October 18, 1998

Berenice Abbott: Changing New York, NMWA, Washington DC - National Museum of Woman in the Arts

Berenice Abbott: Changing New York 
National Museum of Woman in the Arts, Washington DC
October 22, 1998 - January 19, 1999

To put it mildly, I have and have had a fantastic passion
for New York, photographically speaking.
Berenice Abbott

Changing New York is photographer Berenice Abbott’s extraordinary documentation of New York from 1935 to 1939, when the city lost its 19th-century trappings to skyscrapers that would transform the skyline. From Oct. 22, 1998 through Jan. 19, 1999, the National Museum of Women in the Arts (NMWA) exhibits 126 of the 305 unique vintage prints produced by Berenice Abbott for the project, many on display for the first time.

Berenice Abbott (1898-1991) arrived in New York as an aspiring sculptor from her native Ohio in 1918, then joined the expatriate exodus of artists to Paris in 1921. She began work in photographer Man Ray’s studio, beginning as a darkroom assistant and building a reputation as a portraitist of the cultural elite that rivaled his. Berenice Abbott found her aesthetic muse in Eugene Atget, and rescued his photographs documenting the streets of Paris. When she returned to New York in January 1929 to locate a publisher for a book of Eugene Atget’s photographs, Berenice Abbott was inspired by the change: "The new things that had cropped up in eight years, the sights of the city, the human gesture here sent me mad with joy and I decided to come back to America for good."

In 1935, with the patronage of the Museum of the City of New York, Berenice Abbott received funding from the Federal Arts Project that allowed her to work for the next four years creating her masterpiece, Changing New York. She concentrated not only on new skyscrapers and mass transit but also on subjects that were disappearing because of these changes. Although people are represented, architecture is the principal subject. Berenice Abbott and an assistant transported 60 pounds of camera equipment through the city streets of New York, including a large view camera with negatives measuring 8-by-10 inches, the same size as the prints.

As the project progressed, Berenice Abbott developed a more daring, experimental style, and she returned to some sites, such as the Flatiron Building, with new compositional ideas. She exposed the last negative for Changing New York in November 1938; due to financial and bureaucratic difficulties she never finished her master plan. Because of its support of Berenice Abbott’s work, the Museum of the City of New York received a unique set of mounted prints, as well as the project’s negatives, proofs, and research files.

The prints selected for this exhibition are arranged in eight geographical sections, mirroring Berenice Abbott’s approach to her subject: Wall Street, Lower East Side, Greenwich Village, Lower West Side, Middle West Side, Middle East Side, North of 59th Street, and Outer Boroughs. More than half of the project depicts sites in lower Manhattan, more due to historical importance than artistic preference.

Berenice Abbott’s Changing New York, 1935-1939 was organized by the Museum of the City of New York. It is curated by Bonnie Yochelson, consulting curator at MCNY, who will lecture at NMWA on Nov. 3 at 7 p.m. Yochelson is also the author of Berenice Abbott: Changing New York, the Complete WPA Project (The New Press), the first comprehensive catalogue of MCNY’s Abbott collection, available in NMWA’s museum shop in hardcover ($60). 

Funding for the exhibition and the accompanying book has been provided by the National Endowment for the Arts, the Furthermore Division of the J.M. Kaplan Fund, and Commerce Graphics, Ltd, Inc. Presentation at NMWA is generously supported by the Women’s Committee and the Members’ Exhibition Fund.

The exhibition will travel to der Kunstverein für die Rheinlande und Westfalen in Düsseldorf, March 26—June 24, 1999; Musée Carnavalet in Paris, Oct. 11, 1999—Jan. 16, 2000; and the Stockholms Stadsmuseum, Feb.—May 2000.

1250 New York Avenue, NW, Washington DC

Updated 05.07.2019

October 16, 1998

Compact numérique Nikon Coolpix 600

Sortie en 1998, après le Coolpix 100 et le Coolpix 300, sorties en 1997, le compact Nikon Coolpix 600 est le troisième appareil photo numérique fabriqué par Nikon. Par rapport aux deux premiers appareils, le boitier du Coolpix 600 prend la même forme que la plupart des appareils photos argentiques de format APS.
La même année sort le Coolpix 900.

Liens vers d'autres messages connexes du blog : Anciens Compacts Nikon --- Nikon Coolpix 100 --- Nikon Coolpix 300 --- Nikon Coolpix 700 --- Nikon Coolpix 775 --- Nikon Coolpix 800 --- Nikon Coolpix 880 --- Nikon Coolpix 885 --- Nikon Coolpix 900 --- Nikon Coolpix 950 --- Nikon Coolpix 990 --- Nikon Coolpix 995 --- Nikon Coolpix 2000 --- Nikon Coolpix 2100 --- Nikon Coolpix 2500 --- Nikon Coolpix 3100 --- Nikon Coolpix 3500 --- Nikon Coolpix 3700 --- Nikon Coolpix 4300 --- Nikon Coolpix 4500 --- Nikon Coolpix 5000 --- Nikon Coolpix 5400 --- Nikon Coolpix 5700 --- Nikon Coolpix SQ

October 1, 1998

Trance: Hypnotic Video Art

Philadelphia Arts
Philadelphia Museum of Art presents Trance, An Exhibition Of Hypnotic Contemporary Video

Although rapid, MTV-style editing may be the mode most commonly associated with contemporary video, a significant number of notable video artists are exploring more deliberate and slowly paced approaches to the medium. Trance: New Work in Video, an exhibition on view from October 6, 1998 through January 10, 1999, will feature seven works made by artists during the 1990s.

The videos in Trance have been edited using techniques such as slow motion and repetition to produce powerful and hypnotic effects. Projected directly onto a large screen, each video will be shown for a period of two weeks. Trance will be on view in the Video Gallery 179 on the first floor.

Featured artists include Pipilotti Rist, a Swiss artist whose video Pamela (1997) is a mesmerizing take on a day in the life of a flight attendant; Canadian Rodney Graham, whom we watch sleep in the back of a van as it drives through the city streets of Vancouver in Halcion Sleep (1994); New Yorker Seoungho Cho, a native of South Korea whose work, Identical Time (1997), presents images of a blighted subway journey to reflect upon urban isolation and dislocation; Philadelphia's Peter Rose, who explores subterranean rituals that celebrate the solstices and equinoxes of the sun in Understory (1997); Helen Mirra, a resident of Chicago, excerpts Jean Vigo's 1934 film L'Atalante in Third (1998), a spellbinding video in which time seems suspended; British artist Abigail Lane whose work Never Never Mind lyrically blends sound and image to capture a few pigeons in a seemingly "neurotic" moment; and American Bill Viola, who created The Passing (1991) as a personal response to birth and death in the family.

Trance has been organized by Kathleen Forde of the Department of 20th-Century Art.