Tag Archives: Photography

New Exhibit: Photography of the Landmarks of New York City


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On December 14, the New-York Historical Society will present The Landmarks of New York, an exhibition exploring the history of New York as revealed by its historical structures.

The exhibition’s 90 photographs of landmarks are critical documents that chronicle the city’s journey from a small colonized village to a city at the center of the world from the 17th through the 20th centuries and includes the newly acquired set of 30 photographs by Christine Osinski, Steven Tucker, Reuben Cox, Julio Bofill, Michael Stewart, Michael Stewart, Andrew Garn, Richard Cappelluti, Adam S. Wahler, Eric C. Chung and others. Continue reading

Saratoga Battlefield Announces Photo Contest


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The Saratoga National Historical Park’s photo contest will held from now through October 31, 2012. The winning photo will be featured on the park’s 2013 Annual Pass and the photographer will receive a free 2013 Annual Pass. Once all photos have been submitted, the winning photo will be decided by a panel of Saratoga NHP employees by November 9.  Next year marks the 75th anniversary of Saratoga National Historical Park (Saratoga Battlefield).

Contest Rules:

Contest is open to all ages
Picture must be taken within park boundaries: Saratoga Monument,
Schuyler House, Victory Woods, Saratoga Battlefield Scenic, wildlife, park events, park structures (monuments,historic houses, etc.) photos will all be accepted

Entries must be submitted by 4 pm October 31, 2012

Limit to one (1) photo per contestant

Photo(s) must be submitted by e-mail to megan_stevens@nps.gov

Photo Specifications: File in JPEG format with 300 DPI resolution. Each photo must be no larger than 3 MB in file size Contestant must provide: Full name, phone number, brief description (no more than 100 words) of where and when photo was taken

All photos submitted for this contest automatically become property of the National Park Service; photographers will be credited. Anyone who derives 5% or more of their income from taking photos are ineligible Saratoga NHP employees and their immediate family members are ineligible

For more information about this contest or other park events, please call Megan Stevens at 518.670.2982 or visit: http://www.nps.gov/sara/parknews/newsreleases.htm.

Call for Entries: 2012 Erie Canalway Photo Contest


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Entries are being accepted through Friday, September 7, 2012 for the 7th annual Erie Canalway Photo Contest. Winning photos will be displayed in the 2013 Erie Canalway calendar, which will be available free of charge in December.

Amateur and professional photographers are invited to submit prints and digital images in four contest categories: Bridges, Buildings and Locks; For the Fun of It; On the Water; and the Nature of the Canal.

The contest captures and shares the beauty, history, people, and distinctive character of the Erie Canalway National Heritage Corridor, which is comprised of the Erie, Oswego, Cayuga/Seneca, and Champlain Canals, and their historic alignments, and surrounding communities.

You can download official contest rules and an entry form online.

The Erie Canalway National Heritage Corridor spans 524 miles across the full expanse of upstate New York, encompassing the Erie, Cayuga-Seneca, Oswego, and Champlain canals and their historic alignments, as well as more than 230 canal communities. Erie Canalway National Heritage Corridor Commission, in partnership with the National Park Service, collaborates with government agencies, communities and organizations to protect and promote the canal corridor for all to use and enjoy.

Photo: 2011 First Place Photo Winner “The Locks at Lockport” by Stephen Bye.

Seneca Ray Stoddard Exhibit Opens at NYS Museum


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A new exhibition has opened at the New York State Museum showcasing the works of Adirondack photographer and conservationist Seneca Ray Stoddard.

Seneca Ray Stoddard: Capturing the Adirondacks is open through February 24, 2013 in Crossroads Gallery and includes over 100 of Stoddard’s photographs, an Adirondack guideboat, freight boat, camera, copies of Stoddard’s books and several of his paintings.

There also are several Stoddard photos of the Statue of Liberty and Liberty Island. These and other items come from the State Museum’s collection of more than 500 Stoddard prints and also from the collections of the New York State Library and the Chapman Historical Museum in Glens Falls.

Born in Wilton, Saratoga County in 1844, Stoddard was no doubt inspired by the Adirondacks at an early age. A self-taught painter, he was first employed as an ornamental painter at a railroad car manufacturer in Green Island, across the Hudson River from Troy in Albany County. He moved to Glens Falls (Warren County) in 1864, where he worked with sketches and paintings until his death there in 1917.

Early on he sought to preserve the beauty of the Adirondacks through his paintings but then became attracted to photography’s unique ability to capture the environment. He was one of the first to capture the Adirondacks through photographs. He used the then recently introduced wet-plate process of photography. Though extremely cumbersome by today’s standards, the technique was the first practical way to record distant scenes. It required Stoddard to bring his entire darkroom with him into the Adirondack wilderness.

