skip to content
No democracy in quality : Ansel Adams, Beaumont and Nancy Newhall, and the founding of the department of photographs at the Museum of Modern Art Preview this item
ClosePreview this item
Checking...

No democracy in quality : Ansel Adams, Beaumont and Nancy Newhall, and the founding of the department of photographs at the Museum of Modern Art

Author: Erin Kathleen O'Toole
Publisher: 2010.
Dissertation: Thesis (Ph. D.)--University of Arizona, Tucson, Arizona, 2010.
Edition/Format:   Thesis/dissertation : Thesis/dissertation : Manuscript : eBook   Archival Material : EnglishView all editions and formats
Database:WorldCat
Summary:
In 1940 the Museum of Modern Art, New York, (MoMA) became the first major American art museum to establish a curatorial department dedicated exclusively to photography. From the perspective of the photographers, curators, and critics who had sought institutional legitimacy for the medium, the founding of the Department of Photographs was a watershed event, marking the moment when photography finally came to be  Read more...
Rating:

(not yet rated) 0 with reviews - Be the first.

Subjects
More like this

 

Find a copy online

Links to this item

Find a copy in the library

&AllPage.SpinnerRetrieving; Finding libraries that hold this item...

Details

Named Person: Ansel Adams; Beaumont Newhall; Nancy Wynne Newhall
Material Type: Thesis/dissertation, Manuscript, Internet resource
Document Type: Internet Resource, Archival Material
All Authors / Contributors: Erin Kathleen O'Toole
OCLC Number: 683256844
Reproduction Notes: Photocopy. Ann Arbor, Mich. : UMI, 2010. 22 cm.
Description: 353 p.
Other Titles: Ansel Adams, Beaumont and Nancy Newhall, and the founding of the department of photographs at the Museum of Modern Art
Responsibility: by Erin Kathleen O'Toole.

Abstract:

In 1940 the Museum of Modern Art, New York, (MoMA) became the first major American art museum to establish a curatorial department dedicated exclusively to photography. From the perspective of the photographers, curators, and critics who had sought institutional legitimacy for the medium, the founding of the Department of Photographs was a watershed event, marking the moment when photography finally came to be recognized as a museum subject equal to painting and sculpture. Although the department has since had a pervasive influence on the field and the history of photography, surprisingly little scholarship has addressed its contentious formation. This dissertation seeks to fill this significant gap in the literature by examining the department's inception and the six years Beaumont Newhall served as its curator. Of particular concern are the ideological battles waged over how photography would be presented at MoMA by Newhall, his wife Nancy--who served as acting curator when her husband enlisted in the army during World War II--and the department's co-founder and key advisor, Ansel Adams. As acolytes of the photographer and gallerist Alfred Stieglitz, who himself had long fought for the recognition of photography as a medium of art, the Newhalls and Adams took aesthetic quality as their guiding metric, asserting that in order to raise the profile of photographers, educate the public, and improve standards of taste, the museum should show only the very best work ever created--the "heavy cream" of photographic production. Their vision for photography at the museum was counterbalanced by that of the photographer Edward Steichen and many prominent writers and critics, who argued that MoMA should treat photography as a broad-ranging cultural phenomenon and means of communication, rather than merely as a medium of self expression. The debate between these two camps illustrates the considerable philosophical, interpretive, and museological challenges raised by photography's introduction into the museum, issues that remain as contentious as ever.

Reviews

User-contributed reviews
Retrieving GoodReads reviews...
Retrieving DOGObooks reviews...

Tags

Be the first.
Confirm this request

You may have already requested this item. Please select Ok if you would like to proceed with this request anyway.

Linked Data


<http://www.worldcat.org/oclc/683256844>
library:oclcnum"683256844"
owl:sameAs<info:oclcnum/683256844>
rdf:typej.1:Thesis
rdf:typeschema:Book
rdf:typej.1:Web_document
schema:about
schema:about
schema:about
<http://id.loc.gov/authorities/subjects/sh85101269>
rdf:typeschema:Intangible
schema:name"Photography, Artistic--Collectors and collecting."@en
schema:name"Photography, Artistic--Museums."@en
schema:about
schema:about
schema:about
schema:about
schema:creator
schema:datePublished"2010"
schema:description"In 1940 the Museum of Modern Art, New York, (MoMA) became the first major American art museum to establish a curatorial department dedicated exclusively to photography. From the perspective of the photographers, curators, and critics who had sought institutional legitimacy for the medium, the founding of the Department of Photographs was a watershed event, marking the moment when photography finally came to be recognized as a museum subject equal to painting and sculpture. Although the department has since had a pervasive influence on the field and the history of photography, surprisingly little scholarship has addressed its contentious formation. This dissertation seeks to fill this significant gap in the literature by examining the department's inception and the six years Beaumont Newhall served as its curator. Of particular concern are the ideological battles waged over how photography would be presented at MoMA by Newhall, his wife Nancy--who served as acting curator when her husband enlisted in the army during World War II--and the department's co-founder and key advisor, Ansel Adams. As acolytes of the photographer and gallerist Alfred Stieglitz, who himself had long fought for the recognition of photography as a medium of art, the Newhalls and Adams took aesthetic quality as their guiding metric, asserting that in order to raise the profile of photographers, educate the public, and improve standards of taste, the museum should show only the very best work ever created--the "heavy cream" of photographic production. Their vision for photography at the museum was counterbalanced by that of the photographer Edward Steichen and many prominent writers and critics, who argued that MoMA should treat photography as a broad-ranging cultural phenomenon and means of communication, rather than merely as a medium of self expression. The debate between these two camps illustrates the considerable philosophical, interpretive, and museological challenges raised by photography's introduction into the museum, issues that remain as contentious as ever."@en
schema:exampleOfWork<http://worldcat.org/entity/work/id/761095560>
schema:inLanguage"en"
schema:name"No democracy in quality : Ansel Adams, Beaumont and Nancy Newhall, and the founding of the department of photographs at the Museum of Modern Art"@en
schema:name"Ansel Adams, Beaumont and Nancy Newhall, and the founding of the department of photographs at the Museum of Modern Art"@en
schema:numberOfPages"353"
schema:url
schema:url<http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_10947_sip1_m.pdf&type=application/pdf>

Content-negotiable representations

Close Window

Please sign in to WorldCat 

Don't have an account? You can easily create a free account.