Term
|
Definition
|
Alvin Langdon Coburn, "The Octopus," 1912. Platinum print.
|
|
|
|
Term
|
Definition
|
Alvin Langdon Coburn, "Marius de Zayas," 1914.
|
|
|
|
Term
|
Definition
|
Alvin Langdon Coburn, "Marius de Zayas," 1914.
|
|
|
|
Term
|
Definition
|
Paul Strand, "Abstraction," Twin Lakes, Connecticut, 1916.
|
|
|
|
Term
|
Definition
|
Paul Strand, "Wall Street," New York, 1915. Platinum print.
|
|
|
|
Term
|
Definition
|
Alfred Steiglitz, "The Steerage," 1907.
|
|
|
|
Term
|
Definition
|
Alfred Stieglitz, "Georgia O'Keeffe," 1918.
|
|
|
|
Term
|
Definition
|
Alfred Stieglitz, "Georgia O’Keeffe-Hand and Wheel," 1933. Platinum print.
|
|
|
|
Term
|
Definition
|
Karl Struss, "Bebe Daniels" (The Siren—Fantasy Sequence from the film "Male and Female"), 1919.
|
|
|
|
Term
|
Definition
|
Edward Weston, "Karl Struss," c. 1922-23.
|
|
|
|
Term
|
Definition
|
Unknown photographer, "Lewis Hine Photographing Refugees, Gare du Nord, Paris," June 1918.
Hine has a large SLR, perhaps a Graflex.
|
|
|
|
Term
|
Definition
|
Lewis Hine, "Albanian Woman with Faded Head Cloth," Ellis Island, 1905.
|
|
|
|
Term
|
Definition
|
Lewis Hine, "Breaker Boys in Coal Shute, South Pittston, Pennsylvania, January, 1911."
|
|
|
|
Term
|
Definition
|
Lewis Hine, "Newsies at Skeeter’s Branch, St. Louis, Missouri, 11 a.m.," May 9, 1910.
|
|
|
|
Term
|
Definition
|
Lewis Hine, "Steamfitter," 1921.
|
|
|
|
Term
|
Definition
|
Berenice Abbott, "Eugène Atget," 1927.
|
|
|
|
Term
|
Definition
|
Eugène Atget, "Joueur d’orgue," 1898-99. Gelatin silver print.
|
|
|
|
Term
|
Definition
|
Eugène Atget, "Au Tambour, 63 quai de la Tournelle," 1908. Gelatin silver print.
|
|
|
|
Term
|
Definition
|
Eugène Atget, "Magazin, avenue des Gobelins," 1925. Gelatine silver print.
|
|
|
|
Term
|
Definition
|
Eugène Atget, "Charenton, vieux moulin," 1915. Gelatin silver print.
At a distance, this photograph has a strong abstract composition of various geometric shapes in contrasting tones. Viewed close up, it is a strange jumble of architecture, foliage, and water that seem to have no rational relationship to each other.
|
|
|
|
Term
|
Definition
|
August Sander, "Raoul Hausmann," Köln, 1927-28.
|
|
|
|
Term
|
Definition
|
August Sander, "Mother and daughter, Cologne," c. 1926.
|
|
|
|
Term
|
Definition
|
August Sander, "Arbeiterkinder, Köln," 1932.
|
|
|
|
Term
|
Definition
|
August Sander, "Zirkusleute, Köln," 1926.
|
|
|
|
Term
|
Definition
|
Edward Weston, “Tina Modotti reciting poetry,” 1924.
|
|
|
|
Term
|
Definition
|
Edward Weston, "Excusado," Mexico, 1926.
|
|
|
|
Term
|
Definition
|
Edward Weston, "Nude," 1925 (no. 220).
|
|
|
|
Term
|
Definition
|
Edward Weston, "Legs," 1927.
|
|
|
|
Term
|
Definition
|
Edward Weston, "Shells," 1927.
|
|
|
|
Term
|
Definition
|
Tina Modotti, "Mujer con Bandera," 1928, appearing on the cover of the "Arbeiter Illustrierte Zeitung" (Workers Illustrated Paper), Berlin, 1931.
|
|
|
|
Term
|
Definition
|
Tina Modotti, "Sombrero with Hammer and Sickle," 1927. Gelatin silver print.
|
|
|
|
Term
|
Definition
|
Anton Giulio Bragaglia, "The Cellist," 1913.
|
|
|
|
Term
|
Definition
|
Tato, "Aero Self-Portrait," 1930.
|
|
|
|
Term
|
Definition
|
Alexander Rodchenko, "Stepanova at her desk," 1924.
