Exhibition

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Barbara Bosworth, National Champion Emory Oak, Arizona, 2001, gelatin silver print, 25 x 59.2 cm. Center for Creative Photography, University of Arizona: gift of the artist. © Barbara Bosworth
National Champion Emory Oak, Arizona,  2001, Gift of the artist,  ​ ​ © Barbara Bosworth
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When

Noon Jan. 22, 2022 to Midnight July 23, 2022

“To find the wealth of information trees have to share,” writes paleoclimatologist Dr. Valerie Trouet in Tree Story, “we must simply learn how to look.”

From January 22 – July 23, 2022, the Center for Creative Photography (CCP) and the Laboratory of Tree-Ring Research (LTRR) will stage installations together that follow historical, cultural, and scientific narratives inspired by trees.

With more than 100 images and objects assembled from CCP and LTRR’s collections, Trees Stir in their Leaves creates a multilayered experience with photography and dendrochronology (the study of annual rings in trees) in CCP’s Alice Chaiten Baker Interdisciplinary Gallery. Learn how visual information and analyses are crucial to tree-ring research and environmental advocacy. Explore trees as a point of departure from which artists and scientists consider nature, place, progress, migration, connectivity, and catastrophe. The installation includes work by such CCP collection artists as Ansel Adams, Lola Álvarez Bravo, Barbara Crane, Luis González Palma, Kozo Miyoshi, Doug and Mike Starn, Aaron Siskind, Rosalind Solomon, John Yang and more.

Founded as the first of its kind in 1937 at the University of Arizona, LTRR comprises an interdisciplinary research lab, teaching institute, and wood sample archive. At LTRR, the collaboration continues with a community art installation that responds to the prompt: what stories, images or ideas do trees inspire for you? Also at LTRR, trace the histories of dendrochronology; experience the interactive tree-stump and large redwood section exhibit; join tours of the facilities; and view films about lab research on trees.

To complement the installations, the Center’s mobile app, CCP Interactive, offers a guided tour of campus trees along the walk between CCP and LTRR. Designed by the University of Arizona Campus Arboretum, the mobile tour provides a lived experience of the aesthetic, scientific, and cultural connections between people and trees. The tour is also available in printed and mobile formats through the Campus Arboretum website here.

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When

9 a.m. June 12, 2021 to 11:59 p.m. July 11, 2021

View the exhibition virtually by location here:

 

The School of Art 2020 MFA Thesis Alumni Exhibition is proud to honor the achievements of their Master of Fine Arts graduates from 2020. During the last year of their coursework, graduates were poised to exhibit their thesis research when we were hit with campus closure because of the pandemic. As a result, these students missed out one of the most intrinsic components of their academic studies, presenting a fully developed body of work to the public in the form of an exhibition. Slowly as the world begins to open we are able to host these artists and reflect on the work they completed in those last months of their degree pursuits. Please join us in celebrating the School of Art's graduates in
the 2020 Alumni Exhibition.

FEATURING ARTISTS: Erin DiGiovanni, Zach Gotschalk, Mijoung Kim, Marisa Lewon, Dorsey Kaufmann, Martin Krafft, Elena Makansi, Leah Netsky, Jared Robison, Marina Shaltout, Kaitlyn Jo Smith, Alex Turner, Kenzie Wells

The public can enjoy the very best artworks created by our 2020 MFA alumni offered in 3D, 360-degree, virtual reality. Physically hung in the galleries, the exhibition is viewed virtually. Utilizing the 3D space capture program from Matterport, museum visitors have the opportunity to virtually ‘walk-through’ the different exhibitions and even view the exhibition in VR, which puts you “in the gallery.” Each piece of artwork has been carefully scanned to facilitate the new online medium and paired with the navigation aspect allows for great user experience.

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George H.W. Bush, Barack Obama, George W. Bush, Bill Clinton and Jimmy Carter, United States Presidents Gather Two Weeks before Barack Obama's Inauguration, Oval Office of the White House, Washington, D.C.
George H.W. Bush, Barack Obama, George W. Bush, Bill Clinton and Jimmy Carter, United States Presidents Gather Two Weeks before Barack Obama's Inauguration, Oval Office of the White House, Washington, D.C.,  2009, © © Center for Creative Photography, Arizona Board of Regents, 
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When

5 p.m. March 9, 2020 to 5 p.m. March 21, 2020

Pulitzer Prize-winning photojournalist David Hume Kennerly has documented momentous events and people including politicians, entertainment figures and a space shuttle liftoff. A pop-up exhibition of 25 of his prints are on display at Main Gate Square and inside the Tucson Marriott University Park hotel.

Sponsored by Marshall Foundation, established in 1930 by Louise Marshall, seeks to enhance the lives of the citizens of Tucson, AZ and Pima County through its support of charitable and educational institutions. The Foundation focuses its community giving on early childhood through undergraduate education and supportive wrap-around social services to aid underserved populations in attaining education. Marshall Foundation also funds projects, programs and scholarships at the University of Arizona, including post-secondary levels.

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When

5 p.m. Aug. 24, 2021 to 5 p.m. Jan. 1, 2022

Photojournalism 20/20: A Think Tank for an Unimaginable Present

The first activation of the Center for Creative Photography’s Alice Chaiten Baker Interdisciplinary Gallery was planned to be a close study of photojournalism, of how we can raise thoughtful, critical questions about the images in our news. Then 2020 swerved. Nearly overnight, photographs, together with videos and teleconferences, operated with renewed urgency. It was as though “lens-based culture” turned into our main connective tissue, all the while laying bare our disconnections.

