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From the collection of Randi and Bob Fisher
Pier 24 Photography offers a venue for photog-raphers, educators, collectors and curators to present photography and photographic ideas that are shared with the community. Our aim is to provide an environment to experience, study, observe and quietly contemplate pho-tography. In addition to rotating exhibitions, Pier 24 houses the permanent photographic collection of The Pilara Foundation.
Pier 24 Photography
Hiroshi Sugimoto
Tyrrhenian Sea, Conca, 1994
Edward Weston
Nude on Sand, Oceano, 1936
The exhibition, From the Collection of Randi and Bob Fisher, examines the work of many canonical twentieth century American pho-tographers. Since the early 1980s, Randi and Bob Fisher have collected artists in depth, resulting in surveys of work by photography masters Robert Adams, Diane Arbus, William Eggelston, Walker Evans, Lee Friedlander, and Garry Winogrand among many others. The exhibition catalogs the photographic medium as it moves from early Modernism, featuring works by Man Ray, Charles Sheeler, Alfred Stieglitz, Paul Strand and Edward Weston,
through the large-scale contemporary color photography of American artist Richard Mis-rach and German artists Thomas Struth and Ardreas Gursky. From the Collection of Randi and Bob Fisher follows the exhibition Calder to Warhol: Intro-ducing the Fisher Collection at the San Fran-cisco Museum of Modern Art. That exhibi-tion, which was on view during the summer of 2010, presented selections from the collec-tion of Doris and Donald Fisher, co-founders of Gap, and parents of Bob Fisher.
From the collection of Randi and Bob Fisher
Edward Weston
From Nude on Sand, Oceano, 1936
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01 Edward Weston
02 Hiroshi Sugimoto
03 Bernd & Hilla Bernd Becher
04 Andreas Gursky
05 Thomas Struth
06 Diane Arbus
07 William Eggleston
08 Man Ray
09 Harry Callahan
10 Robert Frank
11 Walker Evans
12 Paul StrandAlfred Stieglitz
Edward WestonCharles Sheeler
13 Lee Friedlander
14 Robert Adams
15 Richard Misrach
16 Hiroshi SugimotoAaron Siskind
John GutmannHelen Levitt
17 Garry Winogrand
Entrance
Restrooms
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01 Edward Weston
02 Hiroshi Sugimoto
03 Bernd & Hilla Bernd Becher
04 Andreas Gursky
05 Thomas Struth
06 Diane Arbus
07 William Eggleston
08 Man Ray
09 Harry Callahan
10 Robert Frank
11 Walker Evans
12 Paul StrandAlfred Stieglitz
Edward WestonCharles Sheeler
13 Lee Friedlander
14 Robert Adams
15 Richard Misrach
16 Hiroshi SugimotoAaron Siskind
John GutmannHelen Levitt
17 Garry Winogrand
Entrance
Restrooms
02
Gallery Guide
Thomas Struth
Musée du Louvre, 1989
Bernd and Hilla Becher
Framework House, 1983
Water Towers, 2009
Winding Towers (South Wales), 1966-1997
Gas Tanks (Deckel), 1971-1997
Coal Tipples, 1974-1978
Blast Furnaces (HO), 1968-1993
Winding Towers, 1983
Blast Furnace Plant, Bethlehem, Pennsylvania, USA, 1986
Wasserturme, 1972
Bertreville/Dieppe, France, 2006
Oeuilly/Reims, France, 2006
Ally-Sur-Somme.Amiens, France, 2000
Bernd and Hilla Becher
Framework House, 1983 | Water Towers, 2009
Andreas Gursky
Shanghai, 2009
Untitled VI, 1997