His renown as a photographer quickly grew once he settled in Glens Falls, which also became his base camp for his explorations of the Adirondacks. He studied the Adirondacks intensely over a 50-year period.

Stoddard’s photos showed the challenges travelers faced in getting to the still undeveloped wilderness, along with their enjoyment of finally reaching their destination. His writings and photographs indicate that he was especially skilled at working with people from diverse economic backgrounds in a variety of settings. This was especially important as he used his photos to capture the changing Adirondack landscape as railroads were introduced and the area became an increasingly important destination for the burgeoning middle-class tourist, but also for the newly wealthy during the “Gilded Age.”

His work stimulated even further interest as he promoted the Adirondacks through his photographs and writings on the beauty, people and hotels of the region. Stoddard’s photographs showed the constancy of the natural beauty of the Adirondacks along with the changes that resulted from logging and mining, to hotels and railroads. As unregulated mining and logging devastated much of the pristine Adirondack scenery, Stoddard documented the loss and used those images to foster a new ethic of responsibility for the landscape. His work was instrumental in shaping public opinion about tourism, leading in part to the 1892 “Forever Wild” clause in the New York State Constitution.

The State Museum purchased over 500 historic Stoddard prints in 1972 in the process of acquiring historic resources for the Museum’s Adirondack Hall. They included albumen prints from Stoddard’s own working files, many with penciled notes. Nearly all are of the landscapes, buildings and people of the Adirondacks taken primarily in the 1870s and 1880s.

An online version of the exhibition is also available on the State Museum website at http://www.nysm.nysed.gov/virtual/exhibits/SRS/ .

The State Museum will present several programs in conjunction with the Stoddard exhibition. There will be guided tours of the exhibition on September 8 and December 8 from 1-2 p.m. Stoddard will also be the focus of Family Fun Day on September 15 from1-4 p.m.

Established in 1836, the New York State Museum is a program of the State Education Department’s Office of Cultural Education. Located on Madison Avenue in Albany, the Museum is open Monday through Saturday from 9:30 a.m. to 5 p.m. except on Thanksgiving, Christmas and New Year’s Day. Admission is free. Further information can be obtained by calling (518) 474-5877 or visiting the Museum website at www.nysm.nysed.gov.

Photo: Stoddard’s “Indian Encampment, Lake George, 1872″.

Kodak Elegy: A Cold War Childhood


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What was it like to grow up as the son of a Kodak engineer during the company’s glory days? William Merrill Decker presents a vivid portrait of life in the Rochester suburbs where residents eagerly conformed to period expectations: two kids, two cars, a move from a snug middle-class neighborhood to a spacious upper-middle-class subdivision.

In Kodak Elegy: A Cold War Childhood (2012, Syracuse University Press), Decker recollects the blithe and troubled scenes of America’s postwar prosperity and evokes a bygone era. Continue reading

Call for Entries: 2012 Erie Canalway Photo Contest


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Entries are being accepted now through September 7, 2012 for the 7th annual Erie Canalway Photo Contest. Winning photos will be displayed in the 2013 Erie Canalway calendar.

Amateur and professional photographers are invited to submit prints and digital images in four contest categories: Bridges, Buildings and Locks; For the Fun of It; On the Water; and the Nature of the Canal.

The contest captures and shares the beauty, history, people, and  distinctive character of the Erie Canalway National Heritage Corridor, which is comprised of the Erie, Oswego, Cayuga/Seneca, and Champlain Canals, and their historic alignments, and surrounding communities.

Official contest rules and an entry form are available online.

The Erie Canalway National Heritage Corridor spans 524 miles across the full expanse of upstate New York, encompassing the Erie, Cayuga-Seneca,  Oswego, and Champlain canals and their historic alignments, as well as more  than 230 canal communities. Erie Canalway National Heritage Corridor Commission, in partnership with the National Park Service, collaborates with government agencies, communities and organizations to protect and  promote the canal corridor for all to use and enjoy.

Photo: 2011 Photo Contest Winner, “Lockport Locks” by Stephen Bye.

Cooperstown: Milo Stewart Photo Exhibit Opens


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The New York State Historical Association Research Library and The Cooperstown Graduate Program has announced the opening of a new exhibition celebrating the late Milo Stewart’s work, entitled Reflections of Home: Photography by Milo Stewart. The exhibition highlights Cooperstown landscapes and portraits taken by Mr. Stewart between 1965-1992. Split into three sections emphasizing Stewart’s eye for finding beauty in the ordinary, the exhibition includes quotations from his family and friends reflecting on his work as a teacher, friend, and artist. Reflections of Home opens May 16 and is free to the public.

