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Art & Art History

Harry Callahan and His Students: A Study in Influence

Wednesday, September 14, 1983–Saturday, October 15, 1983

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Artists: James P. Blair, Bill Burke, Harry Callahan, Linda Connor, Jim Dow, Emmet Gowin, Joseph Jachna, Kenneth Josephson, John McWilliams, Ray K. Metzker, Starr Ockenga, Bart Parker, Murray Riss, and Robert Simone

Harry Callahan and His Students: A Study in Influence is a major exhibition of works by Harry Callahan and thirteen of his most successful students. The show investigates the work of Callahan and his role as an educator at the Institute of Design in Chicago and the Rhode Island School of Design in Providence. The exhibition is organized from an art historical perspective, focusing on the influence Callahan had on each of his students in their growth as photographers and their evolution and maturity as artists.

According to exhibition curator Louise E. Shaw, of the department of Art at Georgia State University in Atlanta,

“Harry Callahan ’s career has clearly been a reflection of the acceptance of photography as an important art form on a national level and of the growth of university education on photography…The relationship between photography’s renaissance as an art form since World War II and the development of photography education in the fine art environment is a pivotal issue to understanding recent fine art photography.” 

Exhibitors were selected based on their maturity as contemporary American photographers, their active participation in Callahan’s program, and the influence that they in turn exerted on young photographers. The exhibiting photographers include James P. Blair (Washington, D.C.), Bill Burke (Boston, MA), Harry Callahan (Providence, RI), Linda Connor (San Anselmo, CA), Jim Dow (Boston, MA), Emmet Gowin (Princeton, NJ), Joseph Jachna (Chicago, IL), Kenneth Josephson (Chicago, IL), John McWilliams (Atlanta. GA), Ray K. Metzker (Philadelphia, PA), Starr Ockenga (Boston, MA), Bart Parker (Providence, RI), Murray Riss (Memphis, TN) and Robert Simone (Atlanta, GA).

A catalogue and discussion accompanies the exhibition. Entitled Dialogue: Photography and the Institute of Design, the discussion will include Joseph Jachna, Kenneth Josephson, Peter Hales and other Illinois artists trained by Callahan at the Institute of Design. Peter Hales, a photographer and historian of photography, will speak about how instruction received at the Institute of Design fits into trends in twentieth-century photography education. Jachna and Josephson will be joined by other Callahan- and ID-trained Illinois photographers not in the exhibition to reflect on Callahan, their own education and work, and photo education in general.

EXHIBITION CHECKLIST

James P. Blair

Boy, Laugharne, Wales, 1960
Type C print, 10 x 15 in.

Dimbaza Resettlement Camp, South Africa, 1976
Type C print, 10 x 15 in.

Steelworker, Poland, 1971
Type C print, 10 x 15 in.

Taverna, Chios, Greece

1979, Type C print, 10 x 15 in.

Wheatcutter, Nebraska, 1968
Type C print, 10 x 15 in.

Young Violinist, Guangdong Province, People ’s Republic of China, 1981
Type C print, 10 x 15 in.

Bill Burke

Acrobat Family, Recife, Brazil, 1981
Polaroid, 20 x 16 in.

Family, West Virginia, 1979
Polaroid, 20 x 16 in.

Family Near A Spring, Vanceburg, Kentucky, 1975
Polaroid, 20 x 16 in.

Kissing Cousin, West Virginia, 1979
Polaroid, 20 x 16 in.

Reverend Robert Elkins, West Virginia, 1979
Polaroid, 20 x 16 in.

Harry Callahan

Eleanor in Woods, 1950
Silver contact print, 8 x 10 in.

Highland Park, Michigan, 1941
Three silver contact prints, each 3 1/2 x 4 5/8 in.

Morocco, 1981
Dye transfer print, 9 1/2 x 14 3/8 in.

Providence, 1981
Dye transfer print, 9 1/2 x 14 3/8 in.

Woman Emerging from Shadow, 1961
Dye transfer print, 9 1/2 x 14 3/8 in.

Linda Connor

Canyon de Chelly, Arizona, 1982
Silver contact print, 8 x 10 in.

Lava, Hawaii, 1979
Silver contact print, 8 x 10 in.

Moonrise India, 1979
Silver contact print, 8 x 10 in.

Night Hawk with Eggs, Colorado, 1982
Silver contact print, 8 x 10 in.

Petroglyphs, Utah, 1982
Silver contact print, 8 x 10 in.

Super Nova, Pictograph, Chaco Canyon, 1982
Silver contact print, 8 x 10 in.

Jim Dow

Busch Stadium, St.Louis, 1982
Three Type C contact prints, each 8 x 10 in.

Courtroom, Macon County Courthouse, Tuskegee, Alabama, 1977
Silver contact print, 8 x 10 in.

Fenway Park, Boston, 1982

Four Type C contact prints, each 8 x 10 in.

Highway Safety Sign, Galesburg, Wisconsin, 1972

Silver contact print, 8 x 10 in.

Hagan ’s Dairy Bar, Bardstown, Kentucky, 1980
Type C contact print, 8 x 10 in.

Lunch counter at Railroad Station, Pueblo, Colorado, 1981
Type C contact print, 8 x 10 in.

Trib ’s Barber Shop, Greenville, Kentucky, 1980

Type C contact print, 8 x 10 in.

Emmet Gowin

Area of Mount St. Helens, Washington, 1980
Silver print, 9 3/4 x 9 7/8 in.

Butchering Near Danville, Virginia, 1975
Silver print, 7 1/2 x 9 1/2 in.

Canyon de Chelly, Arizona, 1979
Silver print, 7 5/8 x 9 9/16 in.

Edith, 1980
Silver print, 6 1/4 x 6 1/4 in.

Edith, 1982
Silver print, 9 3/16 x 7 5/8 in.

Edith, Danville, Virginia, 1970
Silver print, 7 1/2 x 9 1/2 in.

Matera, Italy, 1980
Silver print, 7 5/8 x 9 5/8 in.

Toutle River Valley, Area of Mount St. Helens, 1980
Silver print, 9 13/16 x 9 13/16 in.

Joseph Jachna

(Canoe in snowbank) Adams Resort, 1976
Silver print, 8 1/16 x 12 13/16 in.

Dark Angel, Adams Resort, 1976-1977
Silver print, 8 1/8 x 12 1/8 in.

Dowdy Lake, Colorado, “Toss Up,” 1975
Silver print, 8 15/16 x 12 15/16 in.

Goodman Park, Marinette, Colorado, 1976
Silver print 8 1/2 x 12 1/4 in.

Kids Tent at Dowdy Lake, Colorado, 1975
Silver print 8 15/16 x 13 in.

Oak Lawn, Illinois, 1979
Silver print, 7 11/16 x 11 1/8 in.

Kenneth Josephson

Chicago, 1980
Silver print, 8 x 12 in.
Edition one of fifty

Chicago, 1980
Proof, silver print, 8 x 12 in.

Chicago, 1980
Silver print, 8 x 12 in.
Edition two of fifty

K.J. ’76, 1976
Proof, silver print, 8 x 12 in.

New York, 1978
Proof, silver print, 8 x 12 in.

Sally, 1976
Proof, silver print, 8 x 12 in.

John McWilliams

Bonaventure, 1975
Palladium contact print, 8 x 10 in.

Madison, 1975
Palladium contact print, 8 x 10 in.

Untitled, 1975
Palladium contact print, 8 x 10 in.

Untitled, 1981
Palladium contact print, 8 x 10 in.

West Virginia, 1977
Palladium contact print, 8 x 10 in.

Ray K. Metzer

Untitled from Pictus Interruptus, 1980
Silver print, 11 10/16 x 17 5/16 in.
Edition one of twenty

Untitled from Pictus Interruptus, 1980
Silver print, 11 10/16 x 17 5/16 in.
Edition two of twenty five

Untitled from Pictus Interruptus, 1980
Silver print, 11 10/16 x 17 5/16 in.
Edition five of twenty five

Untitled from Pictus Interruptus, 1980
Silver print, 11 10/16 x 17 5/16 in.
Edition one of twenty five

Untitled from Pictus Interruptus, 1980
Silver print, 11 10/16 x 17 5/16 in.
Edition two of twenty

Untitled from Pictus Interruptus, 1980
Silver print, 11 10/16 x 17 5/16 in.
Edition two of twenty

Starr Ockenga

Rob #1, 1980
Type C print, 19 x 15 in.
Edition one of ten

Rosie #1, 1980
Type C print, 19 x 15 in.
Edition five of ten

Susan, Maggie and Zoe #4, 1980
Twelve Type C prints, each 9 15/16 x 9 15/16 in.
Edition one of ten

Bart Parker

Adele, Muy Daughter, L.A., 1976
Color coupler, 16 x 20 in.

Properties of a Rubber Band, 1979
Color coupler, 16 x 20 in.

Untitled (Wayne ’s Truck), 1980
Color coupler, 16 x 20 in.

US, 1981
Two color coupler prints, 29 7/8 x 19 3/8 in.

Murray Riss

Brownsville, Tennessee, 1981
Silver print, 9 1/2 x 11 7/8 in.