Note the vast quantity of cigarettes on Vavara Stepanova's desk.
|
|
|
|
Term
|
Definition
|
Alexander Rodchenko, back cover of the book "Conversation with the Finance Inspector about Poetry" by Vladimir Mayakovsky, 1926.
|
|
|
|
Term
|
Definition
|
Alexander Rodchenko, "Ambulance," 1929.
|
|
|
|
Term
|
Definition
|
Alexander Rodchenko, "Pioneer Girl" (Pionerka), 1930.
"The Pioneer Girl has no right to look upward. That has no ideological content. Pioneer girls and Komsomol girls should look forward." The critic Ivan Bokhanov writing about Rodchenko's photograph.
|
|
|
|
Term
|
Definition
|
Alexander Rodchenko, "Pioneer with a trumpet," 1930.
|
|
|
|
Term
|
Definition
|
Unidentified photographer, "Dziga Vertov" (David Kaufman).
Just as Vladimir Ilyich Ulyanov took the revolutionary name "Lenin" (from the Siberian river Lena) and Josif Vissarionovich Dzhugashvili became "Stalin" (Steel), David Kaufman renamed himself Dziga Vertov.
"Dziga" is the sound of something spinning, like the gears of a silent film camera. "Vertov" means top, the child's toy.
|
|
|
|
Term
|
Definition
|
Unidentified photographer, Dada dinner at the Paris home of the opera singer Marthe Chenal, 1921.
Standing, from left to right: Georges Ribemont-Dessaignes, Francis Picabia, unidentified man, Georges Auric. Seated: Marthe Chenal, Tristan Tzara, Georges Casella, Germaine Everling.
|
|
|
|
Term
|
Definition
|
Unknown photographer, "Hannah Höch with dada puppets," 1920.
|
|
|
|
Term
|
Definition
|
Raoul Hausmann, "Dada Siegt (Dada Triumphs)," 1920. Watercolor and collage on wove paper, mounted on board.
|
|
|
|
Term
|
Definition
|
Hannah Höch, "Cut with the Dada Kitchen Knife through the Last Weimar Beerbelly Culture-Epoch," 1919. Photomontage.
|
|
|
|
Term
|
Definition
|
Hannah Höch, "Love," 1931.
|
|
|
|
Term
|
Definition
|
John Heartfield, "Using Photography as a weapon!" AIZ 37, 1929.
On the left, Heartfield personally decapitates Berlin Police Commissioner Zörgiebel with a pair of scissors. Zörgiebel, a Social Democrat, had banned street protests, but in May 1929 Communists demonstrated anyway. Over thirty people were killed as the police restored order.
|
|
|
|
Term
|
Definition
|
John Heartfield, "Hurrah, die Butter ist alle!" in "AIZ, Das Illustrierte Volksblatt," December 19, 1935, p. 816.
("Hurray, the butter is finished! Goering in his Hamburg speech: 'Iron ore has always made an empire strong, butter and lard always make people fat.'")
|
|
|
|
Term
|
Definition
|
T. Lux Feininger, "The Bauhaus Band" (from the top, Oskar Schlemmer, Werner Jackson, Xanti Schawinsky, Clemens Roseler), c. 1928.
T. Lux Feininger photographed for the German picture agency Dephot (1927-32), went to Paris to paint, and emigrated to the United States. He taught painting at the Museum School in Boston.
|
|
|
|
Term
|
Definition
|
Lucia Moholy, "Lázló Moholy-Nagy," 1925-26.
|
|
|
|
Term
|
Definition
|
Lázló Moholy-Nagy, "Jealousy," 1927. Photomontage.
|
|
|
|
Term
|
Definition
|
László Moholy-Nagy, cover design for "Die neue Linie," September 1929.
|
|
|
|
Term
|
Definition
|
László Moholy-Nagy, "Scandinavia," 1930.
|
|
|
|
Term
|
Definition
|
Man Ray, "Alfred Stieglitz," 1913. Oil on canvas.
|
|
|
|
Term
|
Definition
|
Alfred Stieglitz, "Francis Picabia," 1915. Platinum print.
|
|
|
|
Term
|
Definition
|
Francis Picabia,“Ici, c’est ici Stieglitz/Foi et amour (Here, this is Stiegltiz/Faith and love),” 1915.
