| Volltext: | INDEX Page references in italic refer to illustrations. Abbott, Berenice, 164 Abstract Expressionists, 130, zoo; Siskind and, 92, 93-95 abstraction, 38, 66, 82, 88, 93-94, 97, 119, 128, 138, 221, 257 Abstraction in Photography (New York, i95') 95 Adams, Ansel, 71, 75, 80, 101, 103, 121, 124, 126-28, 229, 140, 164, 202, zi6, 254, 266 Adams, Robert, to, 149, 239 advertising photography, 42, 78 Agee, James, 230; Let Us Now Praise Famous Men, T36, 142-43, 150 Albright Art Gallery, Buffalo, N.Y., 34 Alvarez Bravo, Manuel, 274 American Photography, 62, 63, 64, 67 An American Place, New York, 23, 30 Aperture, 96, 126, t29, 2t8, 265 Apollinaire, Guillaume, 190 Arbus, Diane, 9, 143, T49, 169-75; documentary photography and, 171-72; A Jewish giant at home with his parents in the Bronx, N.Y., iyo; misunderstanding of work of, 172; as Model's student, 164, 166, 167, 17T; as portraitist, 172-73; posthumous interest in, 169; posthumous printing of negatives of, 174-75; printing practices of, 174, 175; stylistic development of, 173 Architectural Forum, 106 architectural photography, 90, 257; Ranney's images of Inca and Maya sacred places, 239-43, 240 Armory Show (1913), 57 Art Institute of Chicago, 239 Association of Heliographers, 129 Atget, Eugène, 136, 144, 149, 152-53, 216, 233, 258, 259, 266, 272 B Bachelier, Irving: Eben Holden, 47-48 Bacher, Otto Henry, 47 Barnbaum, Bruce, 272 Barrow, Thomas, 275 Bayard, Hippolyte, 204 beauty, notions of, 36, 46, 51, 250; Weston and, 73, 75, 76 Beckett, Samuel, 153 Benson, Frank W., 47 Bergson, Henri, 13 Bernhard, Ruth, 78-83, 206, 274; Classic Torso, 79; excerpts from statements by, 81-82, 83; nudes by, 79, 80, 82-83; as teacher, 80-81, 83; Weston's influence on, 78, 80, 81 Bishop, Michael, 275 Blake, William, 69, 231, 250 Bourke-White, Margaret, 34 Brandt, Bill, 173, 254-56, 258, 266, 274 Brassai, X73, 274 Breitenbach, Josef, 266 Brigman, Anne, 67 Brodovitch, Alexey, 164 Broom, 67 Brown, Dean, 272 Broyard, Anatole: Kafka Was the Rage, 94 Bruehl, Anton, 34, 41 Bruguière, Francis, 94 Buffalo Bill's Wild West troupe, 57 Bullock, Wynn, 80, 239, 272 Byron, Percy, 21 C Caffin, Charles H., 13, 43, 50, J I , 57 Callahan, Harry, 99, 115-25, 218, 227-29, 230, 254, 275; color photographs by, 123; defamiliarization process and, 117-19; Eleanor, Port Huron, 116; female form photographed by, 116, 117, 122-23; influences acknowledged by, 120; on previsualization, 121; romantic 279 temperament of, 122, 123; serialism and, 123-24; subject-technique relationship and, 119-20; as teacher, 115, 124; urban street images by, 117, 118-19 Camera, 265 Camera Club of New York, 19, 20, 21, 56 Camera Craft, 63; Weston's articles for, 72.