ther didn’t go or I suspect. . . . In my graduating class I can think of maybe four or five of us, we went to San Diego State College. The Duress Series: Person Holding onto Pole Attached to Exterior of Tall Building, 2003 CHRISTOPHER KNIGHT: So this was a public school, like National City High School or something? JOHN BALDESSARI: Yeah, it was called Sweetwater High School. It served two cities, one south, which is called Chula Vista. Wh
INTERVIEW: “Oral History Interview with John Baldessari” (1992)
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INTERVIEW: “Oral History Interview with John Baldessari” (1992)
to find out what’s really in that file you’ll have to do it by semi-automatic process, and recording, and you have to use a team, you have to set up a screening device so that you can come out with some find of a level, like: 2,000 photographs of people sitting on front porches, and 2,000 pictures of Sunday dinner, and 3,000 pictures of Main Street, United States, and so forth. Any scientist who knows there is that much data on one thing is going
INTERVIEW: “Interview with John Collier” (1965)
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INTERVIEW: “Interview with John Collier” (1965)
Sunday, 1926 Interview with Edward Hopper, Conducted by John Morse, June 17, 1959 The following oral history transcript is the result of a tape-recorded interview with Edward Hopper on June 17, 1959. The interview was conducted by John Morse for the Archives of American Art, Smithsonian Institution. Interview JOHN MORSE: This is an interview with the American painter and etcher Edward Hopper conducted by John D. Morse for the Archives of. Amer
INTERVIEW: “An Interview with Edward Hopper, June 17, 1959″
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INTERVIEW: “An Interview with Edward Hopper, June 17, 1959″
Eyes Wide Open: John Szarkowski – An influential photography curator and writer discusses some of the medium’s key figures and exhibitions By Mark Durden, Art in America, May, 2006 Mark Durden: Could you say something about how you saw your role at MOMA when you were appointed as Edward Steichen’s successor in 1962? You came to the post as a successful practitioner. Is it appropriate to see your role as continuing the concern
INTERVIEW: “Eyes Wide Open: Interview with John Szarkowski” (2006)
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INTERVIEW: “Eyes Wide Open: Interview with John Szarkowski” (2006)
s first presented at Reclame Evening Forums, New York City, December 3, 1998. NOTES 1. Dennis Oppenheim, cited by Alison de Lima Greene, “Dennis Oppenheim: No Photography,” Spot Vol. 12, no. 1 (Spring 1993), p. 5. 2. Here I am thinking in particular of the panel discussion “When Art Became Ideas: Rethinking the Late 60s and Early 70s” moderated by Robert C. Morgan at the School of Visual Arts in New York City on March 12,
“The Photographic Idea: Reconsidering Conceptual Photography” (1999)
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“The Photographic Idea: Reconsidering Conceptual Photography” (1999)
Since the late nineteenth century, American photography had been dominated by the Stieglitz crusade for photography’s acceptance as a fine art, promoted through his publication, Camera Work, and his New York galleries, 291 and An American Place. Defining the issues that faced a generation coming of age in the Depression meant not only a rejection of Stieglitz, but also a rejection of the “New Vision,” a dynamic style proliferat
WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996)
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WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996)
l, and squatters’ houses. Gossage’s most ambiguous and poignant body of work depicts a neglected pond behind a shopping mall in Queenstown Maryland, and comprises his seminal 1985 book The Pond. At 6:34 pm on Monday 12 April, 2010, Baltz and Gossage are seated in the dining room of the printer and publisher Steidl in Göttingen, Germany. Göttingen, a charming town half way between Frankfurt and Hamburg is a mix of cobbled streets and discount bake
INTERVIEW: “A Conversation Between Lewiz Baltz and John Gossage” (2010)
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INTERVIEW: “A Conversation Between Lewiz Baltz and John Gossage” (2010)
Untitled, from The Pond By Robert Adams, excerpt from Creative Camera: 30 Years of Writing (Manchester University Press, 2000) [column width="45%" padding_right="20px"]Irony, defined as unrecognized incongruity, take many forms as a subject for art. John Gossage has in his previous work been alert to several kinds, among them the sort of irony that interested Melville – the disproportion, unacknowledged, of the individual to the world as
JOHN GOSSAGE: “John Gossage’s ‘The Pond’” (1986)
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JOHN GOSSAGE: “John Gossage’s ‘The Pond’” (1986)
…ight. DH: Simp, it’s a simple thing. JT: You liked the light, you liked the space, you liked the social environment, but did it all add up to personal and visual freedom? DH: Well I felt freer. I mean remember I’m 24, I felt freer, I felt er England was a bit stifling, boring, it wasn’t there, very free. JT: The need or the wish to have a degree of sexual freedom, was that as important as the artistic side? DH: Well, probably, I
INTERVIEW: “John Tusa Interviews David Hockney” (2004)
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INTERVIEW: “John Tusa Interviews David Hockney” (2004)
as emigration from Japan was prohibited before that year. Hawaiian sugar interests were instrumental in starting the stream of Japanese across the Pacific, and between 1890 and 1910 their number in the United States rose from 2,039 to 72,157. Arriving in California, these immigrants stepped almost immediately into anti-Oriental prejudice. The Chinese had preceded them, and had been subject to violent persecution both before and after passage of t
CALEB FOOTE & DOROTHEA LANGE: “Outcasts! : The Story of America’s Treatment of Her Japanese-American Minority” (1943)
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CALEB FOOTE & DOROTHEA LANGE: “Outcasts! : The Story of America’s Treatment of Her Japanese-American Minority” (1943)
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