During a period of physical confinement, worldwide protests for racial justice and systemic change, and a presidential election season, how do photographs in our news feeds help reveal the world around us? By the same token, how do photographs complicate how we see ourselves and one another? Reimagined as an in-progress think tank, Photojournalism 20/20: A Think Tank for an Unimaginable Present combines photographs, lectures, essays, and journals drawn from the Center’s collection with the latest about 2020 from mainstream news outlets, social media platforms, and thought leaders on photography-related topics.

Fotoperiodismo 20/20: Un laboratorio de ideas para un presente inimaginable

La primera activación de la Galería Interdisciplinar Alice Chaiten Baker del Centro de Fotografía Creativa se planeó para ser un estudio exhaustivo del fotoperiodismo, de cómo podemos plantear preguntas profundas y críticas sobre las imágenes que acompañan a nuestras noticias. Luego, el 2020 dio un giro brusco. Casi de la noche a la mañana, las fotografías, junto con los videos y las teleconferencias, operaron con renovada urgencia. Fue como si los medios digitales y fotográficos se convirtieran en nuestro principal tejido conectivo, mientras dejaba al descubierto nuestras desconexiones.

Durante un período de confinamiento físico, de protestas mundiales por la justicia racial y el cambio sistémico, y de una temporada de elecciones presidenciales, ¿cómo las fotografías en nuestros canales de noticias ayudan a revelar el mundo que nos rodea? De la misma manera, ¿cómo las fotografías complican la forma en que nos vemos a nosotros mismos y a los demás? Reimaginado como un laboratorio de ideas abierto, Fotoperiodismo 20/20 combina fotografías, conferencias, ensayos y revistas extraídas de la colección del Centro con lo último de los principales medios de comunicación, plataformas de redes sociales e intelectuales de la fotografía.

Photojournalism 20/20: A Think Tank for an Unimaginable Present will be on view in CCP's Alice Chaiten Baker Interdisciplinary Gallery through January 2022. Esta exposición está disponible en español.

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Chicago School Boycott, 1963-64 (from the series "That May Affect Their Hearts and Minds," 1963-64),  1963-1964, © Center for Creative Photography, Arizona Board of Regents,  Marion Palfi Archive/Gift of the Menninger Foundation and Martin Magner, The Center for Creative Photography
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When

5 p.m. July 21, 2021 to 5 p.m. Jan. 2, 2022

This retrospective exhibition will survey the career of Marion Palfi (1907–1978), who produced one of the most important visual documents of American injustice of the twentieth century. Freedom Must Be Lived: Marion Palfi’s America, 1940-1978 features over one hundred prints and numerous archival materials drawn exclusively from the Center for Creative Photography’s vast Marion Palfi Archive, including photobooks, magazine spreads, research journals, and grant applications. Many of these prints and expository archival materials have never before been exhibited or published and will offer an unprecedented opportunity to draw new insights into the work.

Palfi’s philosophy of using photography to influence social change shaped her vision and distinguished her career. A German immigrant to the United States during World War II, Palfi arrived in Los Angeles to find a reality far from the myth of the American Dream. Outraged at the economic, racial, and social inequalities she encountered, she spent over three decades traveling throughout the United States documenting troubled communities to expose the links between racism and poverty. As a self-described “social research photographer,” Palfi aspired for her photographs to live in the world and to effect social change. Her work was featured in numerous American periodicals, including Ebony and The New York Times. Sponsors for her work included the Council Against Intolerance in America, the NAACP, and the New York State Committee on Discrimination in Housing.

Each of the photographer’s four major projects are represented in the exhibition: her piercing nationwide study of children living in poverty; her decades-long civil rights activism documenting the effects of systemic racism against African Americans; her research on the abject conditions of aging in New York; and her revelatory pictures, funded by a 1967 Guggenheim fellowship, of the forced relocation of Native Americans off of reservations in the Southwest. Weaving together over three decades of work, the exhibition elucidates Palfi’s sustained focus on themes of inequity, solitude, racial victimization. Taken as a whole, it elucidates the photographer’s elegiac crusade for human rights and presents a cumulative photographic record that resonates with many of the social concerns still plaguing our country today.

Freedom Must Be Lived: Marion Palfi’s America is organized by Phoenix Art Museum and the Center for Creative Photography.  

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When

5 p.m. Oct. 10, 2019 to 5 p.m. Oct. 13, 2019

As a featured component of the University of Arizona’s Family Weekend 2019, the Center for Creative Photography has designed its first-ever outdoor pop-up exhibition.  Including 63 images by photojournalist David Hume Kennerly (b. 1947), the exhibition shows the Pulitzer-prize winning photographer’s breadth of subjects.  Included are his early political pictures of Robert Kennedy, Richard Nixon, and Gerald Ford; entertainment images including Mick Jagger, Miles Davis, and Jerry Seinfeld; sports figures Mary Lou Retton, Mohammed Ali, and Carl Lewis; recent political figures President Donald Trump, Senator Elizabeth Warren, and former President Jimmy Carter; and news events including a space shuttle lift off, presidential inaugurations, and a chilling view of the Penatgon on 9/11.

Kennerly has documented momentous events for newspaper and magazine publications, and as photographