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Category: Museums
by Gerald Boerner

Sarah Pickering Exhibit at MoCP (NYC)…

To coincide with her Aperture monograph, British photographer Sarah Pickering is presenting an exhibit of her photographic "simulations" at the Museum of Contemporary Art. She is noted for her creative images that carry the "what if…" from the left brain into the right brain for visualization. If you happen to be in the New York City environs, catch this exhibit from April 9th to June 10th of this year.

    

Museum of Contemporary Photography 
www.mocp.org

image The Museum of Contemporary Photography is proud to present a monographic exhibition featuring the work of British artist Sarah Pickering. While appearing to exist between reality and illusion, Pickering’s images are actually documents of simulation. The exhibition will present a total of 36 photographs from four recent series of Pickering’s work, spanning from 2002 to the present: Explosions, Fire Scene, Incident, and Public Order.

Sarah Pickering’s photographs disturb our sense of security and illuminate the ways in which we cope with traumatic events that are beyond our control. Her pictures depict environments and events crafted specifically for simulated training to prepare police officers, firefighters, and soldiers for calamities ranging from fire and civil unrest to terrorism and war. By exposing the absurdity and controlled nature of these environments, Pickering’s images reveal our predilection to deflect fear by trying to anticipate and plan for it—and our tendency to create a story to help us process it.

Ultimately Pickering’s photographs raise questions about the efficacy of preparedness and hint at the psychological effort needed to combat and recover from trauma—the struggle to live with the anxiety that can accompany security. Pickering’s Fire Scene pictures (2007), made at the British Fire Service College, document containers outfitted as home environments and set on fire to train forensic teams and crime scene investigators. The interiors are staged as elaborate, crammed domestic spaces, deliberately heavy with a narrative: each fire has been designed according to a specific cause, such as an electric heater malfunctioning, or a glue-sniffing escapade gone wrong. The fire investigators must decipher the origin. Pickering photographs just as the fire catches, and there is a captivating beauty in the blaze and a thrilling quality in the danger and implied rescue it represents. … [MORE]

Gerald L. Boerner

    

JerryPhoto_8x8_P1010031 I visited this exhibit at the San Diego Museum of Art (SDMA) and found to my delight an assemblage of some of the great photographs from the career of one of the most notable fashion and portrait photographers of the last half century. Richard Avedon has photographed the rich and famous as well as the poor. This exhibit also presented sixty-nine images of the movers and shakers of the American government during the 1970s and 1980s. While it is no longer on display on the West coast, I would encourage anyone interested in photography to catch any exhibit that includes any of the images included in this exhibition.  .  GLB

    

The Exhibit:

Richard Avedon: Portraits of Power
San Diego Museum of Art
June 6 through September 6, 2009

Richard Avedon: Portraits of Power traces Avedon’s interest in and fascination with American politics through the 1950s until the photographer’s death in 2004. Organized by the Corcoran Gallery of Art, Washington, D.C., with the cooperation of the Richard Avedon Foundation, New York, and the Fraenkel Gallery, San Francisco, Richard Avedon: Portraits of Power contains many rarely seen photographs drawn from the collection of the Richard Avedon Foundation, including works that have never before been exhibited or published.

Format and Presentation: All photographs were mounted in frames behind glass. They varied in size from 8 by 10 inches up to poster size or larger. They were all silver gelatin prints from film showing excellent darkroom development. He allowed some edges of the prints to develop to black to create a type of frame around the individual prints. There were a few color prints, but most were in black and white.

Review of the Exhibit:

“During his six-decade career, Richard Avedon was arguably the most important American fashion photographer and portraitist. Avedon mastered his craft while serving in the Merchant Marines during World War II, and he found employment after the war with Harper’s Bazaar and Theater Arts. He quickly rose to prominence in his field, invigorating fashion photography of the time by staging fictional tableaux and developing an unprecedented theatrical style. He moved to Vogue in 1966 and to The New Yorker in 1992, and he continued to be an innovator in fashion photography and portraiture, as well as print and television advertising, until his death in 2004.”