This was the cover of the July-August issue of "291," a magazine financed by Stieglitz but published by Marius de Zayas, Paul Haviland, and Agnes Ernst Meyer.
|
|
|
|
Term
|
Definition
|
Marcel Duchamp, "Nude Descending a Staircase, No. 2," 1912. Oil on canvas.
This painting caused a sensation at the 1913 Armory Show in New York. A critic said it was "like an explosion in a shingle mill."
|
|
|
|
Term
|
Definition
|
Alfred Stieglitz photograph of R. Mutt's "Fountain," 1917. (Made by Marcel Duchamp under a pseudonym.)
"Whether Mr. Mutt. . . made the fountain or not has no importance. He chose it. He took an ordinary article. . . placed it so that its useful significance disappeared under a new title. . . he created a new thought for the object."
|
|
|
|
Term
|
Definition
|
Man Ray, "Tristan Tzara," 1921.
Tzara, from Romania, was a Zurich Dadaist in 1916 and became a Paris Surrealist in 1929.
|
|
|
|
Term
|
Definition
|
|
Term
|
Definition
|
Man Ray, "Object to be Destroyed," 1932.
"With a hammer well aimed try to destroy the whole at a single blow.” The eye is that of Lee Miller.
|
|
|
|
Term
|
Definition
|
Man Ray, "Self portrait with camera (solarization)," 1931.
Man Ray is posing with a view camera.
|
|
|
|
Term
|
Definition
|
Man Ray, "Le Violon d'Ingres," 1924.
Kiki de Montparnasse is the violin. The violin was Ingres' hobby (and Kiki was Man Ray's?).
|
|
|
|
Term
|
Definition
|
Man Ray, "Anatomies," c. 1930.
Lee Miller is the model.
|
|
|
|
Term
|
Definition
|
Man Ray, "Lee Miller," 1929. Gelatin silver print, solarized.
|
|
|
|
Term
|
Definition
|
Berenice Abbott, "Blossom Restaurant, 103 Bowery, New York, October 24, 1935."
|
|
|
|
Term
|
Definition
|
Berenice Abbott, "Father Duffy, Times Square, New York, April 14, 1937."
|
|
|
|
Term
|
Definition
|
Berenice Abbott, "Designer’s window, Bleeker Street, New York, 1947." Gelatin silver print.
|
|
|
|
Term
|
Definition
|
Bill Brandt, "Epsom Derby," c. 1936.
|
|
|
|
Term
|
Definition
|
Bill Brandt, "Corner table at Charlie Browns," 1945.
|
|
|
|
Term
|
Definition
|
Bill Brandt, “Belgravia,” 1951.
|
|
|
|
Term
|
Definition
|
Stefan Lorant, designer and editor, "Chamberlain and the Beautiful Llama and 101 more juxtapositions," pp. 172-173, 1940. Selected juxtaposed photographs from Lorant's magazine LILLIPUT.
|
|
|
|
Term
|
Definition
|
Martin Munkácsi, "Soccer player, Hungary," c. 1923.
|
|
|
|
Term
|
Definition
|
Martin Munkácsi, "Ferienfreude" (Vacation Pleasure), Berliner Illustrierte Zeitung cover, 21 July 1929.
|
|
|
|
Term
|
Definition
|
Martin Munkácsi, "Liberian Youths," 1931. Gelatin silver print.
|
|
|
|
Term
|
Definition
|
Karl Struss, "The Ghost Ship," 1912.
|
|
|
|
Term
|
Definition
|
Martin Munkácsi, Facial expression studies: women," 1932.
|
|
|
|
Term
|
Definition
|
Martin Munkácsi, "Fred Astaire," 1934. Gelatin silver print.
|
|
|
|
Term
|
Definition
|
André Kertész, "Latrine," 1915.
"I … photographed four soldiers sitting on a latrine, one of whom was later killed. I wanted his wife to have a last picture of him, and it happened to be that one. The woman understood and thanked me."
André Kertész
|
|
|
|
Term
|
Definition
|
André Kertész, "Meudon," Paris, 1928. Gelatin silver print.
|
|
|
|
Term
|
Definition
|
André Kertész, "Magda ou la danseuse satirique," Paris, 1928.
|
|
|
|
Term
|
Definition
|
Brassaï, "Avenue de l’Observatoire," 1934.
|
|
|
|
Term
|
Definition
|
Brassaï, "Dance Hall," 1932.
|
|
|
|
Term
|
Definition
|
Eli Lotar, scene still from Jean Renoir's film "A Day in the Country" (1936) with Henri Cartier-Bresson as the young priest in the foreground.
