Klett graduated from St. Lawrence University in Canton, New York, in 1974 with his bachelor?s degree in geology. In 1977, he received his Masters of Fine Arts degree in Photography from State University of New York in Buffalo. He also completed a program of photographic studies at the Visual Studies Workshop in Rochester, New York. Klett?s solo exhibitions include the National Museum of American Art at the Smithsonian Institution in Washington, D.C.; the Center for Creative Photography in Tucson, Arizona; the Museum of Contemporary Photography in Chicago, Illinois; and the Tokyo Metropolitan Museum of Photography in Japan. The Antwerp Museum of Photography in Belgium, the Art Institute of Chicago, the George Eastman House in Rochester, New York, and the Museum of Modern Art in New York are among the numerous permanent collections that include works by Klett. Klett was influenced by the late 19th century expeditionary, Timothy O?Sullivan. Famous for documenting the so-called unexplored territories of the West, O?Sullivan?s images always manage to reveal the effects man has had on the landscape. Klett?s work also focuses on the interaction between man and his environment.
Gelatin Silver Print
Camp 3 at Lake Powell Near the Mouth of West Canyon
Klett graduated from St. Lawrence University in Canton, New York, in 1974 with his bachelor?s degree in geology. In 1977, he received his Masters of Fine Arts degree in Photography from State University of New York in Buffalo. He also completed a program of photographic studies at the Visual Studies Workshop in Rochester, New York. Klett?s solo exhibitions include the National Museum of American Art at the Smithsonian Institution in Washington, D.C.; the Center for Creative Photography in Tucson, Arizona; the Museum of Contemporary Photography in Chicago, Illinois; and the Tokyo Metropolitan Museum of Photography in Japan. The Antwerp Museum of Photography in Belgium, the Art Institute of Chicago, the George Eastman House in Rochester, New York, and the Museum of Modern Art in New York are among the numerous permanent collections that include works by Klett. Klett was influenced by the late 19th century expeditionary, Timothy O?Sullivan. Famous for documenting the so-called unexplored territories of the West, O?Sullivan?s images always manage to reveal the effects man has had on the landscape. Klett?s work also focuses on the interaction between man and his environment.
A View of the Annaparnas, Glacier Dome and Ice Fall from a Manang rooftop, Nepal
Klett graduated from St. Lawrence University in Canton, New York, in 1974 with his bachelor?s degree in geology. In 1977, he received his Masters of Fine Arts degree in Photography from State University of New York in Buffalo. He also completed a program of photographic studies at the Visual Studies Workshop in Rochester, New York. Klett?s solo exhibitions include the National Museum of American Art at the Smithsonian Institution in Washington, D.C.; the Center for Creative Photography in Tucson, Arizona; the Museum of Contemporary Photography in Chicago, Illinois; and the Tokyo Metropolitan Museum of Photography in Japan. The Antwerp Museum of Photography in Belgium, the Art Institute of Chicago, the George Eastman House in Rochester, New York, and the Museum of Modern Art in New York are among the numerous permanent collections that include works by Klett. Klett was influenced by the late 19th century expeditionary, Timothy O?Sullivan. Famous for documenting the so-called unexplored territories of the West, O?Sullivan?s images always manage to reveal the effects man has had on the landscape. Klett?s work also focuses on the interaction between man and his environment.
Tsering, Sherpa Cook, and Ishi, his Tibetan friend and assistant, Gorapani, Nepal
Klett graduated from St. Lawrence University in Canton, New York, in 1974 with his bachelor?s degree in geology. In 1977, he received his Masters of Fine Arts degree in Photography from State University of New York in Buffalo. He also completed a program of photographic studies at the Visual Studies Workshop in Rochester, New York. Klett?s solo exhibitions include the National Museum of American Art at the Smithsonian Institution in Washington, D.C.; the Center for Creative Photography in Tucson, Arizona; the Museum of Contemporary Photography in Chicago, Illinois; and the Tokyo Metropolitan Museum of Photography in Japan. The Antwerp Museum of Photography in Belgium, the Art Institute of Chicago, the George Eastman House in Rochester, New York, and the Museum of Modern Art in New York are among the numerous permanent collections that include works by Klett. Klett was influenced by the late 19th century expeditionary, Timothy O?Sullivan. Famous for documenting the so-called unexplored territories of the West, O?Sullivan?s images always manage to reveal the effects man has had on the landscape. Klett?s work also focuses on the interaction between man and his environment.
Floyd and Kathy Robins
Dater is recognized as one of today?s leading photographers. She has been the recipient of numerous awards, including a Guggenheim Fellowship, a National Endowment for the Arts, Individual Artist Grant, and a Dorothea Lange Award. Her works have appeared in exhibitions at the International Center of Photography in New York, Webster University in St. Louis, and California College of Arts and Crafts. The Metropolitan Museum of Art in New York, Center for Creative Photography in Tucson, Arizona, International Museum for Photography in Rochester, New York and Yale University Art Gallery contain her works in their permanent collections. Dater manages every detail of the portrait and never leaves anything to chance. This staging gives her portraits a formal quality reminiscent of monumental oil paintings of the 19th century. The subjects are instructed on what to wear, how to act and even where to look. Judy admits these portraits are not spontaneous at all because she directs every detail to achieve the outcome she desires. Dater says each of her portraits is just a reflection of herself; she says it is unreasonable to think the ?self? could avoid being included in her work.