Developed by second-year Cooperstown Graduate Program students Tramia Jackson, AshleyJahrling, Amanda Manahan, and Jenna Peterson, the exhibit is the culminating project of their Master of History Museum Studies coursework. Guided by Dr. Gretchen Sorin, the students produced the exhibition from concept to installation. “It has definitely been a learning experience,” says Jahrling. “But having the support of the program and the Stewart family has helped make this exhibit a wonderfully collaborative effort. We’re happy to share it with the greater Cooperstown community.”

Milo Stewart discovered his love for photography while growing up in Buffalo, New York. After graduating from Buffalo State University and marrying his high school sweetheart, Ruth, he taught high school English and Social Studies and helped his students incorporate photography in their reports. In 1961, he joined the staff at NYSHA and The Farmers’ Museum as an education associate. He went on to become the Director of Education and later the Vice President of NYSHA and The Farmers’ Museum. Over the course of twenty years he taught generations of teachers, local historians, and Cooperstown Graduate Program students. At the request of the Director of the New York Council on the Arts, he took on an important project documenting architecture and historic Main Streets throughout New York. He published several exhibition catalogues including Temples of Justice: Historic Churches of New York and At Home and On the Road, a collection of photographs from his travels through New York and abroad.

The exhibition opens May 16, 2012. The public is invited to see the exhibit at the library free of charge. The library’s hours are 10 a.m. to 5 p.m., Monday through Friday. Saturday hours are currently 1 to 4 p.m.

Photo: Augur’s CornerCooperstown, New York, 1988 by Milo Stewart. 

Wanda Burch on Civil War Letters "The Home Voices Speak Louder than the Drums"


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On August 7, 1862, Henry Graves, physically exhausted from walking, fighting, and from four days detail digging trenches under a Petersburg, Virginia, sun and not “a breath of air stirring,” sat down and wrote to his wife, describing the importance of the imagination to survival.

He saw himself standing – not with spade in hand – but eating from a bowl of peaches in the midst of “homefolk” with his coat off, moving across the piazza, enjoying the cool breeze “that almost always is blowing fresh through there.” He told her that he often went into this place in his imagination to pass time swiftly and shared that “soldier mortals” would not survive if they were not “blessed with the gift of imagination and the pictures of hope.” The second “angel of mercy,” he said, was the night dream, which presented him even more vivid pictures of hope than any daydream. Continue reading

Stoddard’s Natural Views Exhibit Opeing May 4th


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Long considered beautiful photographs of the Adirondack landscape, Seneca Ray Stoddard’s views also serve as documents of the plants that inhabited the region in the 19th century. Since he was rediscovered in the late 1970s, Stoddard’s work has been featured in numerous exhibits that explored the history of 19th century life in the Adirondacks. A survey of the 3,000 images in the Chapman Historical Museum archives, however, revealed hundreds of images that are purely natural landscapes. The subject matter is the Adirondack environment – not great hotels, steamers, camp scenes or other obvious evidence of human activity.

The Chapman’s summer exhibit, S.R. Stoddard’s Natural Views, features forty enlarged photographs of varied Adirondack settings – lake shores, marshes, meadows, riverbanks and mountainsides. Included are such locations as Surprise Falls on Gill Brook, Indian Pass, Lake Sanford, Ausable Chasm, Wolf Pond and Paradise Bay on Lake George. The exhibit examines these photographs as documents of the history of ecological habitats, providing an opportunity to consider the issue of environmental change – an issue as relevant in Stoddard’s time as it is today.

To address this issue the museum consulted with Paul Smith’s College biologist, Daun Reuter, and Don Leopold of SUNY-ESF, who identified botanical species in Stoddard’s photographs. Plants that they discovered in Stoddard’s photographs — from small flowers to shrubs and trees – are highlighted in modern color images supplied by Ms. Reuter and others and in digital reproductions of period specimens from the herbarium at the New York State Museum. These show details of the plants in their various stages – details rarely visible in Stoddard’s photographs many of which were taken late in the year after the plants had lost their flowers and started to wither.

By bringing attention to this group of Stoddard photographs, the exhibit will give visitors the opportunity to discover and reflect on the changing environment – a topic of urgent concern in the region. Through their experience visitors will gain greater appreciation for not only Stoddard’s photographic vision but also the natural world of the Adirondacks. The exhibit is funded by grants from the Leo Cox Beach Philanthropic Foundation and the Waldo T. Ross & Ruth S. Ross Charitable Trust Foundation and sponsored by Glen Street Associates and Cooper’s Cave Ale Co.

For those who wish to learn more, the Chapman Historical Museum has scheduled a series of programs (detailed below) to be held at both the museum at and other sites. The museum is located at 348 Glen Street, Glens Falls, NY. For more information call (518) 793-2826 or go to www.chapmanmuseum.org.

RELATED PROGRAMS

Wednesday, May 30, 7 pm
Talk: “UNWANTED: Invasive species of the Adirondacks”
Speaker: Hilary Smith, Director, Adirondack Park Invasive Plant Program
At the Chapman. Free.

