During the nineteenth century, Americans celebrated their towns and cities through printed landscapes. In Maine, lithographs were commissioned from such leading artists as Fitz Henry Lane and talented, lesser known local artists, such as Esteria Butler. This book reproduces many of these works and provides insights into how these growing centers of commerce and industry viewed themselves and wished to be viewed by others.
It’s the perfect book for those who love Maine, both full-time residents and those who make it a beloved summer destination.
Published in association with the Bowdoin College Museum of Art on the occasion of the bicentennial of Maine statehood.
From April to August 1961, recent Harvard graduate Michael Clark Rockefeller was sound recordist and still photographer on a remarkable multidisciplinary expedition to the Dani people of highland New Guinea. In five short months he produced a wonderful body of work, including over 4,000 black-and-white negatives.
In this catalogue, photographer Kevin Bubriski explores Rockefeller's journey into the culture and community of the Dani and into rapport with the people whose lives he chronicled. The book reveals not only the young photographer's growing fluency in the language of the camera, but also the development of his personal way of seeing the Dani world around him. Although Rockefeller's life was cut tragically short on an expedition to the Asmat in the fall of 1961, his photographs are as vivid today as they were the moment they were made.
Featuring over 75 photographs, this beautiful volume is the first publication of a substantial body of Michael Rockefeller's visual legacy. Rockefeller's extraordinary photographs reveal both the resilient spirit of the Dani people and the anthropological and aesthetic eye of a young man full of promise. In a Foreword, Robert Gardner provides a personal recollection of Michael Rockefeller's experience in the New Guinea highlands.
Carrier illuminates the public role of art museums by describing the ways they influence how art is seen: through their architecture, their collections, the narratives they offer museum visitors. He insists that an understanding of the art museum must take into account the roles of collectors, curators, and museum architects. Toward that end, he offers a series of case studies, showing how particular museums and their collections evolved. Among those who figure prominently are Baron Dominique Vivant Denon, the first director of the Louvre; Bernard Berenson, whose connoisseurship helped Isabella Stewart Gardner found her museum in Boston; Ernest Fenollosa, who assembled much of the Asian art collection now in the Museum of Fine Arts, Boston; Albert Barnes, the distinguished collector of modernist painting; and Richard Meier, architect of the J. Paul Getty Center in Los Angeles. Carrier’s learned consideration of what the art museum is and has been provides the basis for understanding the radical transformation of its public role now under way.
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