Chicago Mercantile Exchange, 1997
Pyongyang I, 2007
Andreas Gursky
99 Cents, 1999
Thomas Struth
Musée d’Orsay, Paris, 1989 | Paradise 4, Pilgrim Sands, Daintree, Australia, 1998
Todai-Ji, Daibutsu-den Nara, 1996 | Paradise 1, Pilgrim Sands, Daintree, Australia, 1998
Diane Arbus
A House on a Hill, Hollywood, California, 1963
Child with Toy Hand Grenade in Central Park, 1962
A Family One Evening in a Nudist Camp, 1965
Boy at a Pool Hall, N.Y.C., 1959
Triplets in Their Bedroom, N.J., 1963
Portrait of Diane Arbus by Allan Arbus, c. 1949
A Flower Girl at a Wedding, Connecticut, 1964
Jewish Giant at Home with His Parents in the Bronx, N.Y., 1970
A Young Negro Boy, Washington Square Park, N.Y.C., 1965
Albino Sword Swallower at a Carnival, Maryland, 1970
Fire Eater at a Carnival, Palisades Park, N.J., 1956
Identical Twins, Roselle, N.J., 1967
Child Selling Plastic Orchids at Night, N.Y.C., 1963
Untitled #7, 1970-71
Christ in a Lobby, N.Y.C., 1964
Kid in Black-face With Friend, N.Y.C., 1957
Russian Midget Friends in a Living Room on 100th Street, N.Y.C., 1963
Female Impersonator Putting on Lipstick, N.Y.C., 1959
Portrait of Diane Arbus by Allan Arbus, c. 1949
William Eggleston
From William Eggleston’s Guide, 1970-1974
Untitled Rayograph [Ferns], 1922 | Cadeau, 1921 | Glass Tears, 1933 | Untitled Rayograph [Banjo], 1923
Primat de la Matière Sur la Pensée, 1929 | Marcel Duchamp, 1925-1928 | Untitled Rayograph [Gladiolus], 1922
Man Ray
Self Portrait in the Studio, New York, 1925
Robert Frank
Coney Island, 4th of July 1958, 1958 | From The Americans, 1955-1957 | Slideshow Photo Display, 1958
Harry Callahan
Chicago, 1955 | Women Lost in Thought, 1950 | Eleanor, 1947-1954
Walker Evans
Negro Barbershop Interior, Atlanta, 1936
Robert Frank
Barbershop Through A Screen Door,
McClellanville, South Carolina, 1955
Walker Evans
Shadow Self-portrait, Juan-les-Pins, France, 1927
Self-Portrait, 5 Rue de la Santé, Paris, 1926
Self-portrait, 5 Rue de la Santé, Paris, 1926
Brooklyn Bridge, 1929
Pine Street, New York, 1928-1929
Wall Street Windows, 1928-1930
Elevated Train Stairway, Wall Street, New York City, 1928-1930
Excavation for Lincoln Building, East 42nd Street and Park Avenue, 1929
S.S. President Roosevelt, New York City, 1929-1930
Traffic, New York City, 1928-1930
Cobblestone Street, Brooklyn, 1928-1929
Factory Street in Amsterdam, New York, 1930
Main Street, Saratoga Springs, New York, 1931
Outdoor Advertising, Florida, 1934
Truck and Sign, 1930
Couple at Coney Island, New York, 1928
A Bench in the Bronx on Sunday, 1933
New York Milk Counter, 1936
Parked Car, Small Town Main Street, 1932
42nd Street, 1929
Posed Portraits, New York, 1931
Cinema, Havana, 1933
Produce Trucks at Market, Havana, 1933
Pushcart, Havana, 1933
Balcony Spectators, Havana, 1933
Starving Cuban Family, 1933
Citizen in Downtown Havana, 1933
Walker Evans
Penny Picture Display, Savannah, 1936
Sign, Baton Rouge, Louisiana, 1935
Street Scene, New Orleans, 1935
Grocery Store, Selma, Alabama, 1936
Butcher Sign, Mississippi, 1935-1936
Houses and Billboards in Atlanta, 1936
Main Street of County Seat, Alabama, 1936
Street Scene, Vicksburg, Mississippi, 1936
Mississippi Town Negro Quarter, 1936
Street Scene, Vicksburg, Mississippi, 1936
