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Showing 1 - 4 of 4 matches in All Departments
Cabinet cards were America's main format for photographic portraiture throughout the last quarter of the nineteenth century. Standardized at 61/2 x 41/4 inches, they were just large enough to reveal extensive detail, leading to the incorporation of elaborate poses, backdrops, and props. Inexpensive and sold by the dozen, they transformed getting one's portrait made from a formal event taken up once or twice in a lifetime into a commonplace practice shared with friends. The cards reinforced middle-class Americans' sense of family. They allowed people to show off their material achievements and comforts, and the best cards projected an informal immediacy that encouraged viewers to feel emotionally connected with those portrayed. The experience even led sitters to act out before the camera. By making photographs an easygoing fact of life, the cards forecast the snapshot and today's ubiquitous photo sharing. Organized by senior curator John Rohrbach, Acting Out is the first ever in-depth examination of the cabinet card phenomena. Full-color plates include over 100 cards at full size, providing a highly entertaining collection of these early versions of the selfie and ultimately demonstrating how cabinet cards made photography modern. Published in association with the Amon Carter Museum of American Art. Exhibition dates: Amon Carter Museum of American Art: August 15-November 1, 2020 Los Angeles County Museum of Art (LACMA): August 8-November 7, 2021
At the Crossroads of American Photography" examines the aesthetic
and personal interrelationships of three photographers who helped
define the course of American photography after Steiglitz:
Frederick Sommer (1905-1999), Harry Callahan (1912-1999) and Aaron
Siskind (1903-1991). Although each member of this "holy trinity"
(as they were dubbed by photographer and publisher Jonathan
Williams) has been honored with individual museum retrospectives,
this is the first full comparison of their work, as well as an
exploration of their robust, prescient exchange of ideas about
photography, abstraction and metaphor over the course of their 25
years as colleagues and friends. Self-taught as photographers, this
trio helped shape a national community of peers and the evolution
of photography as an art form, creating a bridge between the purity
of Group f/64-era photography at midcentury and the hybrid
approaches to the medium seen today.
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