sideshow performers, nudists, religious zealots - Diane Arbus got to know many of her subjects and felt true affection for them. Curator John Szarkowski recognized Arbus' unique talent and gave her two shows at The Museum of Modern Art, in 1965 and 1967, further boosting her notoriety. In 1971, she became the first photographer to be included in the Venice Biennale a renowned art exhibition dating back to 1895.

', 435 : '

Gustave Le Gray (1820–1884)

A French painter-turned-photographer, Gustave Le Gray practiced daguerreotype and calotype photography. A master of photographic technique, he pioneered the paper negative and gave lessons to many emerging photographers including Maxime Du Camp and Léon de Laborde. Le Gray was one of just five photographers selected for Mission Héliographique, a government-sponsored project to document France’s aging architecture to determine where restoration was most needed. He ultimately made over 600 negatives as part of that project.

', 436 : '

Gustave Le Gray (1820–1884)

A French painter-turned-photographer, Gustave Le Gray practiced daguerreotype and calotype photography. A master of photographic technique, he pioneered the paper negative and gave lessons to many emerging photographers including Maxime Du Camp and Léon de Laborde. Le Gray was one of just five photographers selected for Mission Héliographique, a government-sponsored project to document France’s aging architecture to determine where restoration was most needed. He ultimately made over 600 negatives as part of that project.

', 437 : 'John Waddell
John Waddell is a graduate of Yale University (B.A) and the Harvard School of Business (M.B.A.). He is Vice Chairman of the Board at Arrow Electronics, previously serving as Director, Executive Vice-President, CEO and Chairman. Waddell is currently a member of the Committee on Architecture and Design of The Museum of Modern Art and the Committee on Photographs of the Metropolitan Museum of Modern Art. In 1987, Waddell’s personal photograph collection was acquired by the Metropolitan Museum thanks to a $2M gift by Ford Motor Co. Known as the Ford Motor Company Collection, it comprises 500 works of European and American photography made between the two World Wars. In the collection, Abbott, Brassai, Evans, Kertesz, Man Ray and Moholy-Nagy, Strand to name a few, document the urban, industrial and psychological revolutions of the modern era.
', 438 : 'Alfred Stieglitz (1864-1946)
One of the most influential figures in early 20th-century art and culture, Alfred Stieglitz founded an elite, avant-garde group of photographers called the Photo-Secession, who worked to have photography accepted as a fine art. Fascinated by the relationship between photography and the other arts, Stieglitz ran a gallery called Photo-Secession Gallery, known as the "29l," supporting modern artists like Cezanne and Picasso. He also produced the renowned photographic magazine Camera Work. His own photography included interesting images of the streets of New York, often taken in poor light and weather. He also made portraits of his second wife, the painter Georgia O'Keeffe.

', 439 : '

Edward Steichen (1879-1973)

One of the most important artistic figures of his time, Edward Steichen was originally a painter who burst onto the international photography scene by creating romantic pictorialist images. His pioneering work-which involved manipulating images and working creatively with filters-helped establish photography as a fine art. After Alfred Stieglitz bought some of his prints, the two became friends and Stieglitz promoted Steichen's work in his publication Camera Work. Steichen joined the advertising industry in 1923. He was instrumental in boosting the number of advertisements that used photography from 15 percent to 80 percent in just a decade. In 1947, Steichen became the director of photography for The Museum of Modern Art, where he organized The Family of Man in 1955, an exhibition of 503 photos that examined the universal themes of life, love, children, and death in 68 countries.

', 440 : '

Walker Evans (1903-1975)

', 441 : '

Jeff L. Rosenheim

Associate Curator in the Department of Photographs at Metropolitan Museum of Art. Since joining the Met in the late 1980's, Rosenheim has organized and collaborated on many major museum exhibitions including Sight Unseen: Selections from the Gilman Collection, Diane Arbus: Revelations and New Orleans after the Flood: Photographs by Robert Polidori.

Rosenheim has penned and co-authored many significant books and catalogs including Thomas Eakins and The Metropolitan Museum of Art. His major contributions to photographic literature are his studies of Walker Evans' oeuvre including Many Are Called, Walker Evans: Polaroids and Unclassified: A Walker Evans Anthology. He is two-time recipient of the Infinity Award for Best Photography Book of the Year (Diane Arbus: Revelations in 2003 and Unclassified: A Walker Evans Anthology in 2001). Rosenheim has taught in the Department of Art History and Archaeology at Columbia University and lectured around the world, on topics wide-ranging.

', 442 : '

Brenda Richardson

Independent curator, writer and editor. Richardson served as Deputy Director for Art and Curator of modern painting and sculpture at the Baltimore Museum of Art from 1975 to 1998. She curated many acclaimed shows including, Frank Stella: The Black Paintings (1976), the first ever retrospective of Gilbert & George (1984) and Anne Truitt: A Life in Art (1992). She has published consistently with focus on contemporary American artists - Andy Warhol, Willem de Kooning, Brice Marden, Sol LeWitt, John Waters, Barnett Newman, Bruce Nauman and Ellsworth Kelly. Richardson acted as a consultant on The Cone Sisters, a BBC documentary (2002). She was also co-editor of A Grand Design: The Art of the Victoria and Albert Museum (1997).

', 443 : '

Roger Taylor

Roger Taylor is Professor of Photographic History at De Montfort University, Leicester; and formerly Senior Curator of Photographs and Head of Research Development for the National Museum of Photography, Film and Television, Bradford. Roger Taylor was the recipient of the Lisette Model/Joseph G. Blum Fellowship in the History of Photography at the National Gallery of Canada (1998).

In 2007, he guest-curated Impressed By Light, an exhibition for the Metropolitan Museum in New York. He also co-authored the catalogue which featured "a groundbreaking examination of the artistic, social, and economic context of the British calotype." He is a leading authority on British Victorian Photography and the calotype process.

Taylor is the author of numerous books and journal articles, including Lewis Carroll Photographer: The Princeton Albums. Taylor's landmark project was Photographs Exhibited in Britain, 1839-1865, for which he published a book and developed a website database of over 20,000 photographic exhibits drawn from forty exhibition catalogues published between 1839-1865. It is the richest resource for material of that time.