Richard Avedon was indeed a photographic craftsman. From his early magazine work for Harper’s Bazaar and Theater Arts, he proceeded to photograph both the rich and famous along with those out of power. As you enter the gallery, you come face to face with a 3’ by 3’ portrait of Charlie Chaplin with his fingers pointing like a pair of horns out of his head. Just beyond that, we see a portrait of one of the last slaves still living. In all of these photos, he has the vision of just how to light the subject to create the appropriate mood. While he allowed the subjects to assume a pose that was most comfortable, he positioned his camera to compose just the right “take” on each subject.

richard_avedon_07 One of the things that I felt when viewing these images was how he captured the eyes of his subjects. In some cases, the eyes were wide open and the spectral highlights capture your attention. In others, he lit the scene so that these highlights were missing — the person stared out as if thorough a morning fog. His capture of the eyes might be pensive, agitated, fearful, forlorn, or lonely. One of the first images that I saw after the Charlie Chaplin portrait was a shot of William Cosby, who had been born a slave. This portrait showed the elderly black man staring into the distance with a “resolved” glare, as if he were looking back over his life. Avedon’s portraits have a way of telling a story without a word other than “…born a slave.” This picture indeed says a thousand words with his image jumping out through the eyes and use of highlights and shadows.

The use of highlights and shadows was a skill evidenced throughout the exhibit. It was interesting to compare, for instance, the traditional head portrait of Henry Kissinger as Secretary of State with the more pensive portrait taken of him years later. In the latter portrait, Kissinger was lighted so that the aged skin tones and heavy wrinkles of the face told a story of the burden that he had carried during his years of public service. While still flattering, the selective accentuation of these tonal variations made for an eye-catching, compelling photograph. This was but one example of Avedon’s wise use of light.

His documentary images were also eye-popping. He captured the Embassy Staff in Saigon just before the fall of the Embassy. He illustrated the full impact of war upon these staff members. His portraits of the G.I.’s, of the Vietnamese woman caught in a napalm “bath”, his capture of the fear in the people are so realistic that they could be the cause of nightmares in children. Also, he caught the lawyers and defendants involved in the “Chicago Seven” trial in the late 1960s. The realism of photographing the realities of conflict without being limited by the setting is to be admired. He demonstrated his “craft” in less than optimal circumstances, an indication of real talent!

avedonthefamily1-410x333 On display also is the groundbreaking series of portraits, The Family that has been commissioned by Rolling Stone magazine. He captured, in rather sterile, studio poses, sixty-nine portraits of elected officials, government bureaucrats, lawyers & lobbyists, captains of industry, and union officials. These sixty-nine portraits were all 8 by 10 inches, mounted in frames behind glass, and arranged in three rows of twenty –three portraits each. Just the number of photos and their arrangement had a major impact on any observer seeing the sheer mass of this display. These were the men and women of power during the 1970s and 1980s! This gallery of the elite was not arranged with similar individuals grouped together, but their impact was increased by the interspersing of portraits of individuals from different groups in juxtaposition. However, in each of these portraits, Avedon composed the images in slightly different ways, so they were not mirror images, as if from an assembly line. And, as usual, the eyes speak loud and clear so that each portrait told its own story. With a little bit of background in the context of the 1970s and 1980s, one could hear each of these portraits telling an important part of the story of that era in American history.

I would suggest that anyone planning to visit this exhibit would be well-advised to read a bit about the political history of the last half of the 20th century. These photos tell visually what textbooks tell in words: the character of the players in the shaping the policies of our nation. The book by the Corcoran Gallery on this exhibit contains essays and photos present in this exhibit. This book can aid one’s preparation for understanding what is being portrayed in these portraits. Bibliographic information is found at the end of this report.

2734604473_b5e33dc1cdThis exhibit presents Avedon’s work in a sequence of periods. During in each of these periods, Avedon utilized slightly different perspectives. These can be seen in some images being more carefree, some being more somber, others being very pensive, and still others being very reflective of the dark side of man. But during all of these periods, he was able to capture the subjects of his portraits in a variety of moods appropriate to the subject and the context of America at that point in history.

It should be noted that some of the images on exhibit portray the nude body, primarily of males. This did not always reflect the sexual orientation of those being photographed, but the lighting employed was used to obtain the best image of the subject. Some parts of the anatomy of some of his subjects were of significant proportion, which he portrayed as just another part of the character of the person being photographed. I include this note as a warning to those who do not wish to view such images. Most of the exhibit consists of clothed individual, so a word to the wise should be sufficient.

barack-obama_885652i To end this review on a high note, one of the most impacting images on display was that of our current president, Barach Obama as an Illinois state senator. This portrait was taken with Obama in shirt sleeves and sans a tie. He was about to make the keynote address at the 2004 Democratic Convention. The portrait caught the energy, determination and physical attributes of this future president of these United States. Time will tell how he will appear after his four or eight years in that office. But in this portrait, he inspires confidence and hope.