Untitled (William Prust II)
Dater is recognized as one of today?s leading photographers. She has been the recipient of numerous awards, including a Guggenheim Fellowship, a National Endowment for the Arts, Individual Artist Grant, and a Dorothea Lange Award. Her works have appeared in exhibitions at the International Center of Photography in New York, Webster University in St. Louis, and California College of Arts and Crafts. The Metropolitan Museum of Art in New York, Center for Creative Photography in Tucson, Arizona, International Museum for Photography in Rochester, New York and Yale University Art Gallery contain her works in their permanent collections. Dater manages every detail of the portrait and never leaves anything to chance. This staging gives her portraits a formal quality reminiscent of monumental oil paintings of the 19th century. The subjects are instructed on what to wear, how to act and even where to look. Judy admits these portraits are not spontaneous at all because she directs every detail to achieve the outcome she desires. Dater says each of her portraits is just a reflection of herself; she says it is unreasonable to think the ?self? could avoid being included in her work.
Untitled (William Prust I)
Dater is recognized as one of today?s leading photographers. She has been the recipient of numerous awards, including a Guggenheim Fellowship, a National Endowment for the Arts, Individual Artist Grant, and a Dorothea Lange Award. Her works have appeared in exhibitions at the International Center of Photography in New York, Webster University in St. Louis, and California College of Arts and Crafts. The Metropolitan Museum of Art in New York, Center for Creative Photography in Tucson, Arizona, International Museum for Photography in Rochester, New York and Yale University Art Gallery contain her works in their permanent collections. Dater manages every detail of the portrait and never leaves anything to chance. This staging gives her portraits a formal quality reminiscent of monumental oil paintings of the 19th century. The subjects are instructed on what to wear, how to act and even where to look. Judy admits these portraits are not spontaneous at all because she directs every detail to achieve the outcome she desires. Dater says each of her portraits is just a reflection of herself; she says it is unreasonable to think the ?self? could avoid being included in her work.
Landscape, Indiana Summer
Davis received his B.S. degree in Cinema and Photography from Southern Illinois University and his M.A. degree in the History of Art from the University of New Mexico. He held a research internship at the International Museum of Photography at George Eastman House in Rochester, New York, from 1978-79. In 1979 he became Curator of the Hallmark Fine Art Collections, Chief Curator in 1987, and Fine Arts Program Director in 1992. Davis is also an adjunct professor of Art History at the University of Missouri in Kansas City. He has curated more than sixty exhibitions from the Hallmark art and photography holdings, which have been seen in leading museums throughout the United States and in Great Britain, France, Canada, New Zealand, Australia, and Switzerland. Davis has authored twelve catalogs and books, including An American Century of Photography: From Dry-Plate to Digital and The Photographs of Dorothea Lange.
Railroad Tracks Near Kansas City
Davis received his B.S. degree in Cinema and Photography from Southern Illinois University and his M.A. degree in the History of Art from the University of New Mexico. He held a research internship at the International Museum of Photography at George Eastman House in Rochester, New York, from 1978-79. In 1979 he became Curator of the Hallmark Fine Art Collections, Chief Curator in 1987, and Fine Arts Program Director in 1992. Davis is also an adjunct professor of Art History at the University of Missouri in Kansas City. He has curated more than sixty exhibitions from the Hallmark art and photography holdings, which have been seen in leading museums throughout the United States and in Great Britain, France, Canada, New Zealand, Australia, and Switzerland. Davis has authored twelve catalogs and books, including An American Century of Photography: From Dry-Plate to Digital and The Photographs of Dorothea Lange.
Fa?ade #7
Siskind is one of the leading figures in the evolution of modern photography. He received a Bachelor of Social Science degree from the College of the City of New York in 1926. After graduating, he earned his living teaching English in the New York public school system. Since fine art photography was not being taught in colleges, Siskind learned his photography skills by repeatedly practicing on making exposures and print photographs. He joined the politically conscious and socially active Photo League group in New York City and gained notoriety for his documentary style of photography. Ordinary people from the streets of New York were his subjects in these early works. By 1943 he moved in another direction with encouragement from some of his fellow artists. These artists called themselves the New York School but later became known as Abstract Expressionists. This group of friends included Adolph Gottlieb, Robert Motherwell, Jackson Pollock, Mark Rothko, and Willem de Kooning. His friends from this group offered Siskind the kind of support he needed to pursue this new direction in his work. No other photographers were working in the abstract style at this time. He learned not only to share his new work with his friends, but also to bounce ideas around with them. He developed a new mode of abstraction that was somewhat similar to the gestural works of the Abstract Expressionist painter Franz Kline. These new photographs had a powerful and stark appearance. Viewers of these new photographs learned to experience and interpret new visual forms. Often the spectator found himself pondering what these new visual forms suggested. Soon viewers discovered the relationships that existed between the forms, and a whole new visual language in photography opened up.