', 444 : 'What is remarkable is not only the shamelessness of a Likud leader, himself a prominent Israeli lawyer, urging publicly that Israel find ways to violate commitments it is about to make to the Palestinians in a meeting to which the president of the United States is a party, but of the answer Shoval proposes:', 445 : 'Garry Winogrand (1928-1984)
An American photographer who captured the zeitgeist of an era with his 1960s street photographs, Garry Winogrand and began his career working for Collier's, Sports Illustrated, and other magazines. But feeling hemmed in by his editors' directives-and inspired by Walker Evans' book American Photographs-Winogrand eventually began to take a more artistic approach to his work, developing a style often characterized by grainy textures, tilted frames, and complex interactions between the subjects in his photos. Winogrand's work earned legitimacy thanks to noted curator John Szarkowski, who gave him exhibitions at The Museum of Modern Art. Today, his work can be found in many notable collections. A prolific photographer, Winogrand left more than 2,500 rolls of undeveloped film at the time of his death.

', 446 : 'Diane Arbus (1923-1971)
A documentary photographer best known for her intriguing images of people living on the fringes of society-carnival sideshow performers, nudists, religious zealots - Diane Arbus got to know many of her subjects and felt true affection for them. Curator John Szarkowski recognized Arbus' unique talent and gave her two shows at The Museum of Modern Art, in 1965 and 1967, further boosting her notoriety. In 1971, she became the first photographer to be included in the Venice Biennale, a renowned art exhibition dating back to 1895.

', 447 : 'Lewis Wickes Hine (1874–1940)
Self-taught photographer Lewis Wickes Hine started his career as an instructor in nature studies and the official photographer for the Ethical Culture School in New York. A trained sociologist, he ultimately turned his lens to social ills such as child labor. Hine added captions detailing the childrens’ ages, working conditions, and wages. While he eventually took on other projects - photographing construction of the Empire State Building, for example - he remains best known for his child labor photos.

', 448 : 'Jacob Riis (1849–1914)
A Danish immigrant to the United States, Jacob Riis began his career as a court reporter for the New York Tribune and Evening Sun before taking up photography to expose the unhealthful living conditions of the poor, particularly immigrants. He did much of his work at night and used an open flash, sometimes inadvertently setting fire to the places he was photographing. His images of the squalor of New York’s lower East Side were published in How the Other Half Lives in 1890, which helped push through legislation that eventually improved the conditions he had so eloquently captured on film.

', 449 : 'John Szarkowski (born 1925)
John Szarkowski was an influential photography curator, historian, and critic, and was a respected photographer in his own right. He was the director of photography at The Museum of Modern Art from 1962 until 1991, during which time he produced 160 exhibitions. He elevated the careers of many visionary photographers of his time, including Diane Arbus, Lee Friedlander and Garry Winogrand. He also wrote numerous books, including the classic Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art, a series of examples on how to think about photography.

', 450 : 'Dorothea Lange (1895–1965)
Documentary photographer Dorothea Lange is best known for Migrant Mother and other sometimes heart-wrenching photographs of the poor - especially destitute farm families - taken for the Farm Security Administration during the Great Depression. She later documented internment of Japanese Americans and the founding of the United Nations for the Office of War Information, and she produced photographic essays on Egypt, Ireland, and Asia for Life magazine.

', 451 : 'Vicki Goldberg
Vicki Goldberg, one of the leading voices in the field of photography criticism, is well known for her cogent and perceptive writing, which is regularly featured in such national publications as the New York Times, American Photographer, and Vanity Fair. She has authored and co-authored over a dozen books, including American Photography: A Century of Images; The Power of Photography: How Photographs Changed Our Lives; Margaret Bourke-White: A Biography; A Nation of Strangers; Photography in Print: Writings from 1816 to the Present; Louise Dahl-Wolfe; and Lewis W. Hine. Goldberg’s remarkable oeuvre is captured in Light Matters: Writings on Photography (Aperture) - a selection of essays and criticism, culled from her writings published over the past twenty-five years.

', 452 : 'Josef Koudelka (1938)
In 1961 Koudelka was photographing gypsies in Czechoslovakia and theater in Prague. He turned full-time to photography in 1967. The following year, Koudelka photographed the Soviet invasion of Prague, publishing his photographs under the initials P. P. (Prague Photographer) for fear of reprisal to him and his family. In 1969, he was anonymously awarded the Overseas Press Club's Robert Capa Gold Medal for those photographs.

Koudelka left Czechoslovakia for political asylum in 1970. In 1975, he brought out his first book Gypsies, and in 1988, Exiles. Since 1986, he has worked with a panoramic camera and issued a compilation of these photographs in his book Chaos in 1999.

He has won significant awards such as the Prix Nadar (1978), a Grand Prix National de la Photographie (1989), and a Grand Prix Cartier-Bresson (1991). Significant exhibitions of his work have been held at the Museum of Modern Art and the International Center of Photography, New York; the Stedelijk Museum of Modern Art, Amsterdam; and the Palais de Tokyo, Paris.

Source: Magnum Photos', 453 : 'Weegee (1899-1968)
The Austrian-born American photographer Weegee (Arthur Fellig) got his start as a freelance police beat photographer, capturing images of gangsters in the slums of New York. He lived behind a police station and often made it to the crime scene before the police arrived. (Observers credited him with having a sixth sense, like a Ouija board, earning him his nickname.) He eventually began photographing movie stars, including Marilyn Monroe, Marlene Dietrich, and Gregory Peck, often using kaleidoscopic lenses and mirrors to manipulate the images. The main character in the film The Public Eye, starring Joe Pesci, was based on Weegee.

', 454 : 'Man Ray (1890-1976)
A pioneering avant-garde painter, sculptor, and art and fashion photographer, May Ray became ame known in the photography world for his cameraless, Dada-inspired images, called Rayographs. He circulated among the top artists and thinkers in Paris throughout the 1920s and 1930s, photographing many of them including Ernest Hemingway, Pablo Picasso, Salvador Dali, and Kiki (his companion, muse, and model). A central figure in the surrealist movement, Man Ray experimented with various artistic techniques, including overexposure, to create images with an otherworldly quality.

', 455 : 'Henri Cartier-Bresson (1908-2004)
One of the greatest photographers of his time, Henri Cartier-Bresson was among the first photographers to use the new (at the time), smaller, 35mm camera, whose speed and mobility he loved. The father of modern photojournalism, he was known for recognizing "the decisive moment" to shoot. He took many iconic photos, and his candid "street photography" style influenced scores of photographers who followed. Cartier-Bresson's career took him across the United States and Europe, as well as to China, India, and Russia. Several volumes of his photographs have been published, and in 1960, a 400-print exhibition of his work toured the United States. He was one of the founders of Magnum, the prestigious picture agency in New York, London, Paris, and Tokyo. The Foundation Henri Cartier-Bresson-which the photographer created with his wife, Martine Franck, and their daughter to preserve and share his legacy-was the first of its kind in France. Cartier-Bresson was also a painter.

