From age twelve until age ninety-nine, William Henry Jackson was involved on some level with photography. After a tour of duty in the Civil War, he headed West and eventually settled in Omaha, Nebraska, where he opened a portrait photography studio with his brother Edward. As Jackson explained, however, “Portrait photography never had any charms for me, so I sought my subjects from the house-tops, and finally from the hill-tops and about the surrounding country; the taste strengthening as my successes became greater in proportion to the failures.” In 1870 he accompanied geologist Ferdinand Vandiveer Hayden on an expedition across Wyoming, along the Green River, and eventually into the Yellowstone Lake area. Jackson’s images were the first published photographs of Yellowstone. Partly on the strength of these photographs, the area became America’s first national park in March 1872.
On one of several independent expeditions that he headed, Jackson also became the first to photograph the prehistoric Native American dwellings in Mesa Verde, Colorado. He finally settled in Denver, Colorado, where he worked as a commercial landscape photographer and continued to publish his photographs as postcards.
Loren MacIver …was essentially a self-taught painter, having attended classes at the Art Students League only briefly at ages ten and eleven. Her work was included in group shows at New York’s Contemporary Arts Gallery in 1933 and 1942…The Museum of Modern Art acquired one of her works in 1935, well before her first one-person exhibition in 1938 at Marian Willard’s East River Gallery. From 1936 to 1939 she worked on the Federal Art Project of the Works Progress Administration.
Tracking Loren MacIver~ http://brooklynrail.org/2008/03/artseen/tracking
Collection at The Met~ http://metmuseum.org/art/collection/search#!/search?artist=MacIver,%20Loren$Loren%20MacIver
[Betty] Parsons’s role as a leading promoter of abstract art is well known. Less well known is that she was an artist.
“Betty led a double life,” a nephew, William P. Rayner, said. “Being an artist was her first priority. That’s why she was such a good dealer and that’s why her artists liked her.” http://www.nytimes.com/1992/06/28/nyregion/betty-parsons-s-2-lives-she-was-artist-too.html?pagewanted=all
Once referred to as “the den mother of Abstract Expressionism,” Betty Parsons was an early advocate of the great Abstract Expressionists, including Pollock, Rothko, Reinhardt, Still and Newman, long before they all achieved notoriety. Her midtown gallery, which opened in 1946 (and closed every summer so that Parsons could focus on her own art), gave the Abstract Expresionist artists their first large-scale exposure, making it one of the most prestigious art galleries in New York. In its later years, the Parsons Gallery did much to promote the works of many gay, lesbian and bisexual artists, including Agnes Martin, Ellsworth Kelly, Jasper Johns and Robert Rauschenberg. http://www.theartstory.org/gallery-betty-parsons.htm
“I’ve learned a great deal about business, but I wasn’t a businesswoman,” Betty Parsons told Grace Lichtenstein in a profile that originally ran in the March 1979 issue of ARTnews, published just three years before Parsons’s death, in 1982. http://www.artnews.com/2017/06/16/from-the-archives-betty-parsons-gallerist-turned-artist-takes-the-spotlight-in-1979/
Throughout her storied career as a gallerist, she maintained a rigorous artistic practice, painting during weekends in her Long Island studio. Parsons’ eye for innovative talent stemmed from her own training as an artist and guided her commitment to new and emerging artists of her time, impacting the canon of Twentieth-Century art in the United States. Includes slideshow and biography~ http://www.alexandergray.com/artists/betty-parsons?view=slider#2
Kruger’s spectacular corpus, spanning four decades, is often described as political—and it is. But just as much it creates these moments of internal identity confusion in which we don’t know if we are acting as victim, oppressor, or witness. Usually, we are all of the above.
Kruger famously—and perhaps, at first, inadvertently—got her training as an artist the hard way: through a full-time job as a magazine designer at Condé Nast, starting out at Mademoiselle. And while some of those early layout techniques of bold graphics inform her work, a pulsating visual-linguistic triple-take keeps all of her pieces so alive that she’s become known for her own immediately identifiable, authoritative style—even if authority is what is being questioned in the authoritative typeface.
Many women, as well as men, who earned modest reputations with their camera in the 1890s, took up the craft as a hobby…Johnston, however, took up photography as a business; it was no idle amusement for her. “I have not been able to lose sight of the pecuniary side,” she emphasized, “though for the sake of money or anything else I would never publish a photograph which fell below the standard I have set for myself.”
Frances Benjamin Johnston~ http://www.cliohistory.org/exhibits/johnston/
Library of Congress~ http://www.loc.gov/rr/print/coll/fbjchron.html
Barbara Hepworth was a British sculptor, who was born in Wakefield, Yorkshire in 1903. She was a leading figure in the international art scene throughout a career spanning five decades. ~Who is Barbara Hepworth?
Official site~ https://barbarahepworth.org.uk/
Alfred Stieglitz (1864-1946)
César (César Baldaccini) (1921-1998)
Maurice Utrillo (1883-1955)
Richard Artschwager (1923-2013)
Raphael Soyer (1899-1987)
Louise Bourgeois (1911-2010)
Joseph Cornell (1903-1972)
Ad Reinhardt (1913-1967)