Photography workshop brochure collection | Collections | The Huntington

Photography workshop brochure collection | Collections | The Huntington

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George M. Byrne photography equipment from Ansel Adams workshop
Visual Materials
A pocket edition of Exposure Record by Ansel Adams, published by Morgan & Morgan, Inc., New York, 1964, and an SEI Exposure Photometer (light meter) and user's manual, 1967. The exposure record has some writing in it by George M. Byrne, who used it while attending one of Ansel Adams' photography workshops in Yosemite.
photCL 514
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Exchange: A Portfolio of Fourteen Photographs
Visual Materials
Portfolio of 14 photographs by 14 photographers, all of whom participated in one or more workshops sponsored by the Ansel Adams Gallery. The prints are mounted on boards and in a handmade portfolio case. The photographs were made between 1973-1977 and represent a range of subjects including landscape, architecture, abstraction, and portraiture, by such well-known photographers as John Sexton, Bruce Barnbaum, Ray McSavaney, Alan Ross, and others.
photCL 614
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Jack and Beverly Waltman Collection
Visual Materials
This collection contains 89 fine art black-and-white photographs focused primarily on the landscape work of Ansel Adams (with vintage as well as later prints made by Alan Ross) and his followers, including John Sexton, Don Worth, Henry Gilpin, and Ray McSavaney. The collection consists of 46 prints by Adams, 11 by John Sexton, and 7 by Ray McSavaney, as well as a small number of works from additional photographers: Berenice Abbot (1); Ruth Bernhard (1); Robert Byers (1); Walker Evans (1); Oliver Gagliani (1); William Garnett (1); Richard Garrod (3); Henry Gilpin (3); Irving Penn (1); Alan Ross (1); Dody W. Thompson (2); Jack Waltman (1); Al Weber (1); Brett Weston (1); Edward Weston (4) and; Don Worth (2). Many of the images focus on scenic landscape views chiefly in Yosemite Valley, California, and other locations in the American West, as well as botanical prints. Some exceptions include a 1913 portrait of an infant by Edward Weston (Item 59); a view of New York City buildings by Berenice Abbott (Item 61); a nude by Ruth Bernhard (Item 62); "Street Photographer, New York" by Irving Penn (Item 87); "Summer Idyll" a photograph of Rae Davis Knight by Edward Weston (Item 88); and "Mabel Beatrice Cooper, Soprano" by Edward Weston (Item 89).
photCL 553
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Critical focus : photography in the international image community
Rare Books
"'Critical Focus' discusses many of the most important photography-related events from 1989 to 1993. Topics include such diverse matters as censorship, international photography festivals, public funding for the arts--and the works of such picture-makers as Sally Mann, Cindy Sherman, Christian Boltanski, Romare Bearden, Robert Mapplethorpe, Barbara Kruger, and Andres Serrano. An informative, pithy and intelligent look at contemporary photography"--Back cover.
653069
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Articles, brochures, and fliers
Manuscripts
Contains articles from the publicity office, headed by Joan Caldwell; School of the Theater and College of Theatre Arts brochures, fliers, and other materials; brochures and fliers for other courses of study (high school teachers, evening extension classes); and Pasadena Theatre Academy brochures. Also includes two issues of Pasadena Playhouse College of Theatre Arts News (newsletter) and one issue of Playhouse News, Pasadena Playhouse School of the Theatre.
mssPlayhouse
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The history of photography remix
Rare Books
"In Ezawa, the mysterious power of photography and the compulsion to take photos can almost be likened to character traits in a person, whose biography he is writing with his digital drawings in 'The history of photography remix.' Here, the great deeds and dramas of photography are evaluated from an, if not historical, then at least medial distance: was it photography's purpose to protect spontaneous life, or did it insert difference and distance? Did it serve to keep the institutions of Meaning, Tradition, and History in place, or did the unique moment that it tore out of time's normal passage make for a revolutionary contingency? What historical signification is accumulated in photography? ... Ezawa's drawings inhabit the traditional paradoxes of photography, not least the one that his 'History of photography remix' is at the same time radically mediated and radically subjective. In his almost airtight digital drawings, no Ubenhagen der Kultur seeps in; of course there are nukes, Nazis and terrorists, but there are also flowers, surfers and Cindy Sherman. What is right or wrong is simply not the question, and aggression as well as desire is out of the picture. It is exactly this absence, not of criteria but of judgment, that reflects the attempt at inhabiting a culture whose main feature is uncertainty and the fear of it. In this way, Ezawa's remix of the history of photography is also a (self-)portrayal of the flux of contemporary life, and the attempt at inhabiting it"--From introduction.
653175