Street Scene, Vicksburg, Mississippi, 1936
Men and Coca Cola Advertisements, Near New Orleans, 1935
Alabama Tenant Farmer, 1936
Alabama Tenant Farmer’s Wife, 1936
Alabama Tenant Farm, Kitchen Wall, 1936
Bedroom, Burroughs Family Cabin, Hale County, Alabama, 1936
Kitchen, Burroughs Family Cabin, Hale County, Alabama, 1936
Alabama Tenant Farmer, 1936
Main Street Block, Selma, Alabama, 1936
County Store and Gas Station, Selma, Alabama, 1936
Crossroads Store, Sprott, Alabama, 1936
Storefront, Vicksburg, Mississippi, 1936
Office Buildings, Near Tuscaloosa, Alabama, 1936
Walker Evans
All images from Let Us Now Praise Famous Men
Walker Evans
Church Organ and Pews, 1936
Room in Louisiana Plantation House, 1935
Corner of Felicity and Orange Streets, New Orleans, 1936
View of Easton, Pennsylvania, 1935
Part of Philipsburg, New Jersey, 1935
Mississippi River Steamboat at Vicksburg, Mississippi, 1936
From Many Are Called, Subway Passenger, New York, 1938-1941
Corner of State and Randolph Streets, Chicago, 1946
Corner of State and Randolph Streets, Chicago, 1946
Corner of State and Randolph Streets, Chicago, 1946
Corner of State and Randolph Streets, Chicago, 1946
South Side House with Grocery, Chicago, 1946
South 3rd Street, Paducah, Kentucky, 1947
Crate Opener, 1955
Warning Sign Detail, 1973-1974
Fire Hydrant, 1973-1974
House Window, 1973-1974
Traffic Arrow, 1973-1974
Boarded-Up House, Stonington, Connecticut, 1974
Theater Detail, Near Old Saybrook, Connecticut, 1973-1974
Sign Detail, Martha’s Vineyard, Massachusetts, 1974
Sign Detail, 1973-1974
Railroad Warning Sign Detail, 1974
Traffic Arrow, 1974
Sign Detail, St. Martin, French West Indies, 1974
Warning Sign, 1973-1974
Sign Detail, Martha’s Vineyard, Massachusetts, 1974
Park Street, New Haven, 1974
Portrait of Walker Evans by David Kent,1974
Charles Sheeler
Doylestown House – The Stove, Horizontal, c. 1917
Side of White Barn, Bucks County, c. 1918
Ford Works (Crisscrossed Conveyors), 1927
Stairway, Williamsburg, 1935
Alfred Stieglitz
Georgia O’Keeffe, 1919
From the Back Window, 291-N.Y., Winter, 1915
Georgia O’Keeffe, 1919
Equivalent, 1933
291, Braque-Picasso Exhibition, 1915
Georgia O’Keeffe, 1933
Paul Strand
Wheel Organization, 1917
Geometric Backyards, 1917
People, Streets of New York, 83rd and West End Avenue, 1916
Bowls and Apples, Twin Lakes, Connecticut, 1916
Edward Weston
Form Follows Function, 1930
Clouds, Santa Monica, 1936
Chard, 1927
Dunes, Oceano, 1936
Nautilus Shell, 1927
Lee Friedlander
Self-Portraits, 1965-1966
Self-Portraits, 1994-1997
Maria, Southwestern, United States, 1969
Route 9W, New York, 1969
Hillcrest, New York, 1970
Princeton, 1969
Wisconsin, 1974
Haverstraw, 1966
From America by Car, 1999-2002
Sticks and Stones, 2000-2003
Street Scenes, 1963-1976
Lake Louise, 2000
Aspen, 2004
Tetons, 1999
Tetons, 1995
California, 1996
N.Y.C., 2006
Lee Friedlander
N.Y.C., 2006
Andreas Gursky
Salerno, 1990
Richard Misrach
Untitled (Cardon Cactus), 1976 | Untitled 943-03, 2003 | Untitled (Boojum Tree #3), 1976
Richard Misrach
Untitled 19-2003, 2003
Robert Adams
Fort Collins, Colorado, 1976
Newly Completed Tract House, Colorado Springs, Colorado, 1968
New Housing, Colorado Springs, Colorado, 1971
Denver, Colorado, 1973