-74, 77n-7 Camera Notes, 57, 273 Camera Work, 11, 13-14, 34, 43, 51, 56, 57, 63, 66, 268, 272, 273, 275; Green's Camera Work: A Critical Anthology and, 11, 13, 14-15; Kraus Reprint publication of, 14 Cameron, Julia Margaret, 13, 266, 273 candid photography, 167, 229 Capa, Robert, 266 Caplan, Lincoln, 138 Caponigro, Paul, 10, 129, 223-26, 239, 241, 266; Rock Wall #2, West Hartford, Connecticut, 224 captions, Morris on, 156-57 Carter, Keith, 272 Cartier-Bresson, Henri, 140, 144, 178, 230, 266 Carver, Norman, Jr.: Form and Space of Japanese Architecture, 242-43 Cassatt, Mary, 57 Cézanne, Paul, 124 Chambi, Martin, 239-41, 242 Chappell, Walter, 126-32; Barn Key Hole, T30-31; Burned Mirror, Denver, Colorado, 127; Gurdjieff's philosophy and, 129-30, 131; Lady with White Tear, 130-31; Meta flora Portfolio, 131, 132; nudes by, 131; Under the Sun, 130 Chase, William Merritt, 35, 47 Chiarenza, Carl, 8, 129 Clift, William, 129, 239 close-up techniques, 38, 90 The Club, New York, 98 Clurman, Harold, 23, 25, 3 in. 1 Coburn, Alvin Langdon, 21, 43, 44, 50, 57, 258; Men of Mark, 49-50; Octopus, 214 Cohen, Mark, 277 College Women's Club, Los Angeles, 66 color photography, 128, 257; by Callahan, 123; Pfahl's "Altered Landscapes" 210-17, air; Weston on, 62, 75 Colwell, Larry, 80 commercial photography, 34, 41 concept art, Pfahl's "Altered Landscapes" and, 210-17, 2 1 1 constructed photographs, 221-22 Cooper, Thomas Joshua, 241, 248-53; Furthest West—The North Atlantic Ocean, Point Ardnamurchan, Scotland, 249 Corbin, James: "The Twentieth Century City" 22 Corpron, Carlotta, 94 Cosindas, Marie, T29 Craftsman, 57 Crane, Hart, 136 cropping, 38, 128 Cunningham, Imogen, 80, 128-29, 272 Curtis, Edward, 273 D daguerreotypes, 151, 152 Daitz, Evelyne, 268-70, 271, 272, 273, 274 dance, Morgan's photographs of, 84-86, 85, 87, 88 Davidson, Bruce, 8 Day, F. Holland, 45, 46 Deal, Joe, 277 Dean, Nicholas, 129 DeCarava, Roy, 274 DeCasseres, Benjamin, 13 decisive moment, concept of, 72, 86, 229 defamiliarization, 237; in Callahan's photographs, 117-19 de Kooning, Elaine, 95, 97, 99 de Kooning, Willem, 93, 95 Deschin, Jacob, 96, 770.10, 265 Dewing, Thomas, 47 Dial, 66-67 Diogenes with a Camera II (New York, 1952), 95 97 documentary photography: Arbus and new documentarians related to, 171-72; earliest period of photography and, 147-49; Evans and, T33, 138; Japanese photography and, 280 INDEX i8o; Morris and, 147-50; Siskind and, 90-91 Doisneau, Robert, 274 Domen, Ken, 180 Dürer, Albrecht, 235 E Eakins, Thomas, 123 George Eastman House, Rochester, N.Y., 129, 263, 265 Egan Gallery, New York, 95, 96 Eliot, T. S., 86 Emerson, Peter Henry, 216, 266 Encyclopaedia Britannica, 74-75 Ervvitt, Elliott, 176-79, 266; Las Vegas, 111 Esalen Institute, Big Sur, Calif,, &o Esto Publishing Co., 74 Eugene, Frank, 13, 43 Evans, Frederick H., 67, 272 Evans, Walker, 72, 75,120, 124, 133-46, 149, 161, 172, 227-29, 230, 233, 265; American Photographs, 136, 150; Bethlehem, Pennsylvania, 134; The Bridge, 136; collectable artifacts and, 158-59, 206; on himself, 138-46; Let Us Now Praise Famous Men, 136, 142-43, 15o; selection process and, t33,135-36, 139; on Stieglitz, 137-38; stylized seeing of, 133-35, 136; Walker Evans, Photographs for the Farm Security Administration, 1935-1938, 135-36 F Family of Man (New York, 1955), 265 Farm Security