', 456 : 'Richard Avedon (1923-2004)
A leading fashion photographer, Richard Avedon revamped the genre by capturing his models' personalities on film to create arresting, theatrical images. Discovered by Alexey Brodovitch at Harper's Bazaar when he was just 22, Avedon worked for the magazine for 20 years, while also contributing to Life, Look, and other publications. In 1965 he joined Vogue, where he developed his signature style, shooting his subjects against a stark white backdrop. He produced several books, including Observations (celebrity portraits and images of Italian street life, with an essay by Truman Capote) and Nothing Personal (celebrity portraits and photographs of the mentally ill and prisoners). His work has been exhibited at the Smithsonian Institution, the Metropolitan Museum of Art, and the Whitney Museum of American Art.

', 457 : 'Edward Weston (1886-1958)
Influential American photographer known for his interpretive eye and superbly printed photographs, Edward Weston's initial style was soft-focused and pictorialist. However, after joining the London Salon in 1917-and meeting Alfred Stieglitz and Paul Strand a few years later-he began shooting his subjects in sharp focus and emphasizing more abstract forms. After a stint in Mexico City, he moved to California and began the work for which he would become renowned-landscapes, nudes, and exquisite still lifes of objects such as shells and vegetables. (He eventually burned most of his early negatives, wanting to be remembered for his later work.) Along with Ansel Adams, Weston helped form the famous Group f/64 in 1932, and was the first photographer to receive a Guggenheim Fellowship.

', 458 : 'Ansel Adams (1902-1984)
Ansel Adams' first ambition was to become a concert pianist, and many urged him not to give it up for photography. But he was an ardent conservationist who fell in love with nature, particularly the Yosemite Sierra, and he ultimately became famous for his signature black-and-white Western landscapes, photographed in different seasons to show nature's changing patterns. He won three Guggenheim grants to photograph national parks. A believer in "straight photography," he founded the antipictorialist Group f/64 with Edward Weston in 1932. Adams also developed the Zone System, an exposure technique for black-and-white photography that allows photographers to control the tonal range in a negative, giving them more control over finished photographs. Though known for his landscapes, he also did commercial portraits and documentary work.

', 459 : 'Paul J. Sachs (1878-1965)
An investment businessman at Goldman Sachs (where his father was a partner), Paul Sachs was persuaded in 1914 to leave the profession to become assistant curator to Edward Forbes, his old Harvard classmate and the new director of the Fogg Art Museum. Together, Forbes and Sachs formed a team of fundraising, teaching and museum development staff that set the standard for academic museum direction. In 1922, Sachs created the celebrated course in curatorship for Harvard graduate students, “Museum Work and Museum Problems”, and developed a program of museum education, developing what he termed the "connoisseur-scholar." One aspect included what was commonly called "The Print Course," a seminar-style analysis of prints and drawings drawn largely from Sachs' personal collection. Harvard awarded him an honorary doctorate in 1942. In 1945, Sachs and Forbes (the "mendicant Siamese twins") retired from the museum.', 460 : '

Robert Capa (1913-1954)

War photographer and Magnum founding member. Born Andrei Friedmann in Budapest. From 1931, he worked as a darkroom apprentice in Berlin and took photographs on the side. When the Nazis rose to power, Friedmann relocated to Paris. He struggled as a freelance journalist, so set up an association, selling the photographs of a fictitious American photographer named “Robert Capa”. Friedmann quickly became his pseudonym Capa gaining fame virtually overnight for his remarkable picture Death of a Loyalist Soldier. He covered the Spanish war until its end in early 1939. During WWII he worked for Colliers and Life. In 1942 he was assigned to North Africa; and in 1943 to Sicily. On June 6th 1944, Capa was part of the D-Day landings on Omaha Beach.

In 1947, Capa with Henri Cartier-Bresson, David "Chim" Seymour, George Rodger and Bill Vandivert established Magnum Photos. Capa became an international businessman, selling and promoting the work of Magnum photographers. The Magnum group did a series on international family life called People Are People the World Over," a photographic forerunner of the "Family of Man." In 1954, Life needed a photographer on the Indochina front. Capa volunteered. On May 25, 1954, he stepped on a land mine. He died clutching his camera. In his memory, The Overseas Press Club established the Robert Capa Gold Medal Award "for superlative photography requiring exceptional courage and enterprise abroad."

', 461 : '

James Nachtwey (1948 - )
Studied Art History and Political Science at Dartmouth (1970). He has worked in the Merchant Marine, as an apprentice news film editor and as a truck driver while teaching himself photography. In 1976 he started work as a photographer for the Albuquerque Journal in New Mexico, and in 1980, he moved to New York to begin a career as a freelance magazine photographer. His first foreign assignment was to cover civil strife in Northern Ireland in 1981 during the IRA hunger strike. Since then, Nachtwey has devoted himself to documenting wars, conflicts and critical social issues. Nachtwey has been a Time photographer since 1984. He was associated with the Black Star photo agency from 1980 - 1985 and was a member of Magnum from 1986 until 2001. In 2001, he became one of the founding members of the VII Photo Agency.

He has received numerous awards - Robert Capa Gold Medal Award; World Press Photo Award; Magazine Photographer of the Year; International Center of Photography Infinity Award; Leica Award; Bayeaux Award for War Correspondents; and the W. Eugene Smith Memorial Grant in Humanistic Photography. He is a fellow of the Royal Photographic Society and has an Honorary Doctorate of Fine Arts from the Massachusetts College of Arts. In 2007, he was a TED Prize recipient.

', 462 : 'Ben Shahn (1898 - 1969)
Painter, muralist, social activist, photographer and teacher. Shahn trained as a typographer. In 1933 he served as an assistant to Diego Rivera while Rivera executed Man at the Crossroads, a.k.a. the Rockefeller Center Mural. Shahn played a role in fanning the controversy by circulating the workers’ petition. In 1934 he joined the Public Works of Art Project and completed several public murals that dealt with issues such as anti-semitism and poor working conditions. Shahn was recommended by Walker Evans to Roy Stryker to join the photographic group at the Farm Security Administration working for them from 1935-1938. During the Second World War, Shahn produced posters for the Office of War Information and the Congress of Industrial Organizations (CIO).

