It’s weird to read the New York Times to find this article on Ansel Adams on the front page. What did we just do? We spent two days in Yosemite with Michael Adams, Ansel’s son, who spent the better part of two days showing us around. I shot a TON of Qik/cell phone video with Michael. We also did a bunch of “pro” video with our expensive HD camcorders, those will be up soon as part of a new show for DSLR photographers that’ll be on FastCompany.tv. Titled “PhotoCycle.” We haven’t set a start date for that, yet... lire la suite
Lien du post: http://scobleizer.com/2008/04/26/kodak-moment-following-ansel-adams-footsteps/
It’s weird to read the New York Times to find this article on Ansel Adams on the front page. What did we just do? We spent two days in Yosemite with Michael Adams, Ansel’s son, who spent the better part of two days showing us around. Ansel Adams Gallery now has a blog, too. One reason I was there was to film Ansel Adams Gallery, which is one of America’s most beloved family businesses and has been operating in Yosemite Park for 102 years. So, why a Kodak moment? Well, Michael Adams told me that Ansel Adams did a lot of work for Kodak. He shot a few of the Colorama ads for Grand Central Station in New York. Did you know Kodak has a blog now? I like the Kodak blog a lot, it gives me some great ideas for photos. Little known Scoble trivia: I used to help run a camera store, LZ Premiums (now long gone) in the 1980s and was responsible for buying all the Kodak film and darkroom supplies. I saw someone walking out of the Ansel Adams Gallery with a yellow box of Kodak printing paper and it took me back to the hours I spent in a darkroom and all the friends, photos, memories I made back then. This was — by far — the most special two days I’ve had outside of getting married or watching my two sons being born. I told someone I would have traded my Davos trip (which was freaking awesome) for hanging out with Michael Adams for 24 hours. It was that good and I can’t wait to show you the videos and more of our photos. Thomas Hawk told me he’ll have his photos up soon, along with a writeup of the two days. Michael Adams, Ansel Adams’ son, in front of the family business, the Ansel Adams’ Gallery. The famous Tunnel View, where Ansel shot his famous Storm Clearing photo. In the video we meet a tourist who took a class from Ansel and he tells us about that experience. I talk with Thomas Hawk about this view, and we find some other things to shoot as well. Half Dome from the Bridge. In a second video Michael Adams tells what a photo from this bridge meant to his mother.
Today we were at Ansel Adams’ house and this is me getting a seat in the sink where he made so many of the world’s most favorite images. I did some videos over on Qik, too, with our “professional” videos of Ansel Adams’ son and home and business coming soon to FastCompany.tv. · Kodak Moment: Following Ansel Adams footsteps
Ansel Adams - Moonrise, Hernandez, New Mexico, 1941 Ansel Adams - Moonrise, Hernandez, New Mexico, 1941
La plus grande collection privee de photographies d'Ansel Adams aux encheres chez Christie's NY Lot 1058, Ansel Adams, Clearing Winter Storm, Yosemite Valley (detail), 1941. Estimate: $250,000-350,000. © Christie's Images Ltd. 2008 NEW YORK.- Christie's announced the sale of Photographs by Ansel Adams from a California Collection during Photographs Week this April in New York. With 122 lots, this single owner sale is the largest collection of Adam's works in private hands, including all of his most-sought after images, often mural-sized. The sale is expected to realize $3 to $5 million. Adams worked closely with the company Director, visited the building, and even advised on lighting, color schemes for walls, as well as the placement and spacing of the photographs. Adam's entire career is captured in this collection, with many of his most iconic images reproduced mural-size. Among the oversize prints are Clearing Winter Storm, Yosemite, 1944 (Estimate $250,000-350,000), Aspens, Northern New Mexico, 1958 (Estimate: $150,000-250,000), and Frozen Lake and Cliffs, Kaweah Gap, Sierra Nevada, California, 1932 (Estimate: $90,000-120,000). The sale also includes Adams' earliest masterpiece and most enduringly popular images, Monolith, The Face of Half Dome, Yosemite National Park, California, 1927 (Estimate: $20,000-30,000). Each of his seven portfolios published from 1948 until 1970 are represented in the collection. Lot 1004, Ansel Adams, Frozen Lake and Cliffs, Kaweah Gap, Sierra Nevada, California, 1932, Estimate: $80,000-120,000. © Christie's Images Ltd. 2008
“Georgia O'Keeffe and Ansel Adams: Natural Affinities” @ the Smithsonian American Art Museum WASHINGTON.- “Georgia O'Keeffe and Ansel Adams: Natural Affinities,” on view at the Smithsonian American Art Museum Sept. 26 through Jan. 4, 2009, examines the friendship of two iconic artists who were attracted to the distinct landscapes of the American southwest and far west and committed to depicting its essence with modernist sensibilities. This exhibition, the first to pair these artists, celebrates their mutual appreciation of the natural world and reveals the visual connections between O'Keeffe's paintings and Adams' photographs. “Natural Affinities” includes 43 paintings by O'Keeffe from public and private collections and 54 photographs by Adams from the Center for Creative Photography in Tucson, Ariz., which holds the largest single collection of Adams' work. “This exhibition brings together two giant figures in 20th-century American art who portrayed the grandeur of the American west,” said Elizabeth Broun, The Margaret and Terry Stent Director at the Smithsonian American Art Museum. “Georgia O'Keeffe and Ansel Adams, like many of our great artists, drew inspiration from the distinctive natural landscape of the west. The Smithsonian American Art Museum is delighted to be a venue for this exhibition that takes a new look at these celebrated artists.” Georgia O'Keeffe (1887-1986) and Ansel Adams (1902-1984) met in Taos, N.M., in 1929 at the home of a mutual friend, Mabel Dodge Luhan. The two immediately became friends. The following year, they met again in New Mexico. Adams was there making photographs for his first book, “Taos Pueblo” published in 1930, and O'Keeffe was spending the first of many summers painting in New Mexico, which she made her permanent home in 1949. In 1933, Adams traveled from California to New York for the first time and met O'Keeffe's husband, Alfred Stieglitz, the influential photographer whose modern art galleries in New York City launched the careers of numerous American artists. Stieglitz presented an exhibition of Adams' photographs in 1936 at his gallery, An American Place, which established the younger photographer as one of America's leading modernists. In 1937, O'Keeffe and Adams toured the southwest by car with a group of friends, visiting well-known archaeological sites including Canyon de Chelly. The following year, O'Keeffe visited Adams in Yosemite. Although their friendship lapsed in the 1940s as they pursued separate interests, the artists resumed regular correspondence in the 1950s. The artists last visited in person in 1981 when O'Keeffe, then 94, went to see Adams in Carmel, Calif., and Adams, then 79, visited O'Keeffe at her home in Abiquiu, N.M. The paintings and photographs included in “Natural Affinities” explore the formal connections between O'Keeffe's and Adams' works. The artists often emphasized their subjects' essential qualities, creating abstract images. For example, in O'Keeffe's “Abstraction White Rose” (1927) and in Adams' “Foam, Merced River, Yosemite Valley, California” (1951), they depict their subjects extremely close-up so that any sense of the subject is lost to abstraction. This also is evident in O'Keeffe's “The Black Iris” (1926) and Adams' “Leaves, Frost, Stump, October Morning, Yosemite National Park” (c. 1931). O'Keeffe and Adams also frequently called attention to the abstract components of the southwestern landscape as can be seen in O'Keeffe's “Black Hills with Cedar” (1942) and Adams' “Ghost Ranch Hills, Chama Valley, Northern New Mexico” (1937). Occasionally, comparisons between works by O'Keeffe and Adams highlight their different approaches to the same subject, such as an adobe church near Taos. In O'Keeffe's “Ranchos Church No. 1” (1929), the building becomes organic and seems to rise almost weightlessly from an expansive foreground. In contrast, Adams underscores its monolithic solidity in his photograph “Saint Francis Church, Ranchos de Taos, New Mexico” (c. 1929). Tags : Ansel Adams, Georgia O'Keeffe, painting, photographie, Smithsonian American Art Museum
During the 1980’s the humanities in general, including the historical sciences, saw the rise of self-proclaimed and self-conscious literature on the body in all its variations, a trend which has continued with near unabated strength up through the 1990’s and into the new millennium. The body, during the last 25 years, has been pushed to the forefront and has been problematised, destabilised and transformed into a central analytical category. First and foremost, the moment of the body in academia has pre-eminently been a moment of historicizing the body, of placing history into where before there was only biology.