Administration (FSA), I35-3G 138, 149' 15h Fauter, Louis, 266 Fichter, Robert, 175 Film und Foto (Stuttgart, Germany, 1929), 70 Flaubert, Gustave, 138, 142 Flynt, Robert, 272 formalism, 128, 149, 221; Siskind's techniques and, 97; C. White's response to rise of, 38-40 Fortune, 136, 142 Frank, Robert, 143, 230, 239, 265, 266; The Americans, 163; Fourth of July—Jay, New York, 161-63,161 Fraprie, Frank Roy, 74 Friedlander, Lee, 9,143,171, 204 From Subject to Symbol (San Francisco, 1962), 80 G galleries: An American Place, New York, 23, 30; Light Gallery, New York, 275-77, 276; The Limelight, New York, 263-67, 264, 272, 273; Little Galleries of the Photo-Secession, New York (291), 34, 57, 268, 270; The Witkin Gallery, New York, 268-74, 269, i/o, 275 Gaudi, Antoni, 182-83 Gee, Heien, 263-67, 272, 275 genre photography, 58 Gibbs, George: "Seriousness in Art" 36 Gibson, Charles Dana, 58 Gibson, David, 112 Gide, André, 143 Gillies, John Wallace: Principles of Pictorial Photography, 67 Gilpin, Laura, 34 Goethe, Johartn Wolfgang von, 123 Gottlieb, Adolph, 93, 97 Govvin, Emmet, 10, 227-38, 275; Book, The Medical Fiistory of the War of Rebellion, 238; Edith, Danville, Virginia, 22 8; landscapes by, 232-35-, Mount St. Helens pictures by, 233-35; ptintmaking of, 235-37; wife and her family photographed by, 228, zip, 230-32 Goya, Francisco de: Naked Maja, 123 Graham, Martha: Morgan's photographs of, 84, 8j, 87 Graves, Morris, 252 Green, Jonathan: Camera Work: A Critical Anthology, 11,13,14_1 S, 16 Guggenheim Foundation, 71-72, 92 Guggenheim Museum, New York, 159 Gurdjfeff, G. L: Chapped and M. White and, 129-30, 131; All and Everything, 129 H Hall, Edward T.: The Hidden Dimension, 210 Hallman, Gary, 277 INDEX 281 Harper's Bazaar, 164, 169 Hartmann, Sadakichi, 45-46, 47, 50 Hemming, John, 242 Herrigel, Eugen: Zen in the Art of Archery, 107 Hess, Thomas, 96 Heyman, Ken, 266 Hill, David Octavius, 74 Hine, Lewis, 166 Hofer, Evelyn, 274 Home, Bernard, 34 Glenn Horowitz Bookseller, East Hampt o n , N . Y . , 9 3 , 9 6 , TOO Hosoe, Eikoh, 180-83; "Embrace" 182; "Kamaitachi" 182; "Killed by Roses" 181, 182; "Man and Woman" 182 Houghton Mifflin, 143 Huxley, Aldous: Doors of Perception, 107 Hyde, Scott, 272; Witkin Gallery, New York, 269, 270 I Ikko, Narahara, 184, 277 Illinois Institute of Technology, Chicago, 115 illustrative photography, 34, 41, 47-48, 56, 78, 210 Image of Freedom, The (New York, 1941), 149 Impressionists, 53 inclement-weather photography, 17-T9, 21 industry-scapes, 260-61 Infinity, 265 infrared film, 104 Institute of Design, Chicago, 99, 115, 218 Ishimoto, Yasuhiro: Katsura, 242-43 Israel, Marvin, 166 Ito, Tokio, 184-86; Fragment #73-;, N e w Y o r k , I 8 J J Jachna, Joseph, 218 Jackson, William Henry: Garden of the Gods, 273 James, Christopher, 272 Japanese photography, 180-89, 185, 188 Johns, Jasper, 220, 221 Johnson, Philip, 78 Johnston, Frances Benjamin, 58 Jones, Harold, 277 Josephson, Ken, 8, 218 journalistic approach, 167 Joyce, James, 143, 200 K Karales, James, 266 