', 463 : 'Eve Arnold (1912 - )
American photojournalist and the first female member of Magnum. In 1946, Arnold worked for a photo-finishing plant in New York City. She briefly learned photographic skills in 1948 from Harper's Bazaar art director, Alexei Brodovitch. Arnold is best known for her familiar images of actress Marilyn Monroe on the set of Monroe's last film, The Misfits, (1961). Arnold had in fact photographed Monroe since 1951 and Monroe trusted Arnold more than any other photographer. Arnold photographed Queen Elizabeth II, Malcolm X, Joan Crawford, Richard Nixon, Joseph McCarthy and General Eisenhower. She also did a series of portraits of American Presidents' wives. In 1980, the Brooklyn Museum, New York, showed her first solo exhibition which featured her photographic work from China. In 1995, she was made a Fellow of the Royal Photographic Society and was elected "Master Photographer" by the International Center of Photography in New York.

', 464 : 'Thomas Dworzak (1972 - )
Magnum Photographer of war, conflict and aftermath. German-born Dworzak photographed conflicts in Chechnya, Nagorno-Karabakh, and Abkhazia from 1993-1998. He continues to cover the Caucasus and its people. In 1999 he covered the Kosovo crisis. Following the fall of Grozny in 2000, he started work on a project about the impact of the war in Chechnya on the neighboring North Caucasus. Since then he has also covered events in Israel, Macedonia, Pakistan, and Afghanistan. Dworzak contributes to the New Yorker, Newsweek, U.S. News & World Report, Paris Match, and the New York Times Magazine. He has won awards, including the World Press Spot News Story Award, Prix Bayeux, Prix Kodak, Kodak Young Photographer of the Year. His work has been exhibited in the Musee de l'Elysee, Leica Gallery and Visa pour l'Image.

', 465 : 'Gordon Parks (1912–2006)
Self-taught photographer, Gordon Parks did freelance fashion work before becoming a documentary photojournalist for the Farm Security Administration and the Office of War Information. In 1948, he became the first African-American staff photographer at Life magazine, where he chronicled social inequity in the U.S. and around the world. One of his most iconic images, American Gothic - of an African-American cleaning woman standing before an American flag - was taken just after Parks was denied service at a clothing store, a restaurant, and a movie theater. Parks also produced powerful portraits for Life of notables such as Malcolm X and Duke Ellington. In addition to being a photographer, he was a writer and composer, as well as a filmmaker, directing movies such as The Learning Tree, Shaft, and Leadbelly.

', 466 : 'Edward Steichen (1879-1973)
One of the most important artistic figures of his time, Edward Steichen was originally a painter who burst onto the international photography scene by creating romantic pictorialist images. His pioneering work-which involved manipulating images and working creatively with filters-helped establish photography as a fine art. After Alfred Stieglitz bought some of his prints, the two became friends and Stieglitz promoted Steichen's work in his publication Camera Work. Steichen joined the advertising industry in 1923. He was instrumental in boosting the number of advertisements that used photography from 15 percent to 80 percent in just a decade. In 1947, Steichen became the director of photography for the Museum of Modern Art, where he organized The Family of Man in 1955, an exhibition of 503 photos that examined the universal themes of life, love, children, and death in 68 countries.

', 467 : '

Roy Emerson Stryker (1893–1975)

A student of agricultural economics at Columbia University, Roy Stryker eventually became a photo researcher there. In 1935, he relocated to Washington D.C. to create the Historical Section of what would become the Farm Security Administration and the Office of War Information. During his time as a government archivist, he recruited up-and-coming photographers such as Walker Evans, Dorothea Lange, and Gordon Parks to document the Great Depression. Stryker also headed the Pittsburgh Photographic Library for a short time.

', 468 : 'Harold Corsini (1919 - )
FSA Photographer. Corsini began his career as a freelance photographer in New York. He was an assistant to Arnold Eagle as a photography teacher for the National Youth Administration. In 1938, Corsini joined the Photo League. He was fascinated by the work of the Farm Security Administration and wanted to be practice its same documentary style. In 1943, Harold Corsini was assigned to the Standard Oil Documentary Project (directed by Roy Stryker) where he worked for longer than any other photographer. In 1950, he accompanied Stryker to Pittsburgh and assisted him as head of the photographic department at the Pittsburgh Photographic Library. Corsini taught at the Carnegie-Mellon University for nine years, and provided the photographs for the book Carnegie-Mellon Walking Tour published by Don Hale in 1983.

', 469 : 'In the annals of social history, the Murphys' party rates almost as high as the Rousseau banquet in 1908. Stravinsky switched the place cards; Gontcharova read palms; Marcelle Meyer played Scarlatti; and, as usual, Cocteau tried to steal the show.... As dawn broke, Kochno and Ansermet (the conductor of Les Noces) took down the gigantic laurel wreath, inscribed "Les Noces—Hommages," which Sara had put in the main saloon, and held it like a hoop for Stravinsky to take a running jump through.
', 470 : '

Photogravure is a process for reproducing a photograph in large editions. It uses gelatin to transfer the image from a black and white negative to a copper printing plate. The gelatin carries the image because it hardens in proportion to its exposure to light. Areas of the gelatin not exposed stay soft and can be dissolved away in water. What remains is a gelatin version of the image which is then pressed onto a copper plate. The plate is placed in an acid bath. Where the gelatin is thick, the acid eats the metal away slowly, where the gelatin is thin or absent, the acid eats faster. Thus the plate is etched to different depths according to the tones of the original image. When inked for printing, the varying depths hold different amounts of ink. Malcolm Daniel penned this paper about the Early Photogravure in 19th century France.

', 471 : '

Jeff L. Rosenheim

An email from Jane Fulton Alt - November 4, 2005

This email was sent by Jane Fulton Alt after she first arrived in New Orleans to her close friends and family.

hi all,

So here I am and wondering how and why I got here. went to the lower 9th district in New Orleans..the worst hit by the storm.

i felt like i was in a war zone.

some of the military here said it felt and looked just like what they experienced in iraq only worse because there is no way these residents could ever return... how to get your mind around it all. words fail me... it is grey, desolate, strange, with refrigerators sitting on the roof tops, houses that have turned on their sides, migrated across streets, cars trapped under homes..... There is a street intersection called Flood and Law.

I went on 4 bus rides through the devastation yesterday. The first was with the relief team I am on...they took us to the actual spot where the levee broke...for 3 whole blocks next to the levee nothing but an expanse of grey nothingness...

The ground all over the area is grey, cracked, dry, mud...nothing is living with the exception of an occasional cat, dog or rooster. The rescue teams that are still going in are leaving big trays of dog and cat food for the remaining pets. There are still using the "cadaver canines" in their searches.

i felt sick to my stomach after the first viewing. As the day progressed, I went on 3 other trips with the former residents on a "look and leave" program. They return to a site (with porta potties, no tents o electricity). There is a red cross, salvation army, sisters of mercy mobile medical clinic and national guard presence. There are folding tables where the residents can sign in to go on a bus. Several relief workers go on the bus to "be there" for the residents. People traveled as far as Indiana to see their homes. For many, they have one day here as they have no place to spend the night in New Orleans...except in their cars. So this is their first viewing. It was like attending a funeral. This community was very tight with many families having lived there for 5 generations. I would hear about Aunt Bessie’s house, grandmas house, that was were my aunt lived, our church, the laundromat....where is the house that used to be here...many homes were lifted and moved whole blocks away before put to their final resting place. As the structures have dried out, they have become unstable with many collapsing from day to day. One woman I was sitting next to kept repeating how she thought she was in a nightmare and hoped she would wake up. She started singing to herself...the probable beginnings of many new spiritual/gospel songs to come. On seeing her family home she said "look how tall she is standing." The bus drivers try to accommodate each resident but there are some streets that are blocked with debris and displaced homes. There is a lot of confusion. The drivers want each resident to be able to see and photograph their homes but the police often trail the bus to be sure they stay on route (although yesterday was an exception because the police were too busy with Prince Charles's visit to the area). Anyway, because of the physical dangers, the residents are not supposed to get off the bus, much less walk up to their homes...this rule gets bent a lot depending on the driver.

By the end of the day, I had a headache. I found out at our team meeting that many of us had one. It is difficult to know if it was from eye strain or the air quality which is terrible. There is a lot of mold in the air which is another reason they want the residents to stay on the buses.

I know I am rambling but please bear with me. I feel like I am in the eye of the storm although I know this area is very different than it was 2 months ago. So many stories...from a young man in the national guard who stayed in the Superdome, to the resident across the street who spent 4 nights living in terror as he heard the looters going from home to home with their guns...with no electricity or city noise, one could hear and feel everything acutely....he said he can deal with the disasters of nature but when humankind shows its brutal side it is beyond his scope of understanding.

so much for now...it is in the wee hours of the morning and I need to prepare for my second day here.

much love,

jane

', 473 : '

Jane Fulton Alt is an American photographer who explores universal issues of humanity, reflecting her interest in the mysteries of life and the nonmaterial world. Her photographs ask us to consider issues of love, loss and spirituality. She is also a clinical social worker who has been in practice since the 1970s.

In New Orleans after Hurricane Katrina, Fulton Alt bridged her two professions when she accompanied residents of the Lower Ninth Ward to examine the damage to their houses as part of the "Look and Leave" program organized by the City of New Orleans and the American Red Cross. Her exhibition at the DePaul University Art Museum, Look and Leave: New Orleans in the Wake of Katrina, was recognized by Newcity Magazine Chicago as one of the top five photography museum shows in Chicago in 2006. Her work is published in the books Katrina Exposed, New Orleans: The Making of an Urban Landscape and American Tragedy: New Orleans Under Water. She has also been featured on National Public Radio in relation to her work in New Orleans.

Fulton Alt has exhibited extensively, both nationally and internationally. Her work has been widely published and featured on several book covers. She has received numerous awards, and her work can be found in the permanent collections of the Museum of Fine Arts in Houston; the New Orleans Museum of Art; Beinecke Library at Yale University; the University of Illinois Comer Archive; Centro Fotografico Alvarez Bravo in Oaxaca, Mexico; the Center for Photography at Woodstock; the Harry Ransom Humanities Research Center; the De Paul University Art Museum; Wilmette (Illinois) Public Library, and the Dancing Bear Collection of William Hunt. She is the recipient of the 2007 Illinois Arts Council Fellowship Award and the 2007 Ragdale Foundation Fellowship Award.

Fulton Alt attended the University of Michigan (B.A.), the University of Chicago (M.A.), Columbia College, and the Art Institute of Chicago. She resides in Evanston, Illinois, with her husband.

', 474 : '

An email from Jane Fulton Alt - November 4, 2005

This email was sent by Jane Fulton Alt to her close friends and family upon arriving in New Orleans.

hi all,

So here I am and wondering how and why I got here. went to the lower 9th district in New Orleans..the worst hit by the storm.

i felt like i was in a war zone.

some of the military here said it felt and looked just like what they experienced in iraq only worse because there is no way these residents could ever return... how to get your mind around it all. words fail me... it is grey, desolate, strange, with refrigerators sitting on the roof tops, houses that have turned on their sides, migrated across streets, cars trapped under homes..... There is a street intersection called Flood and Law.

I went on 4 bus rides through the devastation yesterday. The first was with the relief team I am on...they took us to the actual spot where the levee broke...for 3 whole blocks next to the levee nothing but an expanse of grey nothingness...

The ground all over the area is grey, cracked, dry, mud...nothing is living with the exception of an occasional cat, dog or rooster. The rescue teams that are still going in are leaving big trays of dog and cat food for the remaining pets. There are still using the "cadaver canines" in their searches.

i felt sick to my stomach after the first viewing. As the day progressed, I went on 3 other trips with the former residents on a "look and leave" program. They return to a site (with porta potties, no tents o electricity). There is a red cross, salvation army, sisters of mercy mobile medical clinic and national guard presence. There are folding tables where the residents can sign in to go on a bus. Several relief workers go on the bus to "be there" for the residents. People traveled as far as Indiana to see their homes. For many, they have one day here as they have no place to spend the night in New Orleans...except in their cars. So this is their first viewing. It was like attending a funeral. This community was very tight with many families having lived there for 5 generations. I would hear about Aunt Bessie’s house, grandmas house, that was were my aunt lived, our church, the laundromat....where is the house that used to be here...many homes were lifted and moved whole blocks away before put to their final resting place. As the structures have dried out, they have become unstable with many collapsing from day to day.

One woman I was sitting next to kept repeating how she thought she was in a nightmare and hoped she would wake up. She started singing to herself...the probable beginnings of many new spiritual/gospel songs to come. On seeing her family home she said "look how tall she is standing." The bus drivers try to accommodate each resident but there are some streets that are blocked with debris and displaced homes. There is a lot of confusion. The drivers want each resident to be able to see and photograph their homes but the police often trail the bus to be sure they stay on route (although yesterday was an exception because the police were too busy with Prince Charles's visit to the area). Anyway, because of the physical dangers, the residents are not supposed to get off the bus, much less walk up to their homes...this rule gets bent a lot depending on the driver.

By the end of the day, I had a headache. I found out at our team meeting that many of us had one. It is difficult to know if it was from eye strain or the air quality which is terrible. There is a lot of mold in the air which is another reason they want the residents to stay on the buses.

I know I am rambling but please bear with me. I feel like I am in the eye of the storm although I know this area is very different than it was 2 months ago. So many stories...from a young man in the national guard who stayed in the Superdome, to the resident across the street who spent 4 nights living in terror as he heard the looters going from home to home with their guns...with no electricity or city noise, one could hear and feel everything acutely....he said he can deal with the disasters of nature but when humankind shows its brutal side it is beyond his scope of understanding.

so much for now...it is in the wee hours of the morning and I need to prepare for my second day here.

much love,

jane

', 475 : '

John Baldessari

Throughout his prolific career, John Baldessari (born 1931) has approached his art through adamantly non-traditional paths. Since the late 1960s, Baldessari has combined snapshots that he takes himself or images from popular culture to make large-scale works. Through surprising juxtapositions, image manipulation, and the use of directive titles or language in the work of art itself, Baldessari continually questions issues of perception and what may be acceptable as 'art.'

Baldessari's work can be broadly defined as belonging to an international "school" of conceptual artists whose works first came to prominence in the 1960s. In conceptual art, the idea that precedes the act of making the object is as important, or more important, than the object itself. With humor and irony Baldessari conveys his constantly evolving ideas. In the mid-1980s, he blocked the faces with colored circles to make celebrities anonymous, rendering them mere "suits." In his most recent series, he uses fragments of facial close-ups and colors them selectively, reinventing their appearances in each successive piece.

His most recent retrospective monograph is John Baldessari: A Different Kind of Order, (Works 1962-1984), 2005 published by the Museum Moderner Kunst Stiftung Ludwig Wien.

', 480 : '

Carolyn Cole

Working for the Los Angeles Times since 1994, Carolyn Cole's photographs of many of the world's armed conflicts convey harsh realities far removed from the illusions of Hollywood. Cole (born 1961) won the Pulitzer Prize for Feature Photography in 2004 for her coverage of the siege of Monrovia, the capital of Liberia.

For nearly two decades, Cole has covered war, starvation, and brutality in the Middle East, Haiti, Kosovo, and Afghanistan. Like other conflict photographers, she has repeatedly placed herself in situations of danger to report on issues that she believes must be covered. In 2002 she earned her first nomination for the Pulitzer Prize for her coverage of a group of Palestinian gunmen who entered the Church of the Nativity in Bethlehem as they fled Israeli forces, setting off a standoff that lasted for 39 days. Cole joined a group of peace activists who entered the church in solidarity with the Palestinians and filed several stories from inside the conflict.

', 481 : 'Greg Gorman', 482 : '

Greg Gorman

For four decades, Greg Gorman (born 1949) has photographed celebrities in his signature black and white style. "For me a photograph is most successful when it doesn't answer all the questions, and it leaves something to be desired." From Bette Davis and Leonardo DiCaprio to David Hockney and Philip Johnson, the exquisite tonal range of Gorman's photographs invite viewers to look closer, to share a moment of intimacy and deeply felt humanity.

Chance changed the course of Gorman's life. "I borrowed a friend's camera in 1968 to photograph a rock concert in Kansas City, my hometown. The next morning I processed the pictures in a friend's darkroom, and when I saw them coming up in the developer, I was hooked." Gorman photographed the sixties rock movement, before earning a Masters in Cinematography from USC. In the 1970s, he began to photograph the new generation of actors, many of whom went on to become world famous. He further expanded his photographic interests to include music videos, advertising, documentaries, and nudes.

Gorman's recent monograph, The Odes to Pindar, a limited edition of 11 platinum prints, was published in 2007.

', 483 : 'Greg Gorman
', 484 : '', 500 : '

Usain St. Leo Bolt, OJ, C.D.

', 485 : '

Lauren Greenfield

Widely acclaimed for her intimate studies of youth culture, Lauren Greenfield's photographs probe the darker side of the idealized worlds of stardom and celebrity. Greenfield (born 1966) established the subject matter that has remained her primary focus with her landmark 1997 book, Fast Forward: Growing up in the Shadow of Hollywood, which focuses on young girls and the sub-cultures that spring from the influence of Hollywood and the recording industry. In Girl Culture, published in 2002, she documented girls' obsessions with shopping, parties, cosmetics, hair styles, body image, and rites of passage.

Greenfield's work provides an important counterpoint to the celebrity photographs of Douglas Kirkland and Greg Gorman, bursting the illusions that Hollywood is so successful in conveying. In addition to her photographic essays, Greenfield has produced two documentary films, Thin and kids plus money. The latter two projects extend her attention to media's effects on boys and adults as well as girls.

Greenfield's most recent monograph, Thin, published in 2006, is an extension of her previous work on the cult of image. She intimately documents patients at an eating disorder clinic, examining the point at which an obsession with body image becomes a pathology of mental illness.

', 486 : '

Lawrence Ho

Lawrence K. Ho, born in Canton, China in 1950, immigrated to the United States in 1972. He earned a B.A. degree in Communications from Long Beach State University in California, and began his career as a photojournalist at the Herald Community News. In 1986, he joined the photography staff of the Los Angeles Times, and won the Pulitzer Prize for their coverage of 1992 Los Angeles Riots and the 1994 Northridge earthquake. He lives with his wife and two sons in Los Angeles.

', 487 : '

Douglas Kirkland

For five decades, Douglas Kirkland (born 1934) has photographed celebrities and fashion. His lifelong love affair with the camera, whether still or motion pictures, has been applauded with the most prestigious awards the industry can bestow, including several for lifetime achievement.