Saturday, June 9, 8:30 -11:30 am
Bird Walk in Pack Forest, Warrensburg
Guide: Brian McAllister, Adirondack Birding Center

Bird watch along the nature trail to the old growth forest. Bring binoculars, field guide, water, snack, bug repellant, hiking shoes, and appropriate dress. For birders of all levels. Call (518) 793-2826 for directions.

Wednesday, June 20, 2012, 7 pm
Talk: “Go Native! An Introduction to Gardening with Native Plants”
Speaker: Emily DeBolt, Fiddlehead Creek Farm & Native Plant Nursery
At the Chapman. Free.

Thursday July 12, 9:30-11:30 am.
A plant paddle at Dunham’s Bay.
Guide: Emily DeBolt, Lake George Association.

Part of the 7th annual Adk Park Invasive Species Awareness Week Bring your own canoe or kayak. Meet at Dunham’s Bay Marina For reservations call the LGA at (518) 668-3558

Saturday, August 4, 1 – 3 pm
Guided Bog Walk of Native Adirondack Plants
Guide: Daun Reuter, Dept Biology, Paul Smith’s College

At Paul Smith’s Visitor Interpretive Center. Reservations: $20. Call the VIC at (518)327-6241

Saturday, August 18, 8 am
Guided alpine plant hike up Wright Peak
Guide: Sean Robinson, Dept Biology, SUNY Oneonta

Meet at ADK LOJ parking lot. Parking $. Info & Reservations: Call the museum at (518) 793-2826

Photos: Above, Silver Cascade, Elizabethtown by S.R. Stoddard, ca. 1890.

Documenting the Birthplace of Mathew Brady


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What follows is a guest essay by Glenn L. Pearsall who recently confirmed the birthplace of Civil War photographer Mathew Brady in Warren County, NY. The essay originally appeared in the Warren County Historical Society newsletter.

On November 10, 2011 the Town of Johnsburg Historical Society commemorated the birthplace of famed Civil War photographer Mathew Brady. They had a cast iron historic marker made and placed at the entrance of the C. Ernest Noxon Community Center in Wevertown, Warren County, NY. Brady was born in Johnsburg Township about 4 miles south of Wevertown in 1822 or 1823. A story of that dedication ceremony was featured in the Glens Falls Post Star and then picked up by the Associated Press. From there the story was distributed nationally and online versions of the story appeared across the country including the Wall Street Journal, New York Daily News and the New York Times.

The research into documenting Brady birthplace in Johnsburg began in 2006 and reads like a detective story or an episode of the PBS show “History Detectives”.

Mathew (only one “t”) Brady was an internationally known figure and much of what we know of the Civil War and famous leaders of the 19th Century comes from his photographs. Mathew Brady’s photographs of the dead at the battle of Antietam, featured in his New York City Gallery on October 1862, brought home to America for the first time the true horror of the Civil War. His corps of photographers documented that war with tens of thousands of photographs. His February 9, 1864 picture of Abraham Lincoln was featured on the U.S. $5 bill since 1928 and when that bill was re-designed in March of 2008 a new picture of Lincoln was used, taken by Brady that same day in 1864. Although most famous for his Civil War work, Brady’s Gallery of Illustrious Americans featured luminaries from Andrew Jackson to Andrew Carnegie. Brady’s work helped record and preserve American history, and yet, until just recently, the birthplace of this famous American remained a mystery.

Mathew Brady’s personal letters indicate that he was born north of Lake George, NY of “poor Irish immigrant parents”. Most Brady biographies are silent as to his exact place of birth. Others list his birthplace as Lake George, or just Warren County, New York. Local folklore here in the southeastern Adirondacks has said for years that he was born in Johnsburg, NY, but there was no documentation to substantiate that claim.

In 2006 I began research for my first book Echoes in These Mountains: Historic Sites and Stories Disappearing in Johnsburg, An Adirondack Community (Pyramid Press, 2008, recipient of a “Letter of Commendation” from the 35 county Upstate History Alliance in 2009). In writing that book I took on the challenge to try to actually document the place of Brady’s birth.

The Federal Census in the early 1800s does not include the names of children. I began, therefore, with Mathew Brady’s father. It is commonly acknowledged that Mathew Brady died in New York City January 15, 1896. With his name and date and place of death it was easy to obtain a certified copy of Mathew Brady’s death certificate from the New York City Dept of Health (New York City Death Certificate #1746). That certificate lists his father as Andrew and mother as Julia. The death certificate notes his place of birth only as “U.S.”.