Käsebier, Gertrude, 43, 53-59, 68; The Heritage of Motherhood, 58-59; Lolly-Pops, 54; mother-and-child images by, 57, 58-59; portraiture by, 53, 55-57, 58, 59 Keats, John, 200 Keiley, Joseph T., 37, 48 Kenna, Michael, 254-61; Brandt's The Land exhibition (1975) and, 254-56; Désert de Retz photographed by, 259; Homage to Atget, Parc de Sceaux, Paris, France, 255, 259; industrial subjects of, 260-61 Kepes, Gyorgy, 94 Kertész, André, 274 Kline, Franz, 92, 93, 94-95 Knickerbocker Athletic Club Theater, New York, 19 Kon, Michiko, 187-89; Self-Portrait #4, 187, 188 Kramer, Hilton, 271 Krause, George, 272 Kraus Reprint, 14 Kubier, George: The Shape of Time, 2.41 L Land, The (London, 1975), 254-56 landscape photography: Brandt's The Land exhibition of 1975 and, 254-56; by Gowin, 232-35; by Kenna, 254-61, 255; Pfahl's "Altered Landscapes" 210-17, zu\ by Ranney, 239-47, 240; by C. White, 44-45 Lange, Dorothea, 34, 80, 173 lantern slides, 19 large-format cameras, 167, 229, 245 large-format photographs: by Arbus, 173; Metzker's constructed photographs, 221-22 Larson, William, 277 282 INDEX Lavine, Arthur: The Limelight, Neu/ York, 2 64 Lawrence, D. H., 143, 227 Lee, Russell, 149 Leonardo, 234 Levy, Julien, 275 Liebling, Jerome, 266 Light Gallery, New York, 275-77,276 The Limelight, New York, 263-67, 2 64, 272,275 Linked Ring, 56 Lippard, Lucy R.: The Litre of the Local, 244 Little Galleries of the Photo-Secession, New York (291), 34, 57, 268, 270 Lyons, Nathan, 13211.1, 265 Lyrical and Accurate (New York, 1957), 263 M Machine Art (New York, 19341,78 Maddox,Jerald, 136 Manet, Edouard, 203 manipulative practices, 42-43, 58, 66, 67-68, 70,151.Seealso photomontage Martin, Agnes, 250 Martin, Ira, 34 Martin, Paul, 260 Martinez, R. E., 265 Massachusetts Institute of Technology, Cambridge, Mass., 101 Matisse, Henri, 13, 66 McCausland, Elizabeth, r 67 McClure'sMagazine, 47-48, 56 McCune, Julia, 51 Metropolitan Museum of Art, New York, 208 Metzker, Ray K., 184,218-22; constructed photographs by, 221-22; Sky Sweeps, 219 Michals, Duanc, 272 miniature cameras, 167 Mirrors and Windows (New York, 1978), 221 Mishima, Yukio, 182 Model, Lisette, 164-68, 263; Arbus as student of, 164,166,167,171; Coney Island Bather, New York (Standing), 16 5 ; Lisette Model, 164—66 modernism, 27, 30,128, 214 Moholy-Nagy, Liszlô, 94,115,120,124, 216, 266, 277 Moore, Raymond, 250 Morgan, Barbara, 10, 84-89, 272; dance photographs by, 84-86, 8j, 87, 88; Martha Graham, "Extasis" (Torso), 85; photomontages by, 84, 88; on previsualization, 86; Summer's Children, 87-88 Morris, Clara: "Beneath the Wrinkle" 47-48 Morris, Robert, 245 Morris, Wright, 147-60, 272; on Atget, 152-53; on collectable artifacts, 158-59; conversation between Bunnell and, 151-60; Fire Sermon, 149; God's Country and My People, 150-51,153,157-58 ;TheF1ome Place, 150,157,159,160; The Inhabitants, 150; on intrusion of photographer or writer into work, 15 5-56; Love Affair: A Venetian Journal, 153,154; on mirror metaphor, 151; on photographs and captions, 