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You searched for +publisher:"University of Arizona" +contributor:("Nickel, Douglas"). Showing records 1 – 2 of 2 total matches.

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University of Arizona

1. Swensen, James R. The Rephotographic Survey Project (19770-1979) and the Landscape of Photography .

Degree: 2009, University of Arizona

In 1976 two young photographers, Mark Klett and JoAnn Verburg, and a photo-historian named Ellen Manchester came together with an idea to rephotograph sites in the American West that had originally been documented by survey photographers such as William Henry Jackson and Timothy O'Sullivan. By the spring of 1977 and with the support of various organizations they began a project that spanned the next three years and would eventually become known as the Rephotographic Survey Project (RSP). In many ways, the RSP represents an important moment in the history of photography and the representation of the American West. Through analysis of their work, archival documents, contemporary sources, and interviews with the original members of the RSP and several others, this dissertation examines the activities of the project and its various members, which also included Gordon Bushaw and Rick Dingus. More than the RSP, this dissertation also focuses on the growing culture of photography that boomed in the 1970s. Photography was no longer seen as an outsider to the world of art but was benefiting from newfound opportunities and growth. Without such a culture, this work argues, it would not have been possible for the RSP to take place. By the end of their project, however, photography was undergoing another important transition as modernism was giving way to the more critical climate of postmodernism. When the RSP finally published their work In 1984, their project and the community of photography that fostered their ideas was undergoing profound changes. This study also closely examines the RSP's fieldwork in the American West and the various discourses that the project encountered in this meaningful space. Like photography, the West was undergoing significant changes that the RSP was able to observe and document. Through their process that matched images from the past with photographs of their present, the RSP was able to record diverse landscapes that had or had not changed over the subsequent century. Furthermore, it also provided insight into the ways in which the West had been represented and perceived over time and in a new history of the West. Advisors/Committee Members: McElroy, Keith (advisor), Nickel, Douglas (committeemember), Moore, Sarah J. (committeemember), Jenkins, William (committeemember), Morrissey, Katherine (committeemember).

Subjects/Keywords: 1970s Photography; American West; History of Photography; Landscape Photography; New Western History; Rephotography

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APA (6th Edition):

Swensen, J. R. (2009). The Rephotographic Survey Project (19770-1979) and the Landscape of Photography . (Doctoral Dissertation). University of Arizona. Retrieved from http://hdl.handle.net/10150/194916

Chicago Manual of Style (16th Edition):

Swensen, James R. “The Rephotographic Survey Project (19770-1979) and the Landscape of Photography .” 2009. Doctoral Dissertation, University of Arizona. Accessed October 23, 2020. http://hdl.handle.net/10150/194916.

MLA Handbook (7th Edition):

Swensen, James R. “The Rephotographic Survey Project (19770-1979) and the Landscape of Photography .” 2009. Web. 23 Oct 2020.

Vancouver:

Swensen JR. The Rephotographic Survey Project (19770-1979) and the Landscape of Photography . [Internet] [Doctoral dissertation]. University of Arizona; 2009. [cited 2020 Oct 23]. Available from: http://hdl.handle.net/10150/194916.

Council of Science Editors:

Swensen JR. The Rephotographic Survey Project (19770-1979) and the Landscape of Photography . [Doctoral Dissertation]. University of Arizona; 2009. Available from: http://hdl.handle.net/10150/194916


University of Arizona

2. O'Toole, Erin Kathleen. No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art .

Degree: 2010, University of Arizona

In 1940 the Museum of Modern Art, New York, (MoMA) became the first major American art museum to establish a curatorial department dedicated exclusively to photography. From the perspective of the photographers, curators, and critics who had sought institutional legitimacy for the medium, the founding of the Department of Photographs was a watershed event, marking the moment when photography finally came to be recognized as a museum subject equal to painting and sculpture. Although the department has since had a pervasive influence on the field and the history of photography, surprisingly little scholarship has addressed its contentious formation. This dissertation seeks to fill this significant gap in the literature by examining the department's inception and the six years Beaumont Newhall served as its curator.Of particular concern are the ideological battles waged over how photography would be presented at MoMA by Newhall, his wife Nancy – who served as acting curator when her husband enlisted in the army during World War II – and the department's co-founder and key advisor, Ansel Adams. As acolytes of the photographer and gallerist Alfred Stieglitz, who himself had long fought for the recognition of photography as a medium of art, the Newhalls and Adams took aesthetic quality as their guiding metric, asserting that in order to raise the profile of photographers, educate the public, and improve standards of taste, the museum should show only the very best work ever created – the "heavy cream" of photographic production. Their vision for photography at the museum was counterbalanced by that of the photographer Edward Steichen and many prominent writers and critics, who argued that MoMA should treat photography as a broad-ranging cultural phenomenon and means of communication, rather than merely as a medium of self expression. The debate between these two camps illustrates the considerable philosophical, interpretive, and museological challenges raised by photography's introduction into the museum, issues that remain as contentious as ever. Advisors/Committee Members: Nickel, Douglas R (advisor), Moore, Sarah J (advisor), McElroy, Keith (committeemember), Jenkins, William (committeemember), Crane, Susan A. (committeemember).

Subjects/Keywords: Adams; Ansel; Museum of Modern Art; Newhall; Beaumont; Nancy; Photography; Steichen; Edward

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

O'Toole, E. K. (2010). No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art . (Doctoral Dissertation). University of Arizona. Retrieved from http://hdl.handle.net/10150/204109

Chicago Manual of Style (16th Edition):

O'Toole, Erin Kathleen. “No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art .” 2010. Doctoral Dissertation, University of Arizona. Accessed October 23, 2020. http://hdl.handle.net/10150/204109.

MLA Handbook (7th Edition):

O'Toole, Erin Kathleen. “No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art .” 2010. Web. 23 Oct 2020.

Vancouver:

O'Toole EK. No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art . [Internet] [Doctoral dissertation]. University of Arizona; 2010. [cited 2020 Oct 23]. Available from: http://hdl.handle.net/10150/204109.

Council of Science Editors:

O'Toole EK. No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art . [Doctoral Dissertation]. University of Arizona; 2010. Available from: http://hdl.handle.net/10150/204109

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