Finally, one can view Avedon’s portraits in one of many magazines. He was prolific in his productivity over his lifetime. But it takes seeing this mass of work in display at one time and in one place to truly appreciate the full impact of his body of work. I believe that this body of work should be required viewing of most students of photography, digital or film. In addition, I would suggest that as one views this exhibit, one looks carefully at the use of light and shadow to create the high-impact images on display in this exhibit. It is a real lesson in how to do portrait photography. Also, his wisdom in allowing each of his subjects to determine their own posing position had a profound impact on these images. Avedon placed his camera in such a way to capture the best rendering of his subject given their self-selected pose and the lighting in use. He then was able to capture these images that show his subjects in an extremely relaxed position in the best light possible. These are all lessons we can all benefit from in our own photographs!

Bibliography:

Steidl & Partners. (2008) Richard Avedon: Portraits of Power. Co-published with The Corcoran Gallery of Art, Washington, D.C. & The Richard Avedon Foundation (ISBN: 978-3-86521-675-5)

Richard Avedon photographed the faces of politics throughout his career and this book brings together his political portraits for the first time. Juxtaposing images of elite government, media, and labor officials with photographs of countercultural activists, writers and artists, and ordinary citizens caught up in national debates, it explores a five-decade taxonomy of politics and power by one of America’s best-known artists.

Richard Avedon’s Web Site…
http://www.richardavedon.com/#p=-1&at=-1

Gerald Boerner

    

JerryPhoto_8x8_P1010031 I visited this exhibit at the Los Angeles County Museum of Art (LACMA) and found to my delight an assemblage of some of the great photographs from the past 150 years of photography. The techniques ranged from Daguerreotypes and Calotypes to photos taken using the wet plate collodion process to those taken with dry plates and photographic film. The breath of subject matter and photographers gave me an wonderful introduction to this history. While it is no longer on display, I would encourage anyone interested in photography to catch any exhibit that includes some of the photographers included in this exhibition.  GLB

    

The Exhibit:

“A Story of Photography: The Margaret and Leonard Vernon Collection”
Los Angeles County Museum of Art (LACMA) 
October 5, 2008 – February 1, 2009

Of the 3,500 photographs in the Vernon Collection, seventy pieces were on display in this exhibit. This collection was acquired from the pioneer Los Angeles photography collectors, Margaret and Leonard Vernon, in August of this year. The collection was begun in the 1970s and includes the works of 700 photographers dating from the early 1840s.

Featured Artists:

Among the major artists whose works are included in the current exhibit are a who’s who of major American (and European) photographers of the nineteenth and twentieth centuries. These featured photographers cover a variety of genres and include examples of the evolving technology of photography.

Nineteenth Century Photographers. The exhibit provides two significant historical English photographers from the early days of the art/science of photographic history — William Henry Fox Talbot and Julia Margaret Cameron.

William_Fox_Talbot_1853 William Henry Fox Talbot (1800–1877). While one of the early pioneers of photography and the developer of the paper negative (calotype), Fox Talbot was torn between trying to make his photographic techniques profitable (through his patented processes) as well as practical for use by himself and other photographers. The ultimate success of the calotype, and the multiple prints it was capable of producing, rested upon the contributions of many others in both England and on the continent. Among these was the use of “hypo” (sodium thiosulfate) to fix the negatives and prints as well as the many advances in coating the paper used for printing. This process of using a negative ultimately differentiated his calotype process and salt prints from the initially more popular daguerreotype process supported by the French government.

Two of Fox Talbot’s salt prints from the original colotypes were on display at this show. The first, “Lace”, was photographed in 1841 at the beginning of the photographic science; it was exhibited under a heavy cloth cover to protect it from the light in the room. The second calotype, “Articles of Porcelain” (1844), was presented in a similar manner. It was amazing and awe-inspiring to see these two early photographic pieces and to realize how far we have come in the current wet and digital darkrooms!

