Bruguière, his photographs and his life

Enyeart, James

KNOPF

The American Southwest has shaped the lives and work of many artists and literary figures over the last century--Georgia O'Keeffe, D. H. Lawrence, N. Scott Momaday, to name a few--individuals unquestionably drawn to the unrivaled landscape, moved to express its beauty through the written word or through their art, and forever altered by the experience.
The survey of photographers and photography in the Southwest between 1870 and 1970 begins with Timothy O'Sullivan and other late nineteenth-century expedition photographers and ends with the color landscape photography of Eliot Porter. In between are Laura Gilpin's portraits of Navajos taken during the 1930s and the documentary images of rural Hispanic communities by Farm Security Administration photographers John Collier Jr. and Russell Lee in the 1940s.
James L. Enyeart, one of the nation's most distinguished curators and photographic historians, contemplates the common affinity for the landscape and cultural ambiance of the region by these visionary photographers, even though separated by style, intent, and time.
Nineteen photographers in all are represented--also including Ansel Adams, Paul Strand, Edward Weston--along with 102 photographs.

Land, Sky, and All That Is Within: Visionary Photographers in the Southwest

Arts & Photography

Photography & Video

Museum of New Mexico Pr

The author weaves 135 reproductions of Dow's images with essays about the artist's personal and professional life, and a clear picture of Dow's contributions to early modernist photography develops as a result.

Harmony of Reflected Light: The Photographs of Arthur Wesley Dow

Dow, Arthur W.

The young Jasper Johns stands atop a small ladder to smooth one of the gridlines on his silver "Numbers" painting of 1964. He is wearing an oddly coordinated padded silver jumpsuit, mindless of the camera that captures him mid-gesture. Photographed the same year, Roy Lichtenstein strides thoughtfully across his studio floor while his two young sons read from dozens of comic books spread out all over the rug. In 1967, Diane Arbus leans against a tabletop at The Museum of Modern Art, New York, nonchalant in a chic white minidress and matching thigh-high boots, while her camera hangs heavily around her neck. This deluxe collection of intimate, highly compelling color and black-and-white photographs includes portraits of many of the most important and pioneering artists of the postwar period in American art. The series, which includes studies of Henri Cartier-Bresson, Lee Bontecou, Louise Bourgeois, John Chamberlain, Willem de Kooning, Helen Frankenthaler, Philip Guston, Ellsworth Kelly, Louise Nevelson, Barnett Newman, Isamu Noguchi, Claes Oldenburg, Robert Rauschenberg, Mark Rothko and many others, was, in fact, initially inspired by the work of Cartier-Bresson, from whom Budnik learned to adopt an attitude of anonymity with respect to his subjects, working--as noted photo historian James Enyeart writes in his catalogue essay--"at the periphery of their attentiveness to his camera." Features outstanding essays by Enyeart and Irving Sandler, America's premier chronicler of postwar American art, as well as a reprint of a little-known essay by the influential British art critic and curator David Sylvester, which was originally published alongside Budnik's photographs in 1964.

Dan Budnik: Picturing Artists, 1950s-1960s

SANDLER, Irving

History & Criticism

Knoedler & Company

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