Wood-Paneled Wall with Window, 1973-1974
Golden, Colorado, c. 1970
North Denver, Colorado, 1973
Outdoor Theater and Cheyenne Mountain, Colorado Springs, Colorado, 1968
Colorado Springs, Colorado, 1968
Colorado Springs, Colorado, 1979
Untitled View of Suburban Home, Streetlight at Night, c. 1981
The South Platte River, Looking Toward Denver, Colorado, 1979
Above Boulder, Colorado, 1981
Longmont, Colorado, c. 1980
Longmont, Colorado, 1982
South of Rocky Flats, Jefferson County, Colorado, 1978
Looking Past Citrus Groves into the San Bernardino Valley, Northeast of Riverside, 1983
Missouri River, Clay County, South Dakota, 1977
Sally, Weld County, Colorado, 1984
South on Clatsop Spit, Late Afternoon (Diptych), 1992
Southwest From the South Jetty, Clatsop County, Oregon (Series of 5), 1991
On Signal Hill, Overlooking Long Beach, California, 1983
Clatsop County, Oregon, 1999-2003
South of Burns, Oregon, 1999
Alders, Pacific County, Washington (Series of 6), 2005
Pine Valley, Oregon, 2003
Aaron Siskind
From Pleasures and Terrors of
Levitation, 1956-1962
Hiroshi Sugimoto
Colors of Shadow C1025, 2006
John Gutmann
Walking on Air, 1938
Helen Levitt
New York, c. 1940-1942
Garry Winogrand
From Arrivals and Departures, 1964-1977 | From Stock Photographs, 1975 From Openings, 1969-1971 | Street Scenes, 1950-1970
Garry Winogrand
Street Scenes, 1950-1970
Born in Highland Park, Illinois, Edward Weston (1886 – 1958) moved to California at the age of 21 to pursue a career in photography. Later, as a major advocate of straight photog-raphy, he became a champion of hyper-real articulation in im-age making. Alongside Willard Van Dyke and Ansel Adams, Weston was a founding member of the influential group of the San Francisco-based photographers, f/64.
Each vintage gelatin silver print in Nude On Sand was pro-duced from negatives made on a single day in 1936 at Oceano Sand Dunes in California.
EdwardWeston
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01 Edward Weston
02 Hiroshi Sugimoto
03 Bernd & Hilla Bernd Becher
04 Andreas Gursky
05 Thomas Struth
06 Diane Arbus
07 William Eggleston
08 Man Ray
09 Harry Callahan
10 Robert Frank
11 Walker Evans
12 Paul StrandAlfred Stieglitz
Edward WestonCharles Sheeler
13 Lee Friedlander
14 Robert Adams
15 Richard Misrach
16 Hiroshi SugimotoAaron Siskind
John GutmannHelen Levitt
17 Garry Winogrand
Entrance
Restrooms
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01 Edward Weston
02 Hiroshi Sugimoto
03 Bernd & Hilla Bernd Becher
04 Andreas Gursky
05 Thomas Struth
06 Diane Arbus
07 William Eggleston
08 Man Ray
09 Harry Callahan
10 Robert Frank
11 Walker Evans
12 Paul StrandAlfred Stieglitz
Edward WestonCharles Sheeler
13 Lee Friedlander
14 Robert Adams
15 Richard Misrach
16 Hiroshi SugimotoAaron Siskind
John GutmannHelen Levitt
17 Garry Winogrand
Entrance
Restrooms
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Hiroshi Sugimoto, born in 1948 in Japan, currently lives and works in New York and Tokyo. The artist’s career spans over three decades and has often focused on conceptual issues relating to time and memory. Sugimoto is known for innova-tion in his work, using the camera in various ways to achieve a myriad of images.
