Ross Graphics

One week left! 🌱🌏 𝗛𝗲𝗹𝗲𝗻 𝗮𝗻𝗱 𝗡𝗲𝘄𝘁𝗼𝗻 𝗛𝗮𝗿𝗿𝗶𝘀𝗼𝗻: 𝗖𝗮𝗹𝗶𝗳𝗼𝗿𝗻𝗶𝗮 𝗪𝗼𝗿𝗸 closes December 7. There are still plenty of opportunities to stop by and explore the Harrisons’ vision for the transformative potential of art in issues of environmental justice, urbanization, and resource management. Join us for our final public program of the quarter:

💬 Graduate Student Lunchtime Lectures: “𝗦𝗽𝗲𝗰𝘂𝗹𝗮𝘁𝗶𝘃𝗲 𝗦𝗲𝗺𝗶𝘁𝗿𝗼𝗽𝘁𝗶𝗰” by Nico King, Thursday December 5, 12:30

For full details check the link in bio.

🟦 The Mandeville Art Gallery at UC San Diego presents "𝗛𝗲𝗹𝗲𝗻 𝗮𝗻𝗱 𝗡𝗲𝘄𝘁𝗼𝗻 𝗛𝗮𝗿𝗿𝗶𝘀𝗼𝗻: 𝗖𝗮𝗹𝗶𝗳𝗼𝗿𝗻𝗶𝗮 𝗪𝗼𝗿𝗸," a retrospective showcasing the pioneering ecological art of the Harrisons through nearly 20 projects from the late 1960s to 2000s, exploring themes of environmental awareness. Admission is free. 🟦

“Force Majeure, framed ecologically, enacts in physical terms, outcomes on the ground” — from “A Manifesto for the 21st Century”

𝘍𝘶𝘵𝘶𝘳𝘦 𝘎𝘢𝘳𝘥𝘦𝘯𝘴, on view at Mandeville Art Gallery, speaks to the Harrisons’ hope of saving the planet in the face of the crisis posed by climate change and its threat to Earth’s many ecosystems and their adaptive responses to Force Majeure, the pressure on planetary systems that are negatively impacted by industrial processes.

🌎 Join us on Saturday for 𝗙𝘂𝘁𝘂𝗿𝗲 𝗚𝗮𝗿𝗱𝗲𝗻𝘀 𝗮𝘀 𝗘𝗰𝗼-𝗖𝘂𝗹𝘁𝘂𝗿𝗮𝗹 𝗖𝗼𝗹𝗹𝗮𝗯𝗼𝗿𝗮𝘁𝗶𝗼𝗻𝘀, a panel discussion on 𝘍𝘶𝘵𝘶𝘳𝘦 𝘎𝘢𝘳𝘥𝘦𝘯𝘴 to learn more. The event is moderated by Anne Douglas and Chris Fremantle and it features speakers Josh Harrison, Gabriel Harrison, and Laura and Benny Fillmore.

📍 Saturday, November 23, 2:00pm. Mandeville Art Gallery. Full details in link in bio.

🟦 The Mandeville Art Gallery at UC San Diego presents 𝗛𝗲𝗹𝗲𝗻 𝗮𝗻𝗱 𝗡𝗲𝘄𝘁𝗼𝗻 𝗛𝗮𝗿𝗿𝗶𝘀𝗼𝗻: 𝗖𝗮𝗹𝗶𝗳𝗼𝗿𝗻𝗶𝗮 𝗪𝗼𝗿𝗸, a retrospective showcasing the pioneering ecological art of the Harrisons through nearly 20 projects from the late 1960s to 2000s, exploring themes of environmental awareness. Admission is free. 🟦

https://en.wikipedia.org/wiki/Robert_Irwin_(artist)

Robert Irwin (artist) - Wikipedia Robert W. Irwin (September 12, 1928 – October 25, 2023) was an American installation artist who explored perception and the conditional in art, often through site-specific, architectural interventions that alter the physical, sensory and temporal experience of space.

Here comes the sun ✌🌞

The Summer Solstice is here again. Solstice has been the subject of artworks since prehistoric times, and will continue to be a generator (literally) of inspiration and energy for artists everywhere.

Get out there, enjoy this beautiful day, and remember: The Sun shines upon all of us just the same.