Sadness,_by_Julia_Margaret_Cameron Julia Margaret Cameron (1815–1879). The inclusion of Cameron’s work in this collection is a tribute to her in a number of ways. First, being a woman in nineteenth century England made her photographic efforts all the more noteworthy due to the role typically assigned to women of that era. Secondly, while her photos are definitely of a professional quality, she insisted on considering herself an “amateur” even though she accepted compensation for several of her works. She was by no means a shooter of snapshots or what we now consider a photographic consumer. The bulky view cameras, the treatment of glass plates to receive the images, and the special preparation of the albumin paper for her prints went far beyond such an amateur status! Such a task would have been a challenge to even the most able-bodied man of the day. And finally, her subjects were family members and other individuals of her class among the English gentry. Just being able to photograph was an accomplishment, but to have produced memorable portraits that have withstood the test of time makes these efforts on her part all the more significant.

Cameron is represented in this show by her “Mrs. Herbert Duckworth (Née Julia Jackson)” (1867) who would become the mother of the writer, Virginia Woolf. This portrait is delicately toned and has withstood the ravages of time, two world wars, and the rapidly evolving field of photography. It would have been interesting to have seen what she could have accomplished using the gelatin film negative developed after her death and the newer printing technologies, such as gelatin silver or platinum.

Twentieth Century Photo Photographers. Four additional standout photographers were also included in the show, including Ansel Adams, Edward Steichen, Paul Strand, and Edward Weston. These are discussed below.

adams_yosemite valleyAnsel Adams ((1902–1984). Adams emphasis on large-scale nature in all of its pristine purity was evident is all of his work. His passion was on the scientific control of exposure, development, and printing, topics which were later written in the trilogy of books on photographic technique that he wrote. He was a member of the f/64 group and a lifelong advocate of the precisionist style. He was also a photographer for the Farm Security Administration during the 1930s. However, none of these photos was included in this exhibit.

While many of his photos are part of the Vernon collection, only one was on exhibit. I was not aware that he had photographed the skyline and buildings in New York City! The only photo included in this show was one that I have heard about for years, had seen in books, but had never seen in person: “Moonrise, Hernandez, New Mexico” (1941; printed in 1948). The range of tones, the delicate ‘coaching’ out of details in the darkroom and the overall image was incredible. It was worth observing it from multiple angles and from various distances. The size also struck me being smaller than I had imagined.

Steichen_flatiron Edward Steichen (1879–1973). Steichen photographer, just named as “The Great American Photographer” in the current issue of American Photo, the latter’s 30th year retrospective, has had a major impact on the field of photography in American in the twentieth century. Starting in the 1920s, Steichen was an advocate of the pictorialist style of art photography and was a productive photographer. In the 1930s, he was well known for his commercial product photos. In addition to that, he served the military in both world wars by heading up photographic squads that documented the war and made reconnaissance photos of military targets. Finally, and perhaps more importantly, he had a major impact upon the discipline when he became the Director of Photography at the Museum of Modern Art (MOMA) in New York City and raised the perception of photography as an art form.

Steichen is represented in the current exhibit by his “Double Sunflower” (1920) photo. It is a beautifully toned gelatin silver print with amazing detail and hand coloring. Given this print, it would be a real experience to see his “Moonlight Pond” (1920s) that sold for $500,000 at auction in 2006!

Strand_American NYC Paul Strand (1890–1976). Known for his idealized technical skills and his photography of such varied subjects as nudes and commercial products, Strand became a notable photographer of the twentieth century. He is an expressionist that used 4×5 and 8×10 view cameras to photograph both urban sites and commercial products. The exhibit quotes him as saying that “…form and feeling are an individualistic and intense aesthetic based on the objective nature of reality and the intrinsic capabilities of large format cameras with a sharp lenses…” He found his ideal of beauty and decorum in nature and simple life.

Strand is represented in the current exhibit by his “Church, Rancho de Taos” (1931), a platinum print that includes excellent detail and incredible tonality. I would very much like to see other works by him at future exhibits.

image_pepper_index Edward Weston (1886–1958). Weston was known for his nudes and his precisionist style, at least in the beginning. He evolved an affection for soft focus that would bring out the form and texture in nature. He also emphasized sensitivity to the dramatic character of the objects that he photographed while still being able to use sharp-focus and sharp definition, where appropriate to convey the ‘nature’ of his subject.

This exhibit showcases two of his nudes, “Nude” (1925), a platinum print, and “Nude on Sand, Oceana” (1936), a gelatin silver print. The delicate treatment of both of these images of the female form show amazing tonality as well as sharp definition against a non-contrasting background. These tonalities are amazing!

Other Photographers:

The above artists were the headliners of the exhibit. However, over fifty other photographers are shown; these artists are from throughout the United States and Europe. They represent a variety of time periods, artistic styles, and subject matter. In fact, more than eighty per cent of the photos in the exhibit are from other than the headliners.