The content of Sugimoto’s images are as varied as his pho-tographic approach. His repertoire includes Dioramas, The-aters, Seascapes, and Portraits from Madame Tussauds’ wax figures, as well as Architecture, Colors of Shadows and Conceptual Forms.
HiroshiSugimoto02
Bernd Becher (1931-2007) and Hilla Becher (1934-) first col-laborated on photographing the disappearance of German industrial architecture in 1959. Through their collaborative lifetime, they developed the direct, non-emotive ‘dead pan’ photographic aesthetic.
The Bechers photographed these structures from a single perspective and always with a straightforward, objective point of view. The images are presented side by side, inviting view-ers to compare form and function.
As teachers at the Düsseldorf Art Academy, the Bechers’ ap-proach was extremely influential on the subsequent genera-tion of German photographers, which include Andreas Gur-sky, Thomas Ruff, and Thomas Struth.
Bernd and Hilla Becher03
Born in 1955 in Düsseldorf, Germany Andreas Gursky trained at the Folkwangschule in Essen, considered West Germany’s premier training center for professional photographers. While at the Düsseldorf Academy in the 1980s, Gursky studied un-der Bernd and Hilla Becher.
Gursky was one of the first pioneers of large-format color photography and digital manipulation. Carefully altering his images digitally, the artist creates spaces that appear much larger than the actual documented subject.
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Born in Geldern, Germany, Thomas Struth was a student of the Düsseldorf Academy from 1973 to 1980, where he trained under Bernd Becher. He studied alongside photographers Andreas Gursky, Thomas Ruff and Candida Hofer, who to-gether comprise a group commonly known as the Düsseldorf School of Photography. The Bechers’ formal approach, us-ing strict visual procedures, had a formative influence on the young photographer’s methodology, which is evident in his current practice.
ThomasStruth05
Diane Arbus (1923-1971) began her career in the 1950s as a commercial fashion photographer, working with her hus-band Allan Arbus. In 1956, she began working independently. Arbus gained recognition as a fine art photographer in the 1960s, often documenting individuals marginalized by soci-ety. Her early success was marked by two major achieve-ments: Esquire published one of her photographs in 1960 and in 1967, John Szarkowski included her work in the highly influential New Documents exhibition at MoMA.
Arbus died in 1971. The following year, her retrospective at MoMA would become the most widely attended solo exhibi-tion of an artist in the museum’s history.
DianeArbus06
William Eggleston was born in 1939 in Memphis, Tennessee. He developed an interest in photography in the early 1960s, learning about the medium through books by Robert Frank, Henri Cartier-Bresson and Walker Evans rather than in a tra-ditional classroom setting. Eggleston began by making black-and-white prints, though he quickly transitioned to experi-mentation in color technology. This established him as one of the few non-commercial photographers working in color. In 1976, the MoMA mounted Color Photographs, a now cel-ebrated exhibition of works portraying quotidian aspects of everyday life.
William Eggleston07
Man Ray (1890-1976) was an American artist who played a pivotal role in launching the Dada and Surrealism move-ments. He worked in several media including sculpture, film and painting.
All of the photographs in this room were made in Paris, and illustrate his diverse approach to photography. In 1922, he began creating “rayographs,” his variation on the photogram. In the late 1920s, he began experimenting with the Sabattier process, a technique where a partially developed print is re-exposed to light during processing. Glass Tears (1933), one of his most recognized photographs, exemplifies Man Ray’s early experimentation with staged photography. Interestingly, two of the photographs included in this space can be seen in Self Portrait in the Studio (1925).
ManRay08
Detroit-born Harry Callahan (1912-1999), a self-taught pho-tographer, credits a talk given by Ansel Adams in 1941 as pivotal in his decision to become a serious photographer. His works tend to explore everyday subjects such as nature, ar-chitecture, city streets and his family. In addition to working as a photographer, he taught at institutions throughout the United States. His wife Eleanor Knapp was a frequent subject of his work; Callahan represented her diversely, mirroring his own experimentation with the medium of photography.
HarryCallahan09
Born in Zurich in 1924, Robert Frank works in both photog-raphy and film. He immigrated to New York in 1947, where he worked as an editorial photographer for Harper’s Bazaar. After receiving his first Guggenheim Fellowship in 1955, he traveled around the United States for two years, document-ing the American social landscape. Both Frank’s choice of subject matter and aesthetic were considered controversial in the mid-1950s. The resulting monograph, The Americans, included eighty-three images from this series in its initial pub-lication in 1958. This series was recently exhibited throughout the United States in celebration of the fiftieth anniversary of the book’s publication.
RobertFrank10
Alfred Stieglitz (1864-1946) was an influential editor, publisher, patron and dealer in the field of modern photography. His per-sonal artworks, published Camera Work journal and seminal 291 Gallery in New York City all helped to advance the early stages of photography.
Stieglitz’s gallery showcased early twentieth-century avant-garde artists, particularly from Europe, and promoted picto-rial photography, an approach indebted to the principles of fine art. He also represented Georgia O’Keeffe, an emerg-ing American painter at the time, who he married in 1924. O’Keeffe became a key inspiration and a recurrent subject in how work. Stieglitz produced hundreds of photographs of his wife over a twenty-year period including the three exhibited here.
Alfred Stieglitz12
Lee Friedlander was born in 1934 in Aberdeen, Washing-ton. He studied photography in Los Angeles in the early to mid-1950s. Soon after, he moved to New York in where he supported himself working for record labels such as Atlan-tic, shooting the album covers of various jazz musicians. No single subject or genre defines Friedlander’s practice. The dis-play in this space juxtaposes works examining similar subject matters – such as self-portraits, the automobile and the urban landscape – from both his early career, when he worked with a 35mm camera, and later when he began to favor the use of medium format cameras. In 2005, the MoMA presented a major retrospective of Friedlander’s career, including nearly 400 photographs from the 1950s to the present, which trav-eled to the San Francisco Museum of Modern Art in 2008.
LeeFriedlander13
While on a trip to Europe in the late 1920s, American pho-tographer Walker Evans (1903-1975) began to pursue pho-tography through spontaneous snapshots. In 1935, the Farm Security Administration employed him to photograph workers and buildings in the Southeast. He is best known for docu-mentary-style images from the Great Depression. In 1936, Ev-ans worked with writer James Agee on an article for Fortune magazine about several tenant farm families. The book Let Us Now Praise Famous Men resulted from this collaboration. He worked as a staff photographer and photo editor for Fortune until 1965, when he left the magazine to become a profes-sor of photography and graphic design at Yale University. He continued teaching until a year before his death.
WalkerEvans11
In the 1910s and 1920s, Paul Strand (1890-1976), Alfred Stieglitz and Edward Weston helped define photography in the context of early American modernism. He also worked in film, collaborating with Charles Sheeler on the short film Man-hatta in 1920. Strand embraced photography for its inherent strengths and revolutionized the acceptance of straight pho-tography. The final edition of Stieglitz’s Camera Work maga-zine in 1917 focused exclusively on Strand’s work, signaling a new age in modern photography.
PaulStrand12
Richard Misrach was born in Los Angeles in 1949, and cur-rently lives and works in the Bay Area. During the 1970s he contributed to the emergence of color and large-scale display within contemporary fine art photography. For the majority of his career, Misrach has addressed the interaction of contem-porary society and nature, within a particular interest in the American West. Often times, this work subtly challenges the impact of modern society and nature.
RichardMisrach15
Perhaps best known as a painter and founding member of American modernism, Charles Sheeler (1883 – 1965) was also a celebrated photographer. Though he studied in Paris at the height of European modernism, he believed he could not survive making these kinds of paintings in the United States. As a result, Sheeler turned to commercial photography upon his return to the U.S. around 1912, initially photographing buildings for Philadelphia architects. He would continue to focus on architectural subjects in both his paintings and pho-tography, employing a highly focused and detailed aesthetic he labeled Precisionism.
CharlesSheeler12
Robert Adams was born in 1937 and is most notably asso-ciated with New Topographics, a photographic movement centered on capturing man-altered landscapes. Adams was included in an exhibition of the same name, along with Bernd and Hilla Becher, which was recently reproduced in a traveling exhibition and catalog.
Adams’ work is centered on issues of landscape including the documentation of human influence on the American West and the moments of transition within this region. His work is inspired both by his admiration for the intrinsic beauty of nature and his frustration with its degradation.
RobertAdams14
Aaron Siskind (1903-1991) is primarily known for connecting photography to ideas of Abstract Expressionism. His abstract and metaphoric work from the early 1940s reflects his close interaction with prominent Abstract Expressionist painters in-cluding Franz Klein, Barnett Newman and Mark Rothko. He played a significant role in shaping the education of emerg-ing photographers, working at Black Mountain College, the Institute of Design in Chicago and the Rhode Island School of Design, often at the invitation of or in collaboration with Harry Callahan.
The works shown here are from the series The Pleasures and Terrors of Levitation, a body of work completed from the mid-1950s to early 1960s of divers arrested in mid-leap. Siskind made these photographs with a hand-held twin-lens reflex camera along the perimeter of Lake Michigan in Chicago. The juxtaposition of balance and instability in these images is high-lighted by the series’ evocative title.
AaronSiskind16
©2010 Pier 24 Photography Publications
All rights reserved. No part of this publication may be repro-duced or transmitted in any form or by any means, electronic or mechanical, including photography, recording, or any infor-mation storage and retrieval system, without written permission from the publisher.
Catalog design Nate Phelps
Installation photography Tom O’Connor
German-born, American artist John Gutmann (1905-1998) initially trained as a painter under the tutelage of the German expressionist Otto Mueller. He began to pursue photography in 1933, shortly before fleeing Germany and settling in the San Francisco Bay Area. Gutmann largely photographed American popular culture, creating images that reflected his experience of his new home. He spent the final years of his life teaching modern art and art history at San Francisco State University.
John Gutmann16
Helen Levitt (1913 –2009) was born in Brooklyn, New York. In 1931, she began working for a commercial photographer in the Bronx. She is best known for her images of children, which she captured meandering through the streets of Span-ish Harlem. Her emblematic image of trick-or-treaters ex-hibited here was included in the inaugural exhibition of the MoMA’s photography department in 1940.
HelenLevitt16
Garry Winogrand (1928 – 1984) was primarily a street pho-tographer known for his documentation of America in the mid twentieth century. Born in New York, he studied photogra-phy at Columbia University and photojournalism at the New School for Social Research with Alexey Brodovitch. Wino-grand photographed constantly, approaching subject matter such as city streets, people, rodeos, airports and animals in zoos in innovative ways. At the time of his death, Winogrand left behind nearly 300,000 unedited images and more than 2,500 undeveloped rolls of film.
In 1967, John Szarkowski curated the exhibition New Docu-ments, which helped launch the careers of Winogrand, Diane Arbus and Lee Friedlander. That single exhibition signaled a change in documentary photography, which until that time was primarily used as a tool for social change.
GarryWinogrand17
Pier 24 The EmbarcadareoSan Francisco, CA 94105p. 415.512.7424f. 415.512.7456e. [email protected]