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Mary Street Alinder - Group f.64: Edward Weston, Ansel Adams, Imogen Cunningham, and the Community of Artists Who Revolutionized American Photography

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Group f.64: Edward Weston, Ansel Adams, Imogen Cunningham, and the Community of Artists Who Revolutionized American Photography: summary, description and annotation

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An engaging, illuminating group biography of the photographers of the seminal West Coast movement-the first in-depth book on Group f.64.
Group f.64 is perhaps the most famous movement in the history of photography, counting among its members Ansel Adams, Imogen Cunningham, Dorothea Lange, Willard Van Dyke, and Edward Weston. Revolutionary in their day, Group f.64 was one of the first modern art movements equally defined by women. From the San Francisco Bay Area, its influence extended internationally, contributing significantly to the recognition of photography as a fine art.
The group-first identified as such in a 1932 exhibition-was comprised of strongly individualist artists, brought together by a common philosophy, and held together in a tangle of dynamic relationships. They shared a conviction that photography must emphasize its unique capabilities-those that distinguished it from other arts-in order to establish the mediums identity. Their name, f.64, they took from a very small lens aperture used with their large format cameras, a pinprick that allowed them to capture the greatest possible depth of field in their lustrous, sharply detailed prints. In todays digital world, these straight photography champions are increasingly revered.
Mary Alinder is uniquely positioned to write this first group biography. A former assistant to Ansel Adams, she knew most of the artists featured. Just as importantly, she understands the art. Featuring fifty photographs by and of its members, Group f.64 details a transformative period in art with narrative flair.

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Always for Jim and our children Jasmine and Aims Jesse Zachary and - photo 1
Always for Jim and our children Jasmine and Aims Jesse Zachary and - photo 2
Always for Jim
and
our children
Jasmine and Aims
Jesse
Zachary and Amy
and our grandchildren
Alice and Eliza
Bayan, Kalista, Harley,
and
Wyatt
Alma Lavenson 1934 Contents Prologue October 1932 The Party Group - photo 3
Alma Lavenson, 1934
Contents
Prologue
October 1932
The Party
Group f.64
The Exhibition
Unsung Heroes
A Major Loss
The Way of Stieglitz
A Tale of Two Galleries
The Enemy Mortensen
Expansion
Divergence
Reaching Out
Relevance
Moving On
A Time to Soar
We Are Not Alone
Seeing Straight
Epilogue: After 1940
Picture Section
Acknowledgments
Appendix
Appendix
Appendix
Appendix
Notes
Photograph Credits
A Note on the Author
By the Same Author
Prologue
In 1932 an energetic alliance of dedicated San Francisco Bay Area photographers burst upon the art world, demanding local attention and looking beyond to the East Coast. These westerners believed they were redefining photography, finding a new way of seeing. Before them loomed two roadblocks: Alfred Stieglitz in New York and Pictorialism, the popular photographic style that was the antithesis of their philosophy.
The center of the American photographic universe was New York City, where Stieglitz had ruled as the largely unchallenged leader of modern art, including photography, for three decades. As far as cultural achievements went, the long-established East held the fledgling West in contempt. The most respected western photographers had brought their work to Stieglitz, but he rarely saw anything he valued, and certainly nothing he would exhibit in his gallery.
California photographers felt misunderstood and excluded. They were aware that easterners in general dismissed their work as Their critics did not realize that the Wests everyday landscapefrom the mountains to the desert to the oceanwas far more spectacular than that in the East, which was soft in comparison. Stieglitz had never traveled past Chicago; summers spent at his familys summer house on genteel Lake George were his experiences of the great
After the end of World War I in 1918, industrialization boomed, especially on the East Coast. Machines and mechanization promised that everything was possible. Now that the War to End All Wars had been survived, the future looked golden. In 1920 the Nineteenth Amendment to the Constitution was passed, and women finally had the right to vote. This was a fresh age, the Jazz Age, when Victorian constrictions were quickly shed. Celebrating their new freedom and independence, women bobbed their long hair and shortened their skirts by feet, not inches.
Modernism permeated the American air, and Stieglitz had been one of the first photographers to gain a modernist perspective, taking his camera out of the studio and into the New York streets as early as 1893. Modernists pursued an aesthetic that emphasized the reality of contemporary life rather than the romanticized version of the world that had long been dominant and popular in the Easterners lived in a far more industrialized world than those in the West, and identified more with mans achievements. Modernist photographers in the East brought their cameras close to their subjects, disclosing what made each machine tick, delighting in every man-made form. They isolated subjects, removing them from their natural context and making them stand on their own. In the East, photographing the landscape was seen as old-fashioned, from the nineteenth
Northern California photographers, on the other hand, influenced by the writings of Walt Whitman, Ralph Waldo Emerson, Edward Carpenter, and Robinson Jeffers, found the landscape central to their identities and a portal to the divine. They believed that a photograph could capture a certain essence, what they would sometimes call transcendence, by revealing each subject fully and honestly. They lived surrounded by great natural beauty, rather than in the shadows of skyscrapers. San Francisco, a city of steep hills, offered distant views everywhere. To the north across the straits of the Golden Gate, the grass-covered Coastal Range of Marin County showed no sign of human habitation. To the west, the Pacific Ocean thundered. Across San Francisco Bay to the east, beyond the flat urban sprawl of Oakland and Berkeley, rose the backdrop of the 4,000-foot-high Mount Diablo, hinting at the foothills beyond that led to the spectacular Sierra Nevada.
In 1932 much of Northern California had only recently been wrested from wilderness. San Francisco was a Spanish outpost of two hundred souls before the gold rush of 1848, followed by California statehood in 1850, precipitated a flood of new immigrants seeking their fortunes. The closest large port to where gold had been discovered near Sacramento, San Francisco was a rough-and-tumble city, with a particularly large red-light district known as the Barbary Coast.
The citys founders recognized the splendor of its physical setting. When New York began building Central Park in the 1860s, San Francisco quickly responded in kind, setting aside a swath of greenbelt that stretched three miles west, to the limits of its Pacific beaches, and half a mile wideGolden Gate Park. The Bay Area was the birthplace of the American environmental movement, both the Sierra Club (founded in 1892 by John Muir and others) and the Sempervirens Club (begun in 1900) establishing a tradition of citizen activism and responsibility to protect this beautiful though fragile
San Francisco is truly defined by its geology as well as its landscape, with the San Andreas fault just offshore. The massive 1906 earthquake and the fires that broke out in its wake devastated a large part of the city, leaving 225,000 people homeless out of a total populace of 400,000. Drawing on the rugged spirit of its pioneer forebears, San Francisco rebuilt itself into a sophisticated city. In 1915, to celebrate its rise from the ashes and the opening of the Panama Canal, which would bring more ships and goods to port, the city organized the Panama-Pacific International Exposition, showcasing the contemporary worlds of science and art for all to see.
By 1932, with the heavy pall of the Great Depression over the whole country, San Francisco had grown to over half a million people. California suffered mightily, but it was less dependent on manufacturing than the East and thus not quite as hard-hit. In bad economic times, however, artists are often the most affected; art is an unaffordable luxury when stomachs are empty. Creative photographers in Northern California felt the lack of the well-established community that supported artists in the East, especially in New York. In 1932 they lived physically isolated lives, not only a continents breadth from New York but also remote from each other. The lack of bridges hampered travel between communities; the four and a half miles between Oakland and San Francisco could be crossed only by ferry until the Bay Bridge finally opened in 1936, followed by the Golden Gate Bridge in 1938.
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