An inspection of the 1830 Federal Census of towns north of Lake George indicated that the only Andrew Brady listed was in the Census for the Town of Johnsburgh (then spelled with a “h”). That census lists Andrew Brady with 5 children; three boys and two girls. Two of those boys are listed in that 1830 census between the ages 5 to 10. Most sources list Mathew Brady as being born in 1822 or 1823 so he would have been 7 or 8 in 1830. The only reference to an exact date of birth is on www.NNDB.com which lists his date of birth as January 15, 1823, but there is no documentation listed for this and the exact date of January 15th may be confused with his date of death on January 15, 1896, 72 years later).

The next challenge was to determine exactly where he might have been born. In the early 1980s I had visited regularly with Lewis Waddell, then Town of Johnsburg Historian (now long since deceased). Lewis had told me about where the old foundation site was, but we never got around to visiting it together so I was not sure of its exact location. In the Johnsburg Historical Society files, however, I found a sketch that Lewis Waddell had made as to the location of the foundation. It was not to scale, however, so it took some exploring. Bushwhacking around the base of Gage Mountain my wife Carol and son Adam and I located the old road that went from the Glen to Wevertown (the road was later straightened and is now NYS RT 28). Referencing the other foundations along that old road that Waddell had sketched in, we located what I believe to be the foundation of the house where Mathew Brady was born in 1822 or 1823.

The actual site of Brady’s birthplace lies 4.1 miles south of Wevertown off of NYS Rt 28. The house foundation lies about 275 yards off the west side of the road (GPS N 63 degrees 36’00.6”x W 73 degrees 52’44.4”) on private property.

It has been written that Brady left the area at age 16 (in 1838 or 1839). Some sources indicate that his first stop was Saratoga Springs, N.Y. where he met famed portrait painter William Page. Brady became Page’s student and in 1839 the two of them travelled to Albany, N.Y. In 1844 they continued south to New York City where Brady’s instructions were supplemented under the tutelage of Samuel F. B. Morse (portrait painter and inventor of the single wire telegraph system). Morse was enthusiastic about the new art of capturing images through daguerreotype having met Louis Jacques Daguerre in Paris in 1839. Soon Brady was also excited about the new process and established his first photographic studio at the corner of Broadway and Fulton Street. In 1849 he established a studio in Washington D.C. so that he could photograph the famous men of his time there.

In 1896, depressed by the death of his wife Juliet (“Julia” Handy) 9 years earlier and suffering from alcoholism and loneliness, Mathew Brady died in the charity ward of the Presbyterian Hospital in New York City. Penniless at the time of his death, his funeral was paid for by veterans of the famous 7th New York Volunteer Infantry. He is buried in Congressional Cemetery in Washington, D.C.

Photos: Above, Glenn Pearsall at the re-discovered Mathew Brady foundation in Johnsburg; middle, a hand drawn map by former Town of Johnsburg Historian Lewis Waddell showing the possible location of the Brady homestead (not to scale); below, the newly installed historic marker in nearby Wevertown, NY. (Photos courtesy Glenn Pearsall).

Quadricentennial Photo Exhibit Unveiled


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The Essex County Historical Society in Elizabethtown, recently announced an online commemoration of the 2009 Quadricentennial in Essex County. The Lake Champlain Quadricentennial 1609-1909 site has been designed to highlight photographs by Jack LaDuke acquired by the Essex County Historical Society in 2010. The site celebrates pride of place expressed through LaDuke’s photographs of the 2009 commemorative year, and features photographs and items from the Essex County Historical Society’s own collection from the 1909 Tercentenary and 1959 commemorations. The public is encouraged to contribute their own photographs to compliment items featured on the site.

Jack LaDuke was hired in 2009 to take photographs of the many significant events in the Champlain Valley region of New York State during the Quad year. LaDuke has forty years experience as a photographer, journalist and story-teller reporting on the Adirondacks and the North Country. He works for Mountain Lake PBS in Plattsburgh, New York as a contributing reporter after spending most of his career with WCAX in Burlington, Vermont.

Camilo José Vergara Exhibit Features Harlem


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Photographs by MacArthur Foundation “genius award” winner Camilo José Vergara, will be on display at the New-York Historical Society in two rotations — Harlem: The People on view through June 10 and Harlem: The Place, from June 13 through September 16. The photographs in both exhibitions, part of the original 2009 exhibition Harlem 1970-2009, explore the effervescent neighborhood of Harlem by showing the transformation of the area over the past 40 years.

The images in Harlem: The People and Harlem: The Place show streetscapes that the photographer visited repeatedly over the course of thirty-eight years, so he could create a composite, time-lapse portrait of a vibrant, world-famous neighborhood seen as a place of ongoing transformation. The series has become a living historical record of Harlem. Vergara has been photographing this vital neighborhood of New York City since 1970, and in doing so he demonstrates, with powerful “before” and “after” images, how one of New York City’s most important neighborhoods has been redefined. As such, Vergara also captures the social and cultural changes in Harlem as he returns to photograph the same street corners and storefronts year after year. He continues to photograph these locations today and writes about his process:

“For a long time I have thought of myself as more a city builder than as a photographer. I think of my images as bricks which when placed next to each other give shape and meaning to a place. I see the images of neighborhoods arranged according to time and location, each one … linking the hundreds of stories that are a place’s history. This is how photographs tell how Harlem evolved and what it gained and lost in the process.”

