WANAFOTO: Center for Creative Photography

Showing posts with label Center for Creative Photography. Show all posts

11/12/17

Phoenix Art Museum, The Logic of the Copy: Four Decades of Photography in Print - Photomechanical Printmaking from the Center for Creative Photography

The Logic of the Copy: Four Decades of Photography in Print
Photomechanical Printmaking from the Center for Creative Photography
Phoenix Art Museum
Through April 22, 2018

Andy Warhol

Sunset, 1972

Screenprint

Collection Center for Creative Photography

Phoenix Art Museum presents an exploration of the photographic revolution that began during the second half of the 20th century. The Logic of the Copy: Four Decades of Photography in Print spans the period from 1960 through the early 2000s and highlights the influence of artists as diverse as Robert Heinecken, Andy Warhol, Robert Rauschenberg, James Turrell, and Tacita Dean who began to integrate photography with text and the graphic arts. This explosion of photographic printing was a crucial factor in the transformation that took place in the art world during this time, from the democratization of the artistic economy to the conceptual shift toward cross-disciplinary forms of art. The exhibition is organized by Phoenix Art Museum in collaboration with its longtime partner, the University of Arizona’s Center for Creative Photography.

“We are delighted to continue the collaboration between the Museum and the Center for Creative Photography through this exhibition,” said Amada Cruz, the Sybil Harrington Director and CEO of Phoenix Art Museum. “It is a privilege to showcase the Center’s world-class collection in The Logic of the Copy, and we look forward to sharing these exciting, mixed-media works with our community.”

William Henry Jackson

Utah. The Giant’s Club and Kettle, Green River, 1898

Photo-chromolithograph

Collection Center for Creative Photography.

Betty Hahn

Untitled (The Lone Ranger), 1976

Screenprint

Collection Center for Creative Photography

The hybrid process of photomechanical printmaking was an essential vehicle for change in the art world. Artists working during this period began turning away from Modernism and its emphasis on the essential qualities of and boundaries between different media, and toward the exploration of new forms across artistic disciplines. The explosive popularity of photomechanical printing among artists led to a wide range of multi-faceted, mixed-media works, exemplified by the selections featured in The Logic of the Copy: artist’s books and portfolios by artists hoping to expand their economic possibilities beyond the gallery system; large-scale prints by painters who were experimenting with photographs alongside more traditional media; and small works derived from commercial objects, from postcards and tarot cards to politically-charged images overlaid on magazines.

“The printmaking and photography booms are an especially crucial period of study, as the same concerns that motivated these artists are relevant in today’s digital environment,” said Andrew Kensett, curatorial assistant and the acting assistant curator at the Center for Creative Photography. “The practices of sharing images widely, using art as a medium for social and political engagement, and promoting the general democratization of art were at the forefront for artists working in print during this period, and their history is inextricably tied to our present moment.”

Joan Lyons

Untitled from the series Presences, 1980

Offset lithograph

Collection Center for Creative Photography

John Wood

Untitled, 1980

Offset lithograph

Collection Center for Creative Photography

Taking its title from a line in “Photography’s Expanded Field,” George Baker’s 2005 essay investigating the overlap between photography and related media, The Logic of the Copy brings together a wide range of artists who worked with photographs in print. In addition to the artists mentioned above, the exhibition will include examples of pioneering artist’s books by makers including John Baldessari, Susan King, Bruce Nauman, Ed Ruscha, Keith Smith, and Clarissa Sligh, and prints by Thomas Barrow, James Casebere, Jim Dine and Lee Friedlander, Betty Hahn, Mark Klett, Sherrie Levine, Sigmar Polke, and others.

Mark Klett

Desert Citizens #45, 1989-90

Photogravure

Collection Center for Creative Photography

Thomas Barrow

Untitled from the series Studio Notes, 1992

Lithograph

Collection Center for Creative Photography

This exhibition is organized by Phoenix Art Museum and made possible through the generosity of INFOCUS, the photography support group of Phoenix Art Museum.

PHOENIX ART MUSEUM
Norton Photography Gallery
www.phxart.org

03/04/13

Center for Creative Photography, Tuscon AZ Aquisition of the Photographer Oliver Gagliani Archive

Photographic archive of Oliver Gagliani acquired by the Center for Creative Photography, Tucson, Arizona, USA

California photographer OLIVER GAGLIANI (1917‐2002) is known for his technically beautiful photographs as well as for his engaging subject matter. His distinct photographic vision imbues ordinary objects with a spiritual quality. For him, abstractions and fragments of the whole reveal the underlying essence. Oliver Gagliani wrote, “It is the photographer, through the medium of light, who must confront these objects directly, not as he would like them to be, but as they are in themselves. It is the measure of his success as to how deeply he is able to perceive the life which they have experienced, and penetrate the surface to tap the wisdom which they have to offer.” Photographer Oliver Gagliani’s inspired color works created in his many trips to Italy also reveal his mastery of the photographic medium.

The Center for Creative Photography at the University of Arizona, Tuscon, has recently announced (March, 28) the acquisition of the photographic archive of Oliver Gagliani which contains over 700 fine print photographs in addition to papers, negatives, contact sheets, detailed exposure tests and notes.

Oliver Gagliani

OLIVER GAGLIANI, Untitled, 1980. Gift of the artist to the CCP

Born into an Italian-American family in Placerville, California, Oliver Gagliani lived most of his eighty-five years in South San Francisco. From grade school through college, music was his passion. In 1940, he enrolled in San Francisco State University to major in music with a concentration in conducting. However, after suffering a significant hearing loss during his service in WWII, his plans for a career in music ended. By chance, he saw photographs by Paul Strand at the San Francisco Museum of Modern Art in 1946. At that moment, he realized that a career in the arts was possible with photography. Oliver Gagliani believed that both photography and music share the principles of tones, harmonies, and rhythms. He wrote, “The contrast that Strand could make between light and shade, between object and space, was marvelous. It made me think of music, which I had been studying for a long time.”

Largely self-taught, Oliver Gagliani’s only formal training in photography was seven weeks of study in 1946 with Ansel Adams and Minor White at the California School of Fine Arts (now the Art Institute of San Francisco). He had his first solo exhibition in 1954 at the Peninsula Art Association in San Mateo, California, which was followed by many others, including exhibitions at the George Eastman House, San Francisco Museum of Art, and the Witkin Gallery. Over the years, he taught workshops and had a large group of devoted students. He was a founding member of the Visual Dialogue Foundation in San Francisco in 1969. With a Fischer Grant from the University of Arizona in 1974, Oliver Gagliani traveled to Italy and returned there annually for 20 years, producing over 20,000 images. In 1976, he received a National Foundation of the Arts grant.

CENTER FOR CREATIVE PHOTOGRAPHY, TUSCON, ARIZONA

www.creativephotography.org

The CCP is located on the University of Arizona campus, Fine Arts Complex, 1030 N. Olive Rd., Tucson, AZ.