Other Observations:

I was struck by the developments in photographic technologies represented in this show. This was especially true when I noted the printing techniques used during the past 150 years. These ranged from the salt prints from collotypes (1840–1850) to the albumin prints from the early collodion wet plates (1850–1900) to the gelatin silver and platinum prints used during the twentieth century. This motivates me to learn more about these techniques and learn what I can about their use and image qualities; I hope that the Advanced Darkroom class will help me get more into this.

NOTE:
I found an extremely informative video on the Getty Museum site (http://www.getty.edu/art/gettyguide/videoDetails?segid=1726) on the techniques of using the wet collodion plates and the albumin coated paper for printing.

I enjoyed the visual experience of this exhibit, “A Story of Photography” at the LACMA and will watch for future shows from this collection. There are many more famous images that were not shown at this exhibit. Also, I feel the need to learn how to better appreciate the viewing experience, since I don’t really understand what to look for in the various types of prints. I do know that looking at prints in a book does not match the personal viewing of the original images. Also, I don’t fully appreciate the printing techniques that were employed, at least beyond the basics of dodging and burning!

Overall, I would rate this exhibit as excellent and encourage others to avail themselves of the viewing experience.

Art Lovers: The Comtesse d’Haussonville has arrived… For the winter, at least, this excellent example of French Portraiture by Jean-Auguste-Dominique Ingres is at the Norton Simon Museum in Pasadena. This would be a viewing experience well worth a visit.

Enjoy yourselves…

Current Exhibitions 
Source: www.nortonsimon.org

The Norton Simon Museum is delighted to announce the arrival this fall of Jean-Auguste-Dominique Ingres’s magnificent painting Comtesse d’Haussonville, 1845, on loan from The Frick Collection in New York.

This portrait of the comtesse, a young woman known as Louise, Princess de Broglie (1818–1882), is the first loan from the Frick in an art exchange program between the venerable New York institution and the Norton Simon foundations. Comtesse d’Haussonville will be on view at the Museum from October 30, 2009, through January 25, 2010.

In February 2009, the Museum sent to the Frick five of its masterpieces—Jacopo Bassano’s Flight into Egypt, c. 1544–45; Peter Paul Rubens’s Holy Women at the Sepulchre, c. 1611–14; Guercino’s Aldrovandi Dog, c. 1625; Francisco de Zurbarán’s Still Life with Lemons, Oranges and a Rose, 1633; and Bartolomé Esteban Murillo’s Birth of St. John the Baptist, c. 1655. [MORE]

Great new search feature on the Victoria and Albert Museum Web Site (Beta)… This link will take you to the V & A Museum new search page that allows you to quickly browse the museum’s holdings. Take a look and let me know what you think…

Search the Collections (beta) – Victoria and Albert Museum 
Source: www.vam.ac.uk

20785_image V and A Search the Collections (beta) – Victoria and Albert Museum

The National Art Library at the Victoria and Albert Museum is a major public reference library. Its strength lies in the range and depth of its holdings of documentary material concerning the fine and decorative arts of many countries and periods. It is also the curatorial department for the art, craft and design of the book, details of which can be found in the Prints & Books collection.

SDMA exhibits a few of it many Picasso drawings and paintings… Currently, about 15 works of Picasso are on exhibit at the San Diego Museum of Art (SDMA) right now. They also have an additional 50 pieces in storage. That would be quite an show… You can keep up with their exhibitions with ‘The Gallery’ blog site…

The Gallery: More Picasso (and why not?) 
Source: thegallerysd.blogspo…

I’ve been asked a number of times whether the works by Picasso now on view in the Picasso, Miro, Calder exhibition constitute our complete holdings of Picasso’s work. Simple answer: no. Although we’ve hung that gallery fairly densely, there are actually only 15 works by Picasso (and one by Francoise Gilot) in that room, leaving nearly 50 additional prints by Picasso still in storage.

So how did we choose? And why aren’t they all always on view?

