Fayetteville Museum of Art
Fayetteville, NC
910-485-5121
http://www.fmoa.org
Ansel Adams: A Legacy -
Masterworks from the Friends of Photography Collection Exhibition Tour
January 28 - March 18, 2001
Organized by the Ansel Adams Friends of Photography
and the Fayetteville Museum of Art, this exhibition is a tribute to the
founder of The Friends of Photography and is a comprehensive survey of the
wide ranging career of 
Adams. It includes the photographer's well-known vistas
of natural beauty, such as Monolith, The Face of Half Dome
(1927) and Moonrise,
Hernandez, New Mexico (1941) as well as more intimate portraits,
close-ups and architectural views. This exhibition will include some of
the works seen recently at the North Carolina Museum of Art in Raleigh,
but will focus mainly on works from the later period of Adams career. The
photographs were printed by the artist himself in the 1960's and 1970's,
and attest to Adam's constant redefining and eventual perfection of the
gelatin silver process in the last decades of his life. (left: cutline
pending)
Ansel
Adams (1902-1984) profoundly influenced the course of twentieth-century
photography not only through the example of his sumptuous and technically
precise images, but also by means of his personal energy and devotion to
advancing the cause of photography as an art form. As an artist, educator,
innovator, and writer, he helped establish many of the institutions that
have come to represent the highest aspirations of the medium of photography,
including The Friends of Photography.(left: cutline pending)
Ansel Adams, A Legacy consists
of prints from the end of Adams' long career, made at a time when his darkroom
expertise had reached a remarkable maturity. Throughout his active life
he struggled to master the technical challenges of black-and-white printing
so that he could express his "visualization," or vision, of the
original scene. More than any other photographer of his time, Adams was
able to use the tools of the printing process to create dramatic and visually
unforgettabIe images.
However, Adams was interested in much more than technical
perfection. "You don't make a photograph just with a camera,"
he said. " You bring to the act of photography all the pictures you
have seen, the books you have read, the music you have heard, the people
you have loved."
Near
the end of his life, Adams produced prints intended to represent his life's
work not just as a series of landscape images, but as a panorama of the
possibilities of the "straight", unmanipulated style to which
he adhered. Some of these prints were included in an exhibition organized
by James G. and Mary Street Alinder for The Friends of Photography that
was sent to Shanghai, China, one of San Francisco's sister cities, and later
toured throughout the world. The photographs from this 1983 exhibition form
the core of The Friends' collection and represent Adams' last attempt to
demonstrate his versatility as a photographer. (left: The Tetons
and Snake River, Grand Teton National Park, Wyoming, 1942, vintage silver
print,)
Ansel Adams, A Legacy travels
to the National Museum of American Art, Smithsonian Institution, Washington,
DC; Hunter Museum of Art, Chattanooga, Tennessee; Tampa Museum of Art, Tampa
Florida, and Fort Wayne Museum of Art, Fort Wayne, Indiana. Venues in Japan
include the Mitsukoshi Department Store Gallery, Nihonbashi, Tokyo; Ehime
Prefecture Museum; Tonami City Museum, Toyama Prefecture; Kushiro Art Museum,
Hokkaido; and Kawasaki City Museum, Kanagawa Prefecture. Venues included
in the exhibition's return trip through the United States are pending.
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Adams. It includes the photographer's well-known vistas
of natural beauty, such as Monolith, The Face of Half Dome
(1927) and Moonrise,
Hernandez, New Mexico (1941) as well as more intimate portraits,
close-ups and architectural views. This exhibition will include some of
the works seen recently at the North Carolina Museum of Art in Raleigh,
but will focus mainly on works from the later period of Adams career. The
photographs were printed by the artist himself in the 1960's and 1970's,
and attest to Adam's constant redefining and eventual perfection of the
gelatin silver process in the last decades of his life. (left: cutline
pending)
