Word: seene
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Dates: during 1970-1979
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...people in the basement at the time and four have come forth and said that they saw him: Mark was one, Johnny C. was another, I was one and another witness-a party person who had been connected with the Ford White House, a protocol type." Had anyone actually seen Jordan snort cocaine? "Johnny C. was the one who turned him on, and I saw him take a hit in each nostril. It was next to the pinball machines...
...most of their innumerable frames of 35-mm and Polaroid film were exposed in the hope of trapping their own Ansel Adams image, rather as tourists in 18th century Italy sometimes carried a smoked lens called a Claude Glass, through which the landscapes of the Roman Campagna could be seen in the mellow brown tone of Claude Lorrain's canvases. To that public, Adams is as American as John Wayne: the last portraitist of Western sublimity...
...moral fable, an emblematic subject drenched in quasi-religious conviction. But this does not make it any less fabulous. The family in the Winnebago, lurching toward Yosemite to be reborn, cannot experience what in the 19th century used to be called the "Great Church of Nature" as it is seen in Adams' photographs: the experience has become culturally impossible. That has also worked to Adams' advantage. By now, his photographs of lakes, boulders, aspens and beetling crags have come to look like icons, the cult images of America's vestigial pantheism...
When Adams' first portfolio, Parmelian Prints of the High Sierras, was privately published in 1927, he was a fine technician who did not know much about the history of his own medium. He had not seen, or at any rate had not noticed, the work of his 19th century predecessors, Western landscape photographers like Carleton E. Watkins and Timothy H. O'Sullivan. He was still influenced by the so-called pictorialists, photographers given to arty blurs and poses. He also disliked the canonical painters of the American sublime, Bierstadt and Moran. "Indians and bears walking out to the edge...
Today Adams spends far more time on the performance than on the score. He virtually stopped taking pictures for public consumption in 1965, and rarely lifts a lens outside Carmel any more. He can occasionally be seen roaming that photogenic seaside town, a Hasselblad camera in hand, but the images he snaps are put aside for his private collection. Instead of turning out new works, Adams devotes most of his working days to making prints of his earlier ones. He spends about four mornings a week in his darkroom and devotes the afternoons to updating the series of books...