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Aperture announces Color Rush: American Color Photography from Stieglitz to Sherman

From magazine pages to galleries, advertisements to photojournalism, Color Rush charts the history of color photography in the U.S. from the time the technology appeared in the marketplace to the moment it no longer was an unusual choice for artists.

 
PRLog - Dec. 19, 2012 - NEW YORK -- Aperture Foundation announces

COLOR RUSH: AMERICAN COLOR PHOTOGRAPHY FROM STIEGLITZ TO SHERMAN

By Katherine Bussard and Lisa Hostetler

New York—Today color photography is so ubiquitous that it’s hard to believe there was a time when this was not the case. Color Rush: American Color Photography from Stieglitz to Sherman explores the developments that led us to this point, looking at the way color photographs circulated and appeared at the time of their making. From magazine pages to gallery walls, from advertisements to photojournalism, Color Rush charts the history of color photography in the United States from the time the technology appeared in the marketplace to the moment when it no longer seemed an unusual choice for artists.

The book begins with the 1907 unveiling of autochrome, the first commercially available color process, and continues up through the 1981 landmark survey exhibition and book, The New Color Photography, which hailed the widespread acceptance of color photography in contemporary art. In the intervening years, color photography captured the popular imagination through its visibility in magazines like Life and Vogue, as well as through its accessibility in the marketplace thanks to companies like Kodak.

Often in photo histories color is presented as having arrived fully formed in the 1970s; this book reveals a deeper story and uncovers connections in both artistic and commercial practices. A comprehensive chronology and examples of significant moments and movements mark the increasing visibility of color photography. Color Rush brings together Ansel Adams and William Eggleston, Eliot Porter and Cindy Sherman, Edward Steichen and Stephen Shore, and examines them in a fresh context, paying particular attention to color photography’s translation onto the printed page. In doing so, it traces a new history that more fully accounts for color’s pervasive presence today.

Katherine A. Bussard is associate curator of photography at the Art Institute of Chicago. Her major exhibitions include So the Story Goes: Photographs by Tina Barney, Philip-Lorca diCorcia, Nan Goldin, Sally Mann, and Larry Sultan, for which she wrote the accompanying catalog. She has organized an ongoing series dedicated to emerging photographers, as well as exhibitions such as Film and Photo in New York and When Color Was New.

Lisa Hostetler is the McEvoy Family Curator of Photography at the Smithsonian American Art Museum, Washington, D.C. Previously, she served as curator of photographs at the Milwaukee Art Museum, where she organized a number of exhibitions, including Taryn Simon: Photographs and Texts and Street Seen: The Psychological Gesture in American Photography, 1940–1959, for which she wrote the accompanying catalog.

9 1⁄2 x 11 1⁄2 in. (24.1 x 29.2 cm)
288 pages, approx. 200 four-color images Hardcover with jacket
ISBN 978-1-59711-226-0
$60.00/£40.00
March 2013, Rights: World

Exhibition on View:

Color Rush: Seventy-Five Years of Color Photography in America

February 22–May 19, 2013 Milwaukee Art Museum

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Source:Aperture Foundation
Phone:2129467123
Zip:10001
City/Town:New York City - New York - United States
Industry:Photography, Arts
Tags:photography, monograph, Art, Museum Exhibition
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