Cartier-Bresson was this film's first assistant director
|
|
|
|
Term
|
Definition
|
Henri Cartier-Bresson, "Place de l'Europe, Gare Saint Lazare," 1932.
|
|
|
|
Term
|
Definition
|
Henri Cartier-Bresson, "Callejon of the Valencia Arena," 1933.
|
|
|
|
Term
|
Definition
|
Henri Cartier-Bresson, "Gold sale, Shanghai, December 1948."
A rush to retrieve gold from the bank. With the approach of the Communist victory, the value of paper money plummeted.
|
|
|
|
Term
|
Walker Evans, "Parked Car, Small Town Main Street," 1932.
|
|
|
Definition
|
|
Term
|
Definition
|
Walker Evans, "Houses and Billboards in Atlanta," 1936.
|
|
|
|
Term
|
Definition
|
Walker Evans, "Floyd and Lucille Burroughs, Hale County, Alabama," 1936.
|
|
|
|
Term
|
Definition
|
|
Term
|
Definition
|
Walker Evans, "Interior Detail, West Virginia Coal Miner's House," 1935.
|
|
|
|
Term
|
Definition
|
Ben Shahn, "Myself Among the Churchgoers," 1939.
|
|
|
|
Term
|
Definition
|
Ben Shahn, "Sunday, Scott's Run, West Virginia," 1935.
|
|
|
|
Term
|
Definition
|
Ben Shahn, "Rehabilitation Client, Boone County, Arkansas," 1935.
|
|
|
|
Term
|
Definition
|
Gordon Parks, "American Gothic, Washington, D.C.," 1942.
Roy Striker's comment to Parks after seeing this photograph: "Well, you're catching on, but that picture could get us all fired."
|
|
|
|
Term
|
Definition
|
Gordon Parks, "Mrs. Jefferson, Fort Scott, Kansas," 1950.
|
|
|
|
Term
|
Definition
|
Gordon Parks, "Housewife, Washington, D.C.," 1942.
|
|
|
|
Term
|
Definition
|
Gordon Parks, "Untitled," Shady Grove, Alabama, 1956.
|
|
|
|
Term
|
Definition
|
Unknown photographer, "Dorothea Lange U.S. Resettlement Administration photographer in California," February 1936.
Lange is holding a Graflex SLR, probably in the size that made 4X5 inch negatives.
|
|
|
|
Term
|
Definition
|
Dorothea Lange, "Toward Los Angeles," March 1937.
|
|
|
|
Term
|
Definition
|
Dorothea Lange, "Back," 1938.
|
|
|
|
Term
|
Definition
|
Dorothea Lange, "Child and her mother, Wapato, Yakima Valley, Washington," 1939.
|
|
|
|
Term
|
Definition
|
Dorothea Lange, "Nettie Featherston, wife of a migratory laborer with three children. Near Childress, Texas," June 1938.
"Oh, it was terrible. And when you didn't have hardly nothing to eat, and your kids would cry for something to eat and you couldn't give it. We was living in a little old two-room house. And we cooked with blackeyed peas until I never wanted to ever see another blackeyed pea. I just prayed and prayed and prayed all the time that God would take care of us and not let my children starve…" Nettie Featherston in 1979 talking about the photographs Lange took of her in 1938.
|
|
|
|
Term
|
Definition
|
Dorothea Lange, "Japanese school children, San Francisco, California," April 1942.
|
|
|
|
Term
|
Definition
|
Oscar Graubner, "Margaret Bourke-White on the Chrysler Building," 1934. Bourke-White's New York studio was in the Chrysler Building.
|
|
|
|
Term
|
Definition
|
Margaret Bourke-White, "200 tons ladle at the Otis Steel Company, Cleveland," 1928.
|
|
|
|
Term
|
Definition
|
First LIFE magazine cover, November 23, 1936, with Margaret Bourke-White's picture of Fort Peck Dam.
|
|
|
|
Term
|
Definition
|
Margaret Bourke-White, "Moscow under German bombardment, July 1941."
|
|
|
|
Term
|
Definition
|
Margaret Bourke-White, "Prisoners at Buchenwald," 1945.