156-57; on revisiting material, 157-58,159; on salvage notion, 153-54; on social commentary, I$6;StraightbackCbair, Home Place, 148 Motherwell, Robert, 93 mounting techniques, 97,128 multiple exposure, 119,121 Mumford, Lewis, 25,31 n.5 Museum of Modern Art, New York, 9-10,75,78,95,97,115,149,164, 169,171,174, 221, 242, 263, 265, 271, 272 mysticism, 126; Chappell and, 129-3 o, 131; Gurdjieff s philosophy and, 129-30, 131;M. White and, 106, 107-12, 129 N Nation, 67 National Arts Club, New York, 14 Native Americans: Käscbier's portraits of, 57; Rannev's New Mexico landscapes and, 245, 246 Neto, Mario Cravo, 272 Nettles, Bea, 275 INDEX 283 New Documents (New York, 1967), 9, 171 Newhall, Beaumont, 8, 164, 265; History of Photography, 74 Newhall, Nancy, 114n.11, 265; Time in New England, 150 Newman, Arnold, 266 Newman, Barnett, 93, 250 New Republic, 67; Evans on himself in, 138-46 New School for Social Research, New York, 152, 164 New York Times, 96, 152, 265, 271 Niebuhr, Reinhold, 178 Niepce, Nicéphore, 151 night photography, 17, 260 Ninth Street Show, The (New York, 1951), 98 Norman, Dorothy: Alfred Stieglitz: An American Seer, 11, 15-16, 3inn.2, 8 nudes: by Bernhard, 79, 80, 82-83; by Chappell, 131; in Uelsmann's photomontage, 204; by Weston, 72; by C. White, 25, 45 O O'Keeffe, Georgia, 25-26, 27, 28, 30, 3 inn.3, 6, 7; 44, 68, 123 Orkin, Ruth, 274 O'Sullivan, Timothy H., 241, 250, 273 Ouspensky, P. D., 129 Outerbridge, Paul, 34 P Panama Pacific International Exposition (San Francisco, 1915), 66 Parker, William E., 200 Parks, Gordon, 266 Parry, Eugenia, 244 Pfahl, John: "Altered Landscapes" 210-17,11 G Australian Pities, Fort DeSoto, Florida, 211; Music I, 212; Shed with Blue Dotted Lines, 21 2 Photo-Era, 57 Photographic Art, 57 Photographic Times, 57 Photography as Printmaking (New York, 1968), 9 Photography into Sculpture (New York, 1970), 9 Photo League, New York, 90, 167 Photo-Miniature, 67 photomontages: by Morgan, 84, 88; organization of images into sequences related to, 201-2; by Uelsmann, ipi, 194-96, 198, 202-3, 206-9, 207 Photo-Secession, 14, 34, 56, 74 Picasso, Pablo, 13, 66, 131 Pictorialism, 21, 166, 257; basic tenets °f, 32~34, 39, 46, 53-55, 94, 2I°; Japanese photography and, 180; Käsebier and, 56, 57-58, 59; night photography and, 260; Weston and, 62, 66, 67, 68, 70, 71, 72, 74; C. White and, 32-37, 39, 43, 45, 46, 50 Pictorial Photographers of America, 34, 57-58, 67 picturesque, 213 Plowden, David, 239 Pollock, Jackson, 200 portrait photography: Arbus in context of, 172-73; by Käsebier, 53, 55-57, 58, 59; by Stieglitz, 44, 67, 69; by Uelsmann, 204; by Weston, 64-65, 68, 75; by C. White, 42; C. White as subject of, 49-50, 56. See also self-portraits posthumous printing, 174-75 postmodernism, 257 Prather, Winter, 128 Pratt Institute, Brooklyn, N.Y., 220 Pre-Raphaelites, 36 presentation techniques, 97, 128 previsualization: Callahan on, 121; Gowin's views on, 236; Morgan on, 86; Weston's theory of, 63, 67-68, 236 Prince, Doug, 272 printmaking: Gowin's