In a highly competitive field, Kirkland credits his success to his ability to maintain "eye contact" with clients who are very protective of how they are portrayed. "When someone comes in for a portrait session, it takes two. It's not only about me taking the picture." Just before he turned 25, Kirkland joined the staff of Look magazine. Less than three years later he found himself world famous for the sensuous photographs of Marilyn Monroe he had taken for the magazine's 25th anniversary issue.

Besides Kirkland's portraits of the rich, famous, and influential-from Charlie Chaplin to Arnold Schwarzenegger and Coco Chanel-he is also known for his work as a set photographer, having worked on more than one hundred films, most recently Australia. His book of photographs from Titanic made the best seller list.

Kirkland's recent monograph, Freeze Frame: 5 Decades / 50 Years / 500 Photographs, was published in 2008.

', 488 : '

Kirk McKoy

Kirk D. McKoy (born 1957) is the Senior Features Photo Editor and Deputy for the Los Angeles Times. He has been a photojournalist for over 28 years, and is a two time Pulitzer Prize winner, for his work covering the Los Angeles riots in 1992 and the Northridge earthquake in 1994. His current responsibilities are the day-to-day photographic look and concepts for feature and news photos and design of the Los Angeles Times.

', 489 : '

Genaro Molina

Genaro Molina was born in San Francisco in 1960. His career as a photojournalist included working for the San Francisco Chronicle, the San Jose Mercury News, the Claremont Courier and the Sacramento Bee, before joining the staff of the Los Angeles Times in 1995. He has won numerous awards, including the California Photographer of the Year, the Clarion Award and the Harry Chapin Media Award. His ongoing goal is to continue working on stories of human interest that celebrate the diversity of Los Angeles, and the city in transition.

', 490 : '

Catherine Opie

Describing herself once as "a kind of twisted social documentary photographer," Catherine Opie (born 1961) probes questions of how identity is perceived and shaped. Opie first gained international renown in the 1990s for her intimate portraits of close friends in the Los Angeles lesbian, gay, bisexual, transgendered and transvestite community, challenging perceptions of male and female identity.

Opie then turned her lens to herself in a series of powerful self-portraits far removed from the self-flattery usually associated with self-reflection. And she expanded her exploration of identity to include architecture and freeways, the distinctive visual elements that shape the individuality of various cities across the United States - gated homes and strip centers (Los Angeles), ice houses (Minneapolis), steel mills (Pittsburgh) - creating photographs of exquisite formal beauty in which a human presence is emphatically implied, though physically absent.

This exhibition presents selections from her recent series, In and Around Home, that raises questions of global identity through the microcosm of Opie's son and partner at home and of their neighbors in their multi-cultural Los Angeles neighborhood.

Her 2008 monograph, Catherine Opie: American Photographer, was published in conjunction with her Guggenheim Museum retrospective.

', 491 : '

Julius Shulman

For over 72-years Julius Shulman (born 1910) has played a seminal role in architectural photography. Best known for his iconic photographs of landmark buildings in the international modern style such as the 1947 Kaufman House in Palm Springs and the 1960 "Case Study House #22" in the Hollywood Hills designed by C. H. "Buck" Stahl and Pierre Koenig, Shulman's images capture the futuristic energy of the Los Angeles and Southern California lifestyle, shaping its perception by the world. Now 98, he continues to photograph every day.

Shulman moved to Los Angeles in 1920 as a boy and watched its transformation after World War II from a relatively small town surrounded by farmland to a modern city of international stature. In 1936 his self-initiated photographs of a Richard Neutra house lead to Neutra commissioning Shulman to photograph subsequent buildings. He was soon hired by other visionary architects, such as Rudolph Schindler and Frank Lloyd Wright, who were active in Los Angeles from the 1930s through the 1950s. Shulman's images are characterized by an extraordinary sensitivity to the rhythmic interplay between interior living space and majestic vista that defines the Southern California international style, and to the human spirit that gives the California dream life.

In 2007, Taschen published his most recent monograph, Julius Shulman: Modernism Rediscovered, Shulman's tribute to forgotten masterpieces of California architecture.

', 492 : '

Tim Street-Porter

British born photographer Tim Street-Porter visited Los Angeles in the early 1970s and fell in love. Over the past three decades Street-Porter (born 1939) has photographed the city's modernist architecture, often working with the same homes photographed by Julius Shulman. His fascination with the way people live began as a child when he stood before a building of flats bombed during the war. "It was like looking into a doll's house."

The luscious quality of Los Angeles' natural light most attracted Street-Porter to Los Angeles. To this day, rather than using a digital camera, he photographs on film for its matchless superiority in capturing nuances of color and light. "The light here really is equivalent to the light in the Mediterranean and in North Africa that attracted Klee, Cezanne, Van Gogh and Matisse," he explains, calling it "a radiant quality." From the distinguished residential architecture of such master designers as Frank Lloyd Wright, Richard Neutra, Rudolf Schindler, and Richard Meier to beaches, gaudy street signs, freeways, and vernacular buildings, Street-Porter describes his adopted home as "a vast residential theme park. . . a bewildering range of styles and fantasies, pretensions and idealistic visions."

In his latest monograph, LA Modern, published in 2008, Street-Porter, an eloquent writer as well as renowned photographer, celebrates the birthplace of American modernism.

', 493 : '

Ansel Adams (1902-1984)

Ansel Adams' first ambition was to become a concert pianist, and many urged him not to give it up for photography. But he was an ardent conservationist who fell in love with nature, particularly the Yosemite Sierra, and he ultimately became famous for his signature black-and-white Western landscapes, photographed in different seasons to show nature's changing patterns. He won three Guggenheim grants to photograph national parks. A believer in "straight photography," he founded the anti-pictorialist group f/64 with Edward Weston in 1932. Adams also developed the Zone System, an exposure technique for black-and-white photography that allows photographers to control the tonal range in a negative, giving them more control over finished photographs. Though known for his landscapes, he also did commercial portraits and documentary work.

