Word: moma
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Dates: during 1970-1979
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...Graphic Society; $75), will be published next week. The publication is timed to coincide with "Ansel Adams and the West," a two-month retrospective of 153 of his landscape photographs, organized by the Museum of Modern Art's director of the department of photography, John Szarkowski, and opening at MOMA next week. In workshop sessions over the years, Adams has personally taught at least 4,500 students. Original prints of his photos may number as high as 30,000. The most sought-after of these images, Moonrise, Hernandez, New Mexico (1941), exists in an edition of about...
...isolate Adams' contribution to the language of photography, the show at MOMA concentrates on his landscapes. (The only human artifact in the exhibit is a low stone wall in front of an early view of Yosemite Valley.) The show enables one to see Adams' early and late prints from the same negative, and the difference is interesting. The early ones are of ravishing delicacy; they have a subtlety of discrimination, a continuity of surface tone that are essentially lyric. But by middle age, Adams' work began to shift. In the darkroom, he was conducting from the negative's score?pushing...
...MOMA's Szarkowski, the reasons run deeper: "Ansel likes to look simpler than he is. He prints differently because he's a different man. In some contexts he'll admit that printing isn't ultimately a technical problem. But when you say that the changes in his prints imply changes in him, he denies it. He's a more interesting artist than he knows...
...exegesis and critical debate, photography in America has moved into the public eye, rather as painting did in the 1960s, and no American institution has done more to create this state of affairs than the Museum of Modern Art in New York City, through its photography director, John Szarkowski. MOMA's main summer show is entitled "Mirrors and Windows: American Photography Since 1960." It is a sampling of 200 works by 100 American photographers, curated and introduced by Szarkowski in his usual eloquent, aphoristic and pugnacious style. It is, inevitably, a grab bag, but one with coherent strands...
...last week, an exhibition entitled "Cézanne: The Late Work" opened at New York's Museum of Modern Art. Four years in the making, organized by two leading Cézanne specialists, Professors John Rewald and Theodore Reff, in troika with MOMA's director of the department of painting and sculpture, William Rubin, it is the sort of show which very few museums could even attempt: 124 oils and watercolors, including nearly every major painting that has been preserved from Cézanne's last working decade, 1895-1906. Its catalogue, with nine essays by various...