obsession with, 235-37; Siskind's mastery of, 99; Stieglitz's achievements in, 15-16; C. White's mastery of, 35, 42-43 Proust, Marcel, 143 Puvis de Chavannes, Pierre, 35 R Ranney, Edward, 239-47; Illinois and Michigan Canal Corridor photographed by, 243-44; Illinois River at Peru, Illinois, 244; Machu Picchu (Intihuatana), 240, 243; 284 INDEX Maya landscape photographed by, 241-42; Monuments of the Incas, 242; New Mexico landscape photographed by, 245-46; Peruvian sites photographed by, 239-41, 240, 242-43; Prairie Passage, 244; Ross's Star Axis photographed by, 243; Stonework of the Maya, 241-42; "visual space" concept of, 242-43 Ray, Man, 94 Reinhardt, Ad, 250 Rejlander, Oscar, 195-96, 202; Two Ways of Life, 202 Rhode Island School of Design, Providence, 99, 115, 221 Robinson, Henry Peach, 195-96 Robinson, Theodore, 47 Rochester Institute of Technology, 8-9, 101, 129, 192, 201, 210 Rockefeller Center, New York, 29 Rodin, Auguste, 57, 66 romanticism, 50; in Callahan's work, 122, 123; in Kenna's imagery, 258, 259 Root, Nile, 128 Rosenberg, Harold, 95, 96 Rosenblum, Walter, 266 Rosenfeld, Paul: "Stieglitz" 66-67, 69, 72- Ross, Charles: Star Axis, 243 Rothko, Mark, 93, 250 Ruskin, John, 254-56 S Sander, August, 173 San Francisco Museum of Art, 80 Sargent, John Singer, 35, 47 Savage, Naomi, 272 Scharf, Aaron, 254-56 Schongauer, Martin, 235 Seghers, Hercules, 235 self-portraits: by Kon, 187, 188; by Uelsmann, 204-5; by C. White, 49 Seligmann, Herbert: Alfred Stieglitz Talking, 16 Selkirk, Neil, 174 sequences: grouping of photographs in, 101-2, ii3n.4, 201-2; M. White's "Sequence 10/Rural Cathedrals" 1 0 1 - 1 4 , I O Z - I I serialism, 123-24 Seymour, David, 266 Shaw, George Bernard, 13 Sheeler, Charles, 68, 75, 88, 261 Shklovsky, Viktor, 237 Singer, Isaac Bashevis, 213 Sirkis, Nancy, 272 Siskind, Aaron, 90-100, 122, 124, 130, 218, 239, 254, 275, 277; Abstract Expressionists and, 92, 93-95; Chicago 224, 96; documentary photography by, 90-92; Egan Gallery exhibitions of, 95, 96; Gloucester 2, 98-99; Gloucester 25, 91; image of wrought iron (1947), 96-97; mounting technique of, 97; New York, 19S0, 95; 1959 book of, 95-96; printing mastery of, 99; "Problems of Photography as an Art" 98; Spaces, 221; as teacher, 98, 99 Herbert Small Collection, 19-22 Smith, Henry Holmes, 202 Smith, Keith, 275 Smith, W. Eugene, 266 snapshots, 117, 118, 144; Gowin and, 229, 230 snow photographs: by Stieglitz, 17-19, 21, 29; by C. White, 44-45 Social Realism, 90-92, 149, 156 Sommer, Frederick, 130, 222, 227-29, 233, 239, 275; printmaking and, 236, 237 Sontag, Susan, 216 Southern California Camera Club, 66 Steichen, Edward, 13, 41, 53, 59, 75, 95, 124, 164, 263, 265, 273 Stein, Gertrude, 13 Steiner, Ralph, 34, 164 Stella, Frank, 220, 221 stereo views, 176 Stern, Bert, 266 Sterner, Albert E., 47 Stieglitz, Alfred, 9, 11-31, 34, 37, 39, 4°, 46, 48, 50, 53, 56, 57, 66, 75, 101, 124, 136-37, 149, 169, 202, 204, 216, 221, 225, 227, 238, 250, 260, 265, 273, 275; America and Alfred Stieglitz and, 15, 