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Richard Lorenz

American group of photographers, active 1932–5. It was a loose association of San Francisco Bay Area photographers who articulated and promoted a modern movement in photographic aesthetics. The group was formed in August 1932 by photographers who shared an interest in pure and unmanipulated photography as a means of creative expression. It derived its name from the smallest possible aperture setting on a camera, the use of which resulted in the greatest and sharpest depth of field, producing an image with foreground and background clearly focused. The original membership consisted of Ansel Adams, Imogen Cunningham, John Paul Edwards (1883–1958), Sonya Noskowiak (1900–75), Henry Swift (1891–1960), Willard Van Dyke (1906–86), and Edward Weston. The emphasis on clarity was partly a reaction against the lingering Pictorial photography in West Coast photography, exemplified by the work of William Mortensen (1897–1965) and Anne Brigman (...

Article

Monica McTighe

(b New York City, Jan 16, 1933; d New York City, Dec 28, 2004).

American writer and critic. Born Susan Rosenblatt in New York City, she was raised in Arizona and California. She entered college at the age of 15 and received a BA from the University of Chicago in 1951. She earned MA degrees in English and Philosophy from Harvard University in 1954 and 1955, respectively. In the late 1950s she attended Oxford University for a year. Sontag married sociologist Philip Rieff in 1951 with whom she had a son. After their divorce she settled in New York City. Sontag was a noted cultural critic and public intellectual. Although best known for her essays, especially ‘Notes on Camp’ published in Partisan Review in 1964, she also wrote books of non-fiction, novels, and plays, and directed theatre productions and films.

Sontag’s On Photography (1977) earned her a reputation as an influential critic of photography. The book won the National Book Critics Circle Award in ...

Article

Tirza Latimer and Harriet Riches

Since the medium’s inception, women have been attracted to photography’s ability to narrate the past and to construct the future, as well as its relative freedom from the historical conventions of the fine arts. In Europe and North America, and later in parts of Central and South America and Asia, the evolution of the new technology across the 19th century coincided with feminist challenges to prevailing gender relations. From the 1850s women of the upper and middle classes experimented with photography as a tool of documentation and a space of self-expression, while photographic studios employed working-class women to assist in a variety of tasks. As innovations such as the dry-plate process (1870s) and the Kodak camera (...