This presents the useful opportunity for clearing up one of the most frequent misconceptions about museum practice. One reads again and again how museums only have 5% or 10% of their total collection on view at any time. While every museum would like to have more gallery space, the numbers game is the wrong way to think about it. The Museum of Art, like most museums, has thousands of works on paper – prints, drawings, and photographs – and these simply cannot be on view all the time. … [MORE]

Special Lecture Event at the Getty Museum… This page tells about a upcoming lecture on telling the difference between real and fake, forgery and masterpiece, and avoiding self-deception. I would like to go to this and think that it would be of interest to photographers in this age of Photoshop… Let me know what you think…

Getty Perspectives (Visit the Getty) 
Source: www.getty.edu

Errol Morris and Ricky Jay on Art and Perception

Date: Thursday, October 8, 2009
Time: 7:00 p.m.
Location: Getty Center, Harold M. Williams Auditorium
Admission: Free; reservations required. Call (310) 440-7300.

An occasional series featuring prominent speakers on art, culture, and contemporary issues.

Can anyone truly tell reality from illusion? When we pride ourselves on our ability to distinguish real from fake, forgery from masterpiece, are we only engaging in self-deception?

Filmmaker Errol Morris and sleight-of-hand artist Ricky Jay, who have recently collaborated on Morris’s New York Times blog, consider these questions in a wide-ranging discussion of art and perception, offering a thought-provoking evening that challenges what we think we know about art and about ourselves. … [MORE]

A photographer’s delight in honor of Mexican Independence Day… OOOPS, we missed the recognition of the September 16th celebration of Mexican Independence. Guess it was the release of the new Dan Brown book and my photo class! But in recognition of this important date for our Hispanic brethren, the Getty Research institute has made available an online page with the history of Mexican photography that was exhibited in 2001 at the Getty. Enjoy…

Mexico from Empire to Revolution (Research at the Getty) 
Source: www.getty.edu

Mexico: From Empire to Revolution is a Web resource that draws upon the collection of the Getty Research Institute and extends the two-part exhibition held at the Institute between October 2000 and May 2001. Reproduced in the digital resource are cabinet cards, cartes-de-visite, albums, postcards and other forms of photography. The Photographers represented are either Mexican or European or North American. The work of some thirty known photographers is shown, alongside that of many others who remain anonymous. Together they provide a chronicle of Mexico from approximately 1857 to 1923, a chronicle explored in the History and Chronology sections of the resource. The terrain across which this history played out may be explored in the Maps section. The animated introduction gives a sampling of the events and lives documented by the photographs included in this Web site, including images of the railways, bridges, roads, buildings and monuments that became the fabric of the country, and portraits of Mexico’s leaders and ordinary people, all of whom played a part in the unfolding story.

Attention: Art lovers in LA… Leonardo da Vinci’s sculptures are coming… In March, a new exhibit of Leonardo’s works will be on exhibit at the Getty Museum. I’m looking forward to this exhibit. It will have some other associated features, so stay tuned to the Getty Web Site (www.Getty.edu) for more info… I know that I will be…

‘New’ Leonardo sculptures to be unveiled in Atlanta and Los Angeles | Culture Monster | Los Angeles
Source: latimesblogs.latimes…

“Leonardo da Vinci: Hand of the Genius,” an exhibition opening in October at Atlanta’s High Museum of Art and in March at L.A.’s J. Paul Getty Museum, will unveil two tiny sculptures long thought to have been the work of the Italian Renaissance master’s teacher,  Andrea del Verrocchio.

The figures, each about 8 inches tall, are part of “Beheading of the Baptist,” a late 15th century relief depicting scenes from the life of St. John the Baptist, made for a silver altar in Florence, Italy.  Verrocchio, who designed the relief, has been credited with sculpting all the figures in the artwork. But they were created individually and inserted into the background, presenting scholars with the possibility that more than one artist was involved. … [MORE]

If this is SoCal, then let’s head to the Huntington Library this month… This exhibit of photos of the Colorado River is on through September 28th. I’m scheduling it now for myself! There are also exhibits on “Samuel Johnson: Literary Giant of the 18th Century” and several other special events. Hopefully the fire danger will be past soon and we can enjoy this great setting. Share your experiences at the Huntington…

The Huntington Library 
Source: huntington.org

To celebrate the expansion and reinstallation of the Virginia Steele Scott Galleries of American Art, The Huntington presents an exhibition of works from American photographer Karen Halverson’s Colorado River series, on view May 30 through Sept. 28, 2009. “Downstream: Colorado River Photographs of Karen Halverson” will be on display in the Scott Galleries’ Susan and Stephen Chandler Wing, inaugurating a new changing exhibition space that will highlight photography and works on paper that, because of the fragile nature of the medium, cannot be placed on permanent display.