Selected from the artist’s archive on the Invincible Cities website, the exhibition includes a sequence of photographs showing the evolution of Harlem, its buildings and its people—from the murals that used to condemn racism to advertisements for sports cars, liquor and young rappers; from shops owned by Koreans and West Indians to corporate franchises; from an incubator for struggling churches to famous landmarked churches that attract busloads of visitors from around the world.

All of these historically compelling photographs were donated to the New-York Historical Society by Camilo José Vergara in 2009.

Stoddard Views Coming to Chapman Museum


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Long considered beautiful photographs of the Adirondack landscape, Seneca Ray Stoddard’s views also serve well as documents of the plants that inhabited the region in the 19th century. The Chapman Historical Museum’s summer exhibit, S.R. Stoddard’s Natural Views, which will run from May 4 through September 2, will feature fifty enlarged photographs of different Adirondack settings – lake shores, marshes, meadows, riverbanks and mountainsides. Highlighted in modern color images will be examples of the plants discovered in Stoddard’s photographs — from small flowers to shrubs and trees.

Since he was rediscovered in the late 1970s, Stoddard’s work has been featured in numerous exhibits that explored the history of 19th century life in the Adirondacks. A survey of the 3000 images in the Chapman archives, however, revealed hundreds of images that are purely natural landscapes. The subject matter is the Adirondack environment – not great hotels, steamers, camp scenes or other obvious evidence of human activity.

The summer 2012 exhibit will examine these photographs as documents of the history of ecological habitats, providing an opportunity to compare the present environment with the past. To address this issue the museum is consulting with Paul Smith’s College biologist, Daun Reuter, who will identify botanical species in Stoddard’s photographs, and exploring 19th century biological fieldwork records housed at the New York State Museum.

By bringing attention to a group of Stoddard photographs that have been overlooked but are significant examples of his work, the exhibit will give visitors the opportunity to discover and reflect on the changing environment – a topic of urgent concern in the region. Through their experience visitors will gain greater understanding not only to Stoddard’s photographic vision but also of the natural world of the Adirondacks.

Photos: Above, Silver Cascade, Elizabethtown by S.R. Stoddard, ca. 1890. Below: modern color photo of Wild Raisin by Dawn Reuter, Biology Dept., Paul Smith’s College.

Photographer Hardie Truesdale at AIHA


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Renowned photographer Hardie Truesdale will be presenting images from his stunning new book Hudson River Towns: Highlights from the Capital Region to Sleepy Hollow Country at the Albany Institute on Sunday, November 13 at 2 PM.

Published in October 2011 by SUNY Press/ Excelsior Editions, this book is the newest collaboration between Truesdale and regional travel writer Joanne Michaels. With more than 120 full-color photographs that lavishly display the dramatic faces of the cities, towns, and villages along the river, Hudson River Towns reveals a dimension of the region unseen by most travelers and local residents.

Taking this armchair journey through one of America’s most beautiful and historic regions will inspire everyone to think differently about their surroundings. Following the lecture Truesdale will be available to answer questions and sign copies of the book, which is available for sale in the Albany Institute Museum Shop. This event is FREE and open to the public.

Museum of the City of NY Reopens Research Access


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The Museum of the City of New York has reopened access to it’s collections to onsite researchers. On November 1, the Museum resumes accepting appointments from outside researchers and began offering a dedicated space for research as part of their newly renovated collection storage facilities.

To learn how to submit an application for conducting onsite research, send a request to research@mcny.org. In your request indicate the collections of interest and describe your research need. Before contacting the Museum to inquire about a research appointment, visit the Museum’s Collections Portal (collections.mcny.org) which has over 100,000 digital images of photographs, negative, prints, drawings, postcards, and maps from the Museum’s collections.

The following onsite collections will be open to research appointments:

Manuscripts & Ephemera
Manuscript and ephemera holdings augment and complement other elements of the collections and are particularly strong in late eighteenth- and early nineteenth-century materials. The Manuscripts include papers related to notable New Yorkers, organizations, and events from the 17th century to the present. The ephemera collections include objects such as society dinner menus, trade cards, maps, Valentines, badges, Christmas cards, and material related to public ceremonies, special events, schools, sports, the shipping trade, transportation, statues and monuments, retail trade, and the police and fire departments.