|
|
|
|
Term
|
Definition
|
Margaret Bourke-White, "Dr. Kurt Lisso, Leipzig’s city treasurer, and his wife and daughter after taking poison to avoid surrender to U.S. troops, Leipzig," 1945.
|
|
|
|
Term
|
Definition
|
W. Eugene Smith, "Civilians driven from natural caves in the Saipan Mountains by U.S. smoke grenades," June 1944.
|
|
|
|
Term
|
Definition
|
W. Eugene Smith, "Marine Demolition Team Blasting Out a Cave on Hill 382, Iwo Jima," March 1945.
|
|
|
|
Term
|
Definition
|
W. Eugene Smith, "The Walk to Paradise Garden," 1946.
|
|
|
|
Term
|
Definition
|
W. Eugene Smith, "Midwife," 1951 from LIFE photoessay "Nurse Midwife."
|
|
|
|
Term
|
Definition
|
W. Eugene Smith, "Self portrait in the fourth floor window of 821 Sixth Avenue," 1957.
From 1957 to 1965 Smith lived in an old warehouse in Manhattan's wholesale flower district and made more than 40,000 film exposures and recorded 1,740 reels of audio. The audio has been transferred onto 5,079 compact discs.
|
|
|
|
Term
|
Definition
|
W. Eugene Smith, from the series "As from my window I sometimes glance" (6th Avenue, New York), 1957.
|
|
|
|
Term
|
Definition
|
W. Eugene Smith, "Tomoko Uemura in Her Bath," from "Minamata," 1972.
|
|
|
|
Term
|
Definition
|
Fred Stein, "Gerda Taro and Robert Capa on the terrace of the Cafe du Dome, Paris," 1935.
|
|
|
|
Term
|
Definition
|
Robert Capa, "Spanish journalist," 1936.
|
|
|
|
Term
|
Definition
|
Robert Capa, "American soldiers landing on Omaha Beach, D-Day, Normandy," June 6, 1944.
|
|
|
|
Term
|
Definition
|
Robert Capa, "During De Gaulle's speech, Chartes," 23 August 1944.
|
|
|
|
Term
|
Definition
|
Robert Capa, "One of the last American soldiers to die in World War II," 1945.
|
|
|
|
Term
|
Definition
|
Lee Miller, "Daughter of the Burgomaster of Leipzig," 1945.
She had "extraordinarily pretty teeth, waxen and dusty."
|
|
|
|
Term
|
Definition
|
Lee Miller, "Dead Guard in Canal, Dachau," 1945. Gelatin silver print.
|
|
|
|
Term
|
Definition
|
Lee Miller, "Homeless girls in Bucharest," 1945.
|
|
|
|
Term
|
Definition
|
J. Malcolm Greany, "Portrait of Ansel Adams," 1947.
|
|
|
|
Term
|
Definition
|
Ansel Adams, "Gates of the Valley, Winter Storm, Yosemite California," 1936.
|
|
|
|
Term
|
Definition
|
Ansel Adams, "Mount Williamson, Sierra Nevada, from Manzanar, California," 1944.
|
|
|
|
Term
|
Definition
|
Minor White, "Amputations." Portraits 1942-43, Hawaii; poems 1944-45 Philippines; other images 1946-47; sequencing 1947-1959.
|
|
|
|
Term
|
Definition
|
Minor White, "The Three Thirds," 1957.
"[T]he subject is treated as a kind of peg upon which to hang, in this case, self-contained symbols: reading left to right, clouds in window—youth, plaster under clapboards—middle years, broken glass—old age."
|
|
|
|
Term
|
Definition
|
Harry Callahan, "Detroit," 1943.
|
|
|
|
Term
|
Definition
|
Harry Callahan, "Eleanor," c. 1947.
|
|
|
|
Term
|
Definition
|
Harry Callahan, "Proof Sheet, Chicago," 1953.
These images on a contact sheet were made with a Rolleiflex by double-exposing each frame. The same subject was photographed twice: once with the camera right-side up and once with it upside down.
|
|
|
|
Term
|
Definition
|
Aaron Siskind, "Swordfight in Harlem," 1938.
|
|
|
|
Term
|
Definition
|
Aaron Siskind, "Jerome, Arizona 21," 1949.
|
|
|
|
Term
|
Definition
|
Aaron Siskind, "Terrors and Pleasures of Levitation, No. 37," 1953.
|
|
|
|
Term
|
Definition
|
Herbert Bayer, "Self-portrait, also known as Humanly possible," 1932.