', 494 : '

Julia Margaret Cameron (1815-1879)

', 495 : '

Edward Steichen (1879-1973)

One of the most important artistic figures of his time, Edward Steichen was originally a painter who burst onto the international photography scene by creating romantic pictorialist images. His pioneering work-which involved manipulating images and working creatively with filters-helped establish photography as a fine art. After Alfred Stieglitz bought some of his prints, the two became friends and Stieglitz promoted Steichen's work in his publication Camera Work. Steichen joined the advertising industry in 1923. He was instrumental in boosting the number of advertisements that used photography from 15 percent to 80 percent in just a decade. In 1947, Steichen became the director of photography for The Museum of Modern Art, where he organized The Family of Man in 1955, an exhibition of 503 photos that examined the universal themes of life, love, children, and death in 68 countries.

', 496 : '

William Henry Fox Talbot (1800–1877)

William Henry Fox Talbot, who invented the positive/negative photographic process, is known as The Father of Modern Photography. A true Renaissance man who studied the classics at Cambridge, he had a variety of interests—he was a mathematician, a physicist, a botanist, a Biblical scholar, and a transcriber of ancient Syrian and Chaldean texts.

', 497 : '

Edward Weston (1886-1958)

', 498 : 'need bio for Anne Wilkes Tucker
', 499 : '

Carolyn Cole

Cole has also been widely recognized for her sensitive portrayals of civilians, especially children caught in the destitution and horror surrounding armed conflicts. Her most recent project focuses on exploited children in various Asian countries. ' }; var id = new Array(); id[0] = 1; id[1] = 2; id[2] = 3; id[3] = 235; id[4] = 236; id[5] = 237; id[6] = 238; id[7] = 239; id[8] = 240; id[9] = 241; id[10] = 242; id[11] = 243; id[12] = 244; id[13] = 259; id[14] = 247; id[15] = 248; id[16] = 249; id[17] = 250; id[18] = 251; id[19] = 252; id[20] = 253; id[21] = 254; id[22] = 255; id[23] = 256; id[24] = 261; id[25] = 260; id[26] = 262; id[27] = 263; id[28] = 264; id[29] = 265; id[30] = 266; id[31] = 267; id[32] = 268; id[33] = 269; id[34] = 275; id[35] = 272; id[36] = 270; id[37] = 271; id[38] = 273; id[39] = 274; id[40] = 278; id[41] = 276; id[42] = 277; id[43] = 279; id[44] = 280; id[45] = 281; id[46] = 282; id[47] = 283; id[48] = 284; id[49] = 285; id[50] = 286; id[51] = 287; id[52] = 288; id[53] = 289; id[54] = 290; id[55] = 291; id[56] = 292; id[57] = 293; id[58] = 294; id[59] = 295; id[60] = 296; id[61] = 297; id[62] = 298; id[63] = 299; id[64] = 300; id[65] = 301; id[66] = 302; id[67] = 303; id[68] = 304; id[69] = 305; id[70] = 306; id[71] = 307; id[72] = 308; id[73] = 309; id[74] = 310; id[75] = 311; id[76] = 312; id[77] = 313; id[78] = 314; id[79] = 315; id[80] = 316; id[81] = 317; id[82] = 318; id[83] = 319; id[84] = 320; id[85] = 321; id[86] = 322; id[87] = 323; id[88] = 324; id[89] = 325; id[90] = 326; id[91] = 327; id[92] = 328; id[93] = 329; id[94] = 330; id[95] = 331; id[96] = 332; id[97] = 333; id[98] = 334; id[99] = 335; id[100] = 336; id[101] = 337; id[102] = 338; id[103] = 339; id[104] = 340; id[105] = 341; id[106] = 342; id[107] = 343; id[108] = 344; id[109] = 345; id[110] = 346; id[111] = 347; id[112] = 348; id[113] = 349; id[114] = 350; id[115] = 351; id[116] = 352; id[117] = 353; id[118] = 354; id[119] = 355; id[120] = 356; id[121] = 357; id[122] = 358; id[123] = 359; id[124] = 360; id[125] = 361; id[126] = 362; id[127] = 363; id[128] = 364; id[129] = 365; id[130] = 366; id[131] = 367; id[132] = 368; id[133] = 369; id[134] = 370; id[135] = 371; id[136] = 372; id[137] = 373; id[138] = 374; id[139] = 375; id[140] = 376; id[141] = 377; id[142] = 378; id[143] = 379; id[144] = 380; id[145] = 381; id[146] = 382; id[147] = 383; id[148] = 384; id[149] = 385; id[150] = 386; id[151] = 387; id[152] = 388; id[153] = 389; id[154] = 390; id[155] = 391; id[156] = 392; id[157] = 393; id[158] = 394; id[159] = 395; id[160] = 396; id[161] = 397; id[162] = 398; id[163] = 399; id[164] = 400; id[165] = 401; id[166] = 402; id[167] = 403; id[168] = 404; id[169] = 405; id[170] = 406; id[171] = 407; id[172] = 408; id[173] = 409; id[174] = 410; id[175] = 411; id[176] = 412; id[177] = 413; id[178] = 414; id[179] = 415; id[180] = 416; id[181] = 417; id[182] = 418; id[183] = 419; id[184] = 420; id[185] = 421; id[186] = 422; id[187] = 423; id[188] = 424; id[189] = 425; id[190] = 426; id[191] = 427; id[192] = 428; id[193] = 429; id[194] = 430; id[195] = 431; id[196] = 432; id[197] = 433; id[198] = 434; id[199] = 435; id[200] = 436; id[201] = 437; id[202] = 438; id[203] = 439; id[204] = 440; id[205] = 441; id[206] = 442; id[207] = 443; id[208] = 444; id[209] = 445; id[210] = 446; id[211] = 447; id[212] = 448; id[213] = 449; id[214] = 450; id[215] = 451; id[216] = 452; id[217] = 453; id[218] = 454; id[219] = 455; id[220] = 456; id[221] = 457; id[222] = 458; id[223] = 459; id[224] = 460; id[225] = 461; id[226] = 462; id[227] = 463; id[228] = 464; id[229] = 465; id[230] = 466; id[231] = 467; id[232] = 468; id[233] = 469; id[234] = 470; id[235] = 471; id[236] = 472; id[237] = 473; id[238] = 474; id[239] = 475; id[240] = 480; id[241] = 481; id[242] = 482; id[243] = 483; id[244] = 484; id[245] = 500; id[246] = 485; id[247] = 486; id[248] = 487; id[249] = 488; id[250] = 489; id[251] = 490; id[252] = 491; id[253] = 492; id[254] = 493; id[255] = 494; id[256] = 495; id[257] = 496; id[258] = 497; id[259] = 498; id[260] = 499;