Prints, Drawings, and Photographs
The Prints, Drawings, and Photographs Collection documents the built environment of the city and its changing cultural, political, and social landscape from its earliest days to the present. Photographic holdings include collections on Berenice Abbott, Jacob Riis, and the photographic archives of Gottscho-Scheleisner, LOOK Magazine, Byron Co., and the Wurts Brothers. Drawings range from18th-century pastel portraits and mural studies to political cartoons and architectural renderings. Specific collections include the archives of the Planning Board of the 1939 New York World’s Fair, the Harry T. Peters Collection of hand-colored Currier & Ives prints, and the Martin Wong Graffiti Collection.

Theater
The Theater Collection documents theatrical activity in New York City from the late 18th century to the present day. The heart of the Theater holdings is the John Golden Archive, which consists of approximately 40,000 folders, organized into files on productions, personalities, and performance spaces. The Theater Collection also holds collections on Burlesque, Circus, Minstrelsy, and Vaudeville. Files contain a wide range of material including photographs, contracts, correspondence, playbills, manuscripts, advertising materials, reviews, obituaries, clippings, sheet music, autographs, account records, prompt books, and ephemera.

The Museum also holds collections of Costumes and Textiles, Decorative Arts and Furniture, and Paintings and Sculpture; however, due to the special preparation necessary for handling these objects, access is extremely limited. For specific inquiries into these collections, email research@mcny.org

Youth and Beauty: Art of the American Twenties


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Youth and Beauty: Art of the American Twenties, a new exhibit of 138 paintings, sculptures, and photographs by 67 of the greatest artists of their time has opened at the Brooklyn Museum’s Morris A. and Meyer Schapiro Wing, 5th Floor. The exhibit, which runs to January 29, 2012, is begin billed as the first wide-ranging exploration of American art from the decade between the end of World War I and the onset of the Great Depression.

How did American artists represent the Jazz Age? This exhibition brings together for the first time the work of sixty-eight painters, sculptors, and photographers who explored a new mode of modern realism in the years bounded by the aftermath of the Great War and the onset of the Great Depression. Throughout the 1920s, artists created images of liberated modern bodies and the changing urban-industrial environment with an eye toward ideal form and ordered clarity—qualities seemingly at odds with a riotous decade best remembered for its flappers and Fords.

Artists took as their subjects uninhibited nudes and close-up portraits that celebrated sexual freedom and visual intimacy, as if in defiance of the restrictive routines of automated labor and the stresses of modern urban life. Reserving judgment on the ultimate effects of machine culture on the individual, they distilled cities and factories into pristine geometric compositions that appear silent and uninhabited. American artists of the Jazz Age struggled to express the experience of a dramatically remade modern world, demonstrating their faith in the potentiality of youth and in the sustaining value of beauty. Youth and Beauty will present 140 works by artists including Thomas Hart Benton, Imogen Cunningham, Charles Demuth, Aaron Douglas, Edward Hopper, Gaston Lachaise, Yasuo Kuniyoshi, Luigi Lucioni, Gerald Murphy, Georgia O’Keeffe, Alfred Stieglitz, and Edward Weston.

The exhibition was organized by Teresa A. Carbone, Andrew W. Mellon Curator of American Art, Brooklyn Museum.

Photo: Nickolas Muray (American, 1892-1965). Gloria Swanson, circa 1925. Courtesy George Eastman House, International Museum of Photography and Film, Rochester, New York.

Frick Art Reference Library Photo Archive Goes Online


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Scholars in multiple disciplines around the world have long heralded the Photoarchive of the Frick Art Reference Library as uniquely valuable to research that relates to object-oriented study of works of art. Without this repository of an estimated 1.2 million images of works created by more than 40,000 artists, curators, art dealers, and authors of monographic catalogs would be hard pressed to find visual documentation of unpublished art and the preparatory studies, versions, copies, or forgeries that relate to those and even to more famous works.

In recent years, the Frick’s Photoarchive has also played a key role in helping researchers compile provenance information about art looted during World War II. Lynn Nicholas, the highly respected author of The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War (New York, 1994), recently noted that “to do provenance research, of course, one of the very first places to go is the Frick…”

Until now, online access to these valuable resources has been limited to searches for the artists’ files, the results of which indicate the amount of material the Photoarchive has for a given artist, but no specific information about individual works of art. For that, researchers had to visit the Library premises, and manually browse the photographs stored on file.

The Frick Art Reference Library and its partners in the New York Art Resources Consortium (NYARC)—the libraries of The Museum of Modern Art and the Brooklyn Museum have announced that through a complex process of data migration, all of the Photoarchive’s research database records created since 1996 (and all future records created both for the existing collection and for new acquisitions) may now be accessed via NYARC’s online catalog Arcade.

These online records in Arcade offer detailed historical documentation for the works of art, including basic information about the artist, title, medium, dimensions, date, and owner of the work, as well as former attributions, provenance, variant titles, records of exhibition and condition history, and biographical information about portrait subjects.

Andrew W. Mellon Chief Librarian Stephen Bury comments, “For us the incorporation of the Photoarchive records in Arcade means that the richness of all of the Frick’s research collections will be available to scholars everywhere and the image collection will be discoverable as easily as our other special collections of auction catalogues and exhibition ephemera through a single search in Arcade. We know that the road that will take us to full digitization of the archive is long (currently online access is possible to only 125,000 items in the archive, but the Frick is committed to the digital future of this exceptional resource).”

To cite a typical example of the advantages users will gain from the seamless searchabilty across text and image collections that the Frick now makes possible: locating the catalog of the Stroganoff sale at Lepke in 1931 now yields not only the publication, itself, but also the works of art listed documented as sold there by the Photoarchive, one of which was part of the Goudstikker collection that was recently restituted to the heirs.

In addition to global access to the historical documentation for works of art recorded in the Photoarchive, a new interface, the Frick Digital Image Archive has been created to link the images of 15,000 works of art captured during the Frick’s photography expeditions throughout the United States from 1922 to 1967 to the documentation in Arcade.

Researchers can retrieve images by keyword or field searching, display large preview images, download small jpeg image files, and link to the matching Arcade records. This image archive, which may be accessed via the website of The Frick Collection, was made possible by funding from the National Endowment for the Humanities (NEH) and the Henry Luce Foundation.

The NEH also designated the project as part of its “We the People” initiative to encourage and strengthen the teaching study and understanding of American history and culture. Through this two-year project, the Frick digitized 15,000 endangered negatives within the larger collection of 60,000 Library negatives and developed the interface to make the images freely available online. The negatives were the products of photography expeditions during the first half of the twentieth century to Alabama, California, Connecticut, Delaware, Georgia, Illinois, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Missouri, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Rhode Island, South Carolina, Vermont, Virginia, and Washington, D.C.

In many case Frick Art Reference Library the images record early states of the works of art, prior to restoration or deterioration, and in some instances, they remain the only record of a work that has been subsequently lost or destroyed. Much of the documentation for these works is also uniquely recorded at the Frick because it was obtained from the owners (particularly true of the provenance and portrait subject information) or from scholars who consulted the images years after they were captured by the Library’s photography team.

During the course of the NEH project, Library staff updated the ownership and attribution information for nearly 1,500 works, relying on notations by researchers of the past and on the Inventories of American Paintings and Sculpture online database. Access to these images will complement the collection of 25,000 Frick Library negatives earlier digitized with the support of ARTstor and the Carl and Lily Pforzheimer Foundation and available through subscription to ARTstor.

With this new online access to the Frick Photoarchive research database records and the digital image archive, the Frick is now poised to incorporate a growing number of documented images from its visual resource holdings. These images complement other visual resources contributed by the NYARC partners, thereby ensuring that a broader community of researchers will have access to these unique collections.

State Museum Exhibits Burns Archives Photos


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A new exhibition – Shadow and Substance: African American Images from The Burns Archive – has opened at the New York State Museum, showcasing rarely-seen photographs from one of the largest private photography collections in the world.

Open through March 31, 2012 in the Photography Gallery, the exhibition allows the viewer to perceive how African-Americans were seen by others and how they wished to be seen. These images do not tell a complete story of the past, but their eloquent shadows provide unique glimpses into the lives of African-Americans over the past 160 years.

The 113 images in Shadow and Substance include portraits, snapshots and photographs of celebration, tragedy and quiet joy, work and family, strength and perseverance. From early images of slaves and Civil War soldiers to new voters and political activists, the exhibition is filled with illustrations of achievement and shocking evidence of intolerance. Some images may not be suitable for young children.

The images were culled from the comprehensive Burns Archive of Historic Vintage Photographs that include specializations in medical and health care, death and dying, sports and recreation, in addition to images of African-Americans. The collection was amassed by Dr. Stanley B. Burns, an ophthalmologist, collector and curator in New York City who was the founding donor for several photography collections, including those of the J. Paul Getty Museum and the Bronx Museum of the Arts. Burns has authored several books including “A Morning’s Work: Medical Photographs from the Burns Archive & Collection, 1843-1939”; “Sleeping Beauty: Memorial Photography in America” and “Forgotten Marriage: The Painted Tintype and Decorative Frame, 1860-1910.”

The traveling exhibition is organized by the Indiana State Museum and curated by Dr. Modupe Labode, assistant professor of history and public scholar of African-American History and Museum Studies at Indiana University.

The State Museum is a program of the New York State Education Department’s Office of Cultural Education. Located on Madison Avenue in Albany, the Museum is open Monday through Saturday from 9:30 a.m. to 5 p.m. It is closed on Thanksgiving, Christmas and New Year’s Day. Admission is free. Further information about programs and events can be obtained by calling (518) 474-5877 or visiting the museum website at www.nysm.nysed.gov.