East High, Memphis, 1982
Silver print, 9 3/8 x 9 3/8 in.

Mono Lake, California, 1980
Silver print, 9 1/4 x 9 in.

Mycenae, New York, 1979
Silver print, 9 1/2 x 11 7/8 in.

Poplar Avenue, Memphis, 1982
Silver print, 9 1/2 x 11 7/8 in.

Robert Simone

Untitled from Shrewsbury Street Project, 1980
Silver print
Untitled from Shrewsbury Street Project
Untitled
from Shrewsbury Street Project
Untitled
from Shrewsbury Street Project
Untitled
from Shrewsbury Street Project

Louis E Shaw Head ShotLouise E. Shaw is the guest curator for this exhibition. Her curatorial experience began in 1976 as the assistant curator at the Atlanta Historical Society. She then took on the role of director at the Georgia State University Art Gallery in 1981. Recently, Shaw accepted another director position at the Atlanta Contemporary Art Center (also known as Nexus). This art center also incorporates Nexus Press, where she currently enjoys learning the two color process of printing. Shaw has an MFA in museology.

PRINT COLLATERAL

Flyer: Harry Callahan and His Students: A Study in Influence

Harry Callahan and His Students: A Study in Influence
Curated by Louis E. Shaw

Gallery 400
Chicago, IL
September 14–October 15, 1983

A major exhibition of works by Harry Callahan and his students will be mounted at Gallery 400, College of Architecture, Art and Urban Planning, 400 South Peoria, University of Illinois at Chicago, from September 14 through October 15.

Entitled Harry Callahan and His Students: A Study in Influence, the exhibition will investigate the work of Callahan and his role as educator at the Institute of Design in Chicago and the Rhode Island School of Design.

The exhibition will include works by Callahan and 13 of his most successful students. It will be organized from an art historical perspective relating the influence Callahan has had on each of the students in their growth as photographers and their evolution and maturity as artists.

“Harry Callahan ’s career has clearly been a reflection of the acceptance of photography as an important art form on a national level and of the growth of university education on photography,” according to exhibition curator Louise E. Shaw, of the department of art at Georgia State University in Atlanta. “The relationship between photography’s renaissance as an art form since World War II and the development of photography education in the fine art environment is a pivotal issue to understanding recent fine art photography,” Shaw said.

Exhibitors were selected based on their maturity as contemporary American photographers, their active participation in Callahan’s program and the influence that they are exerting on young photographers. Works by the following photographers are included in the exhibition:

James P. Blair (Washington, DC)
Bill Burke (Boston, MA)
Harry Callahan (Providence, RI)
Linda Connor (San Anselmo, CA)
Jim Dow (Boston, MA)
Emmet Gowin (Princeton, NJ)
Joseph Jachna (Chicago, IL)
Kenneth Josephson (Chicago, IL)
John McWilliams (Atlanta, GA)
Ray K. Metzker (Philadelphia, PA)
Starr Ockenga (Boston, MA)
Bart Parker (Providence, RI)
Murray Riss (Memphis, TN)
Robert Simone (Atlanta, GA)

The exhibition and accompanying catalogue are sponsored by the Department of Art and the Student Activities Fund, Georgia State University; the Georgia Council for the Arts and the National Endowment for the Arts; the Fulton County Arts Council and the Southern Arts Federation. An Illinois Arts Council grant makes the Chicago showing possible.

***

Panel discussion on photography and the Institute of Design: Wednesday, September 28, 1983, 6–8 pm

To complement the Harry Callahan and His Students: A Study in Influence exhibition, Gallery 400 presents an evening’s discussion, featuring participants Joe Jachna, Kenneth Josephson, and other Illinois artists trained at the Institute of Design by Callahan. Peter Hales, a photographer and historian of photography, will speak on how an Institute of Design training fits into trends in twentieth-century photography education. Joe Jachna and Kenneth Josephson, well-known area photographers, are featured in the exhibition. Jachna and Josephson will be joined by other Callahan and ID-trained Illinois photographers not in the exhibition to reflect on Callahan, their own education and work, and photo education generally. This latter group will most likely include Art Sinsabaugh and Charles Swedlund, who, like their teacher, both photograph and teach photography, and Joe Sterling, who has made his way outside of academia.

EXHIBITION SUPPORT

Harry Callahan and His Students: A Study in Influence is supported by the University of Illinois at Chicago School of Art and Design’s College of Architecture, Art and Urban Planning.

This exhibition is also supported by the Department of Art and the Student Activities Fund, Georgia State University; the Georgia Council for the Arts and the National Endowment for the Arts; the Fulton County Arts Council and the Southern Arts Federation. An Illinois Arts Council grant made the Chicago showing possible.