Bayer had been both a student and a master at the Bauhaus. In 1928 he became the art director for the Berlin edition of Vogue magazine. In 1938 he immigrated to the United States intending to teach at Moholy-Nagy's New Bauhaus in Chicago. But by the time his ship docked, the school had gone bankrupt. Bayer then began a career in advertising in New York.
|
|
|
|
Term
|
Definition
|
Edward Steichen editing the exhibition The Family of Man, 1954.
|
|
|
|
Term
|
Definition
|
Maurice Tabard, "Alexy Brodovitch at his desk at Harper’s Bazaar," c. 1950.
|
|
|
|
Term
|
Definition
|
Irving Penn, "Jean Cocteau, Paris," 1948.
|
|
|
|
Term
|
Definition
|
Irving Penn, "Large Sleeve" (Sunny Hartnett), New York, 1951.
|
|
|
|
Term
|
Definition
|
Irving Penn, "Still Life with Watermellon," 1947.
|
|
|
|
Term
|
Definition
|
Irving Penn. "Mountain children, Cuzco," 1948. Platinum-palladium print, 1976-77.
|
|
|
|
Term
|
Definition
|
William Klein, "Broadway and 103rd Street," 1954.
|
|
|
|
Term
|
Definition
|
William Klein, "Macy's Thanksgiving Day Parade, Broadway," 1954-55.
|
|
|
|
Term
|
Definition
|
William Klein, for French Vogue, April 1961. (Fashion by Jean Desses.)
|
|
|
|
Term
|
Definition
|
Robert Frank, "Parade—Hoboken, New Jersey," 1955-56.
|
|
|
|
Term
|
Definition
|
Robert Frank, "Charleston, South Carolina," 1955.
|
|
|
|
Term
|
Definition
|
Robert Frank, "Trolley—New Orleans," 1956.
|
|
|
|
Term
|
Definition
|
Robert Frank, "U.S. 91, leaving Blackfoot, Idaho," 1955-56.
|
|
|
|
Term
|
Definition
|
Robert Frank, "St. Petersburg, Florida," 1955-56.
|
|
|
|
Term
|
Definition
|
Robert Frank, "Elevator—Miami Beach," 1955-56.
|
|
|
|
Term
|
Definition
|
Garry Winogrand, "Democratic Convention, Los Angeles," 1960.
|
|
|
|
Term
|
Definition
|
Garry Winogrand, "American Legion Convention, Dallas, Texas," 1964.
|
|
|
|
Term
|
Definition
|
Garry Winogrand, "Los Angeles," 1964.
|
|
|
|
Term
|
Definition
|
Garry Winogrand, "Los Angeles, California," 1969.
|
|
|
|
Term
|
Definition
|
Garry Winogrand, "New York," before 1976.
|
|
|
|
Term
|
Definition
|
Weegee, "Lisette Model at Nick’s Jazz Joint," 1946.
|
|
|
|
Term
|
Definition
|
Lisette Model, "Gambler, Promenade des Anglais, Nice, France," August 1934.
|
|
|
|
Term
|
Definition
|
Lisette Model, "Cafe Metropole, New York," c. 1945.
|
|
|
|
Term
|
Definition
|
Lisette Model, "Wall Street, New York," c. 1945.
|
|
|
|
Term
|
Definition
|
Gary Winogrand, "Diane Arbus photographing a peace march in Central Park's Sheep's Meadow on April 15, 1967."
She has a Mamiyaflex TLR with an electronic strobe attachment. Unlike the similar Rolleiflex, the Mamiyaflex could use interchangable lenses. Both produced 2.25 X 2.25 inch negatives.
|
|
|
|
Term
|
Definition
|
Diane Arbus, "Child with Toy Hand Grenade in Central Park, New York City," 1962.
|
|
|
|
Term
|
Definition
|
Diane Arbus, "Puerto Rican Woman with a Beauty Mark, New York City," 1965.
|
|
|
|
Term
|
Definition
|
Diane Arbus, "Identical twins, Roselle, NJ," 1967.
|
|
|
|
Term
|
Definition
|
Diane Arbus, "Mother Holding Her Child, N.J.," 1967.
|
|
|
|
Term
|
Definition
|
Diane Arbus, "Retired man and his wife at home in a nudist camp one morning, N.J.," 1963.