23; cloud pictures ("Equivalents") by, 26-28, 30, 97, 122, 128, 138, 201; equivalence theory of, 13, 27, 76, 201; Evans's views on, 137-38; Fifth Avenue from INDEX 285 }otb Street, New York, 18; Five Points, 19; Green's Camera Work: A Critical Anthology and, 11, 13, 14-15, 16; grouping of photographs into sequence and, 101, 201; Lake George pictures by, 24, 27-28, 29; New York photographs of 1890s by (Herbert Small Collection), 17-22, 18; New York photographs of 1930s by, 28-30; Norman's Alfred Stieglitz: An American Seer and, 11, 15-16; O'Keeffe photographed by, 25-26, 27, 30, 44, 123; Old and New New York, 12; overview of principles of, 11-13 ; poetic reality in photographs by, 23-25; Poplars—Lake George, 24; quality of original prints by, 15-16; retrospective exhibition of work of (1934), 23, 25; Rosenfeld's article on, 66-67, 69, 72; Selig-mann's Alfred Stieglitz Talking and, 16; snow photographs by, 17-19, 21, 29; street life photographed by, 19-20; The Terminal, 17, 19; touch notion in photographs by, 23-25, 26; 291 and, 34, 57, 268, 270; Weston and, 67, 68, 69; M. White and, 126-28, 201; C. White's joint photographs with, 44; Winter, Fifth Avenue, 17, 19, 20 still-life photography, 187 Stowaways, 49 straight photography, 39, 40, 43, 65, 66, 88, 142, 166, 194, 202, 227-29; manipulative aspect of, 120-21; Weston on, 69-70 Strand, Paul, 13-14, 21, 27, 39, 66, 68, 75, ioi, 105, 149, 164, 239, 246, 254, 266; Time in New England, r°3, 150 Struss, Karl, 34, 39, 67 Stryker, Roy, 156 Sudek, Josef, 258 Surrealism, 130 Sussman, Leonard, 272 Symbolism, 26, 36 Szarkowski, John, 9, 171 T Talbot, William Henry Fox: The Pencil of Nature, 151; Some Account of the Art of Photogenic Drawings, 273-74 Tennant, John, 67, 69 13 Photographers (New York, 1971), 275, 276 Thoreau, Henry David, 156, 175 Tice, George, 271, 272, 274 time, 202; Kenna's ambiguous rendering of, 259-60 titling, 58-59, 87 tonal qualities: in Callahan's work, 119, 121; infrared film and, 104; tension between realism and, 257; in C. White's portraits, 42 Tucker, Anne: The Woman's Eye, 58-59 291 (Little Galleries of the Photo-Secession, New York), 34, 57, 268, 270 Twombly, Cy, 250 U Uelsmann, Jerry N., 8, 121, 190-209, 198, 274; on darkroom experience, 193-94; human figure in images of, 204; "in-process discovery" and, 193-94, 200-201, 206; and metamorphosis of ideas in photography, 197-200; museum studies by, 206-9, 207; photomontages by, 191, 194-96, 198, 202-3, 206-9, 207; portraiture by, 204; self-portraits by, 204-5; sequence notion and, 201-2; Small Woods Where I Met Myself, 191 Ulmann, Doris, 34, 274 Underhill, Evelyn: Mysticism, 107, 109, 110—11, 114ml2 Upton, John, 114m 12 Uzzle, Burk, 272 V Venice Biennial: of 1972, 169; of 1978, 115 Victoria and Albert Museum, London, 254-56 "visual space" concept, 242-43 W Watkins, Carleton, 241, 245 Watkins, Margaret, 34 286 INDEX Watts, George Frederic, 35 Weber, Max, 50 Weegee, 173 Weir, J. Alden, 47 Weissberg Collection, 272 Weston, Brett, 75, 80, 128, 266, 272 