[Victor Moscoso, "Summer of Love"; 1987; Accessions Committee Fund purchase; ©Victor Moscoso]

Edward Weston, Photographer , with His Cats, 1945


#ƒ64

Cunningham was born in Portland, Oregon, in 1883. In 1901, at the age of eighteen, Cunningham bought her first camera, a 4x5 inch view camera, from the American School of Art in Scranton, Pennsylvania. She soon lost interest and sold the camera to a friend. It wasn't until 1906, while studying at the University of Washington in Seattle, that she was inspired by an encounter with the work of Gertrude Käsebier, to take up photography again. With the help of her chemistry professor, Dr. Horace Byers, she began to study the chemistry behind photography and she subsidized her tuition by photographing plants for the botany department.
After graduating in 1907, Cunningham went to work for Edward S. Curtis in his Seattle studio, gaining knowledge about the portrait business and practical photography.
In 1909, Cunningham won a fellowship from her sorority (Pi Beta Phi) for foreign study and applied to study with Professor Robert Luther at the Technische Hochschule in Dresden, Germany. In Dresden she concentrated on her studies and didn't take many photographs. In May 1910 she finished her paper, "About the Direct Development of Platinum Paper for Brown Tones", describing her process to increase printing speed, improve clarity of highlights tones, and produce sepia tones. On her way back to Seattle she met Alvin Langdon Coburn in London, and Alfred Stieglitz and Gertrude Käsebier in New York.

In Seattle, Cunningham opened her studio and won acclaim for portraiture and pictorial work. Most of her studio work of this time consisted of sitters in their own homes, in her living room, or in the woods surrounding Cunningham's cottage. She became a sought after photographer and exhibited at the Brooklyn Academy of Arts and Sciences in 1913.
In 1914, Cunningham's portraits were shown at An International Exhibition of Pictorial Photography in New York. Wilson's Photographic Magazine published a portfolio of her work.
The next year, she married Roi Partridge, a teacher and artist. He posed for a series of n**e photographs, which were shown by the Seattle Fine Arts Society. Although critically praised, Cunningham didn't revisit those photographs for another fifty-five years. Between 1915 and 1920, Cunningham continued her work and had three children (Gryffyd, Rondal, and Padraic) with Partridge. In 1920, they moved to San Francisco where Partridge taught at Mills College.
Cunningham refined her style, taking a greater interest in pattern and detail and becoming increasingly interested in botanical photography, especially flowers. Between 1923 and 1925 she carried out an in-depth study of the magnolia flower. Later in the decade she turned her attention toward industry, creating several series of industrial landscapes in Los Angeles and Oakland.

In 1929, Edward Weston nominated 10 of Cunningham's photographs (8 botanical, 1 industrial, and 1 n**e) for inclusion in the "Film und Foto" exhibition and her renowned, Two Callas, debuted in that exhibition.
Cunningham once again changed direction, becoming more interested in the human form, particularly hands, and she was fascinated with the hands of artists and musicians. This interest led to her employment by Vanity Fair, photographing stars without make-up. In 1932, with this unsentimental, straightforward approach in mind, Cunningham became one of the co-founders of the Group f/64, which aimed to "define photography as an art form by a simple and direct presentation through purely photographic methods."
In 1934, Cunningham was invited to do some work in New York for Vanity Fair. Her husband wanted her to wait until he could travel with her, but she refused. They divorced that year. She continued with Vanity Fair until it stopped publication in 1936.
In the 1940s, Cunningham turned to documentary street photography, which she executed as a side project while supporting herself with her commercial and studio photography. In 1945, Cunningham was invited by Ansel Adams to accept a position as a faculty member for the art photography department at the California School of Fine Arts. Dorothea Lange and Minor White joined as well.
She was elected a Fellow of the American Academy of Arts and Sciences in 1967.[2] In 1973, her work was exhibited at the Rencontres d'Arles festival in France through the group exhibition: Trois photographes américaines, Imogen Cunningham, Linda Connor, Judy Dater.
Cunningham continued to take photographs until shortly before her death at age ninety-three on June 23, 1976, in San Francisco, California.

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All images in this album will be ordered chronologically.

Thunder Rolls 30x40

This is available to purchase as a 18x24 gallery wrapped Giclee. Limited Edition of 10. Message for details

Attention artists: This does not qualify for "best practice", please clean your pallet at least once every 1000 years!

Painter's Palette Inscribed with the Name of Amenhotep III | New Kingdom | The Metropolitan Museum of Art This painter's palette was carved from a single piece of ivory. Six oval wells contain cakes of pigments including blue, green, brown (?), yellow, red, and black. The oval cartouche at one end encircles the throne name of Amenhotep III, Nebmaatre, and the epithet "beloved of Re."

Don't Miss Diego Rivera's America at SFMOMA! Diego Rivera's America requires a timed ticket and includes same-day general admission to SFMOMA's galleries, including complimentary access to Ragnar Kjartansson's The Visitors, subject to availability. Book in advance and receive a $2 discount.