|
|
|
|
Term
|
Definition
|
Sebastião Salgado, "People killed in Rwanda were thrown into the Akagera river, which separates Rwanda and Tanzania. In just 30 minutes, I saw 20 corpses swept over the waterfalls. Tanzania," 1994.
|
|
|
|
Term
|
Definition
|
Sebastião Salgado, "The hospital of the Gourma-Rharous. Mali," 1985.
|
|
|
|
Term
|
Definition
|
Sebastião Salgado, "Group of young boys hiding out of fear of being forced to fight in Sudan's civil war. They are en route to United Nations camps in Kenya. Southern Sudan," 1993.
|
|
|
|
Term
|
Definition
|
Sally Mann, from AT TWELVE, 1988.
"This child was distinctly reluctant to stand closer to her mother's boyfriend. This seemed strange to me, as it was their peculiar familiarity that had provoked this photograph in the first place. Looking through the ground glass I fretted over cropping her elbow but she would not budge toward him.
Several months later her mother shot him in the face with a .22. She testified that while she worked nights at a local truckstop he was 'at home partying and harassing my daughter.' The child put it to me somewhat more directly. I look at this photograph now with a jaggy chill of realization."
|
|
|
|
Term
|
Definition
|
Sally Mann, "Emmett, Jessie, Virginia," 1989.
|
|
|
|
Term
|
Definition
|
Sally Mann, "Jessie and the deer," 1985.
|
|
|
|
Term
|
Definition
|
Sally Mann, "The wet bed," from Immediate Family, 1984-1991.
|
|
|
|
Term
|
Definition
|
Sally Mann, "Self portraits," 2010. Ambrotypes.
|
|
|
|
Term
|
Definition
|
Joel Peter Witkin, "Self portrait as a Vanité," 1995.
|
|
|
|
Term
|
Definition
|
Joel-Peter Witkin, "Studio Courbet," 1990.
|
|
|
|
Term
|
Definition
|
Joel-Peter Witkin, "Glassman," Mexico, 1994.
|
|
|
|
Term
|
Definition
|
Joel Peter Witkin, "Harvest," 1984.
|
|
|
|
Term
|
Definition
|
Jeff Wall, Dead Troops Talk: A Vision after an Ambush of a Red Army Patrol near Moquor, Afganistan, Winter 1986. Silver dye bleach transparency on a light box (Cibachrome).
|
|
|
|
Term
|
Definition
|
Jeff Wall, "A Sudden Gust of Wind (after Hokusai)," 1993. Silver dye bleach transparency on a light box (Cibachrome).
|
|
|
|
Term
|
Definition
|
Gregory Crewdson, "Dream House," 2002. Digital chromogenic print.
|
|
|
|
Term
|
Definition
|
Gregory Crewdson, untitled, from "Dream House," 2002. Digital chromogenic print.
|
|
|
|
Term
|
Definition
|
Gregory Crewdson, Untitled (Blind Reflection), from the series "Beneath the Roses," 2007. Digital chromogenic print.
|
|
|
|
Term
|
Definition
|
Gregory Crewdson, Untitled (Penitent Daughter), 2001. Digital chromogenic print.
|
|
|
|
Term
|
Definition
|
Loretta Lux, "Sasha and Ruby" 1, 2008. Ilfochrome Print.
|
|
|
|
Term
|
Definition
|
Loretta Lux, "Hopper," 2005. Ilfochrome Print.
|
|
|
|
Term
|
Definition
|
Yasumasa Morimura, "Daughter of Art History (Princess A)," 1990. Chromogenic print.
|
|
|
|
Term
|
Definition
|
Yasumasa Morimura, "Las Meninas renacen de noche IV: Peering at the secret scene behind the artist," 2013. Chromogenic print.
|
|
|
|
Term
|
Definition
|
Alec Soth, "Adelyn, Ash Wednesday, New Orleans, Louisiana," 2000. Chromogenic print, 40 x 50 inches.
|
|
|
|
Term
|
Definition
|
Alec Soth, "Charles, Vasa, Minnesota," 2002. Chromogenic print, 50 x 40 inches.
|
|
|
|
Term
|
Definition
|
Alec Soth, "Patrick, Palm Sunday, Baton Rouge, Louisiana," 2002.
|
|
|
|
Term
|
Definition
|
Alec Soth, untitled, 2008, from "Broken Manual." Archival pigment print.
|
|
|
|