Weston, Cole, 174, 272 Weston, Edward, 60-77, 88, 101, 103, 140, 149, 169, 202, 239, 250, 254, 266, 272, 274; on art as outer expression of inner growth, 65, 76; Bernhard and, 78, 80, 81; body of work edited by, 60, 62, 63; California and the West, 72, 245; Camera Craft articles by, 72-74; on color photography, 62, 75; "A Contemporary Means of Artistic Expression" 70; on control of photographic technique, 70-71; Daybooks, 60, 62, ^9, 75-76, 76n.i; distinct periods in career of, 71; Dunes, Oceano, 61; Edward Weston on Photography, 62; Fiftieth Anniversary Portfolio, 76; as Guggenheim fellow, 71-72; New York trip of (1922), 68-69; nudes by, 72; "Photographic Art" 74-75; photographic education of, 62-63; "Photography as a Means of Artistic Expression" 66; "Photography— Not Pictorial" 70; portraiture and figure compositions by, 64-65, 68; posthumous printing of negatives of, 174; previsualization theory of, 65, 67-68, 236; "Random Notes on Photography" 66, 67-68; Rosen-feld's Stieglitz article and, 66-67, 72; "Seeing Photographically" 75; on straight photography, 69-70; on unique qualities of photography, 65-66; "What Is Photographic Beauty?" 62, 72, 76; on C. White, 40-41; M. White and, 126-28; Wilson's relationship with, 72, 73-74 75 Whistler, James McNeill, 35 White, Clarence H., 10, 13, 32-52, 53, 57, 59, 67, 68; Asian art as influence on, 35, 41, 43, 45; biographical overview of, 34; The Bubble, 35; genre subjects by, 35, 42, 47; Hart-mann's observations on, 45-46, 47; illustrative photography by, 47-48; landscape pictures by, 44-45; light effects and, 43-44; "locality" notion and, 37, 46-47, 48-49; Maine views by, 38-39, 45; notions of truth and beauty and, 36; nudes by, 25, 45; personality and demeanor of, 50; "Pipes of Pan" series, 44, 45; political views of, 42; portraits by, 42; as portrait subject, 49-50, 56; print-making mastery of, 35, 42-43; relocated to New York, 37-38, 42, 48, 49, 50; Ring Toss, 33, 47; rise of formal concerns and, 38-40; The Round Table, 43; Stieglitz's joint photographs with, 44; as teacher, 34, 38, 39,40,41-42, 49, 50, 52n.i8; The Watcher, 36-37; Weston's analysis of, 40-41; women as subjects of, 3 5-3d White, Minor, 8-9, 80, 94, 96, 99, 101-14, 122, 126-28, 129, 149, 239, 250, 254, 263, 265, 266; Barn & Clouds, 105, 112; Barn & Gate, loz, HI; Black Sun, 103, in; Graveyard & Barn, 106, 111; Large Barn, 104, 112; levels of meaning in work of, 106-13; "Memorable Fancies" 60, 103-5; move east and, 102-6; mysticism and, 106, 107-12, 129; photographs grouped in sequences by, 101-2, ii3n.4, 201-2; Potato Cellar, 108, 112; Road & Poplar Trees, no, 112; "Sequence 10/Rural Cathedrals" 101-14, 102-11; Small Cloud over Barn, 109, 112; as teacher, 101, 201; Toolshed in Cemetery, ioy, 112; Two Barns & Shadow, 111, 113 Wilde, Oscar, 143 Wilson, Charis, 72, 73-74 75 Winogrand, Garry, 9, 171, 184, 277 Witkin, Lee, 268-74, z 7 5 The Witkin Gallery, New York, 268-74, 269, 270, 275 Worth, Don, 80 Wright, Frank Lloyd, 128, 129 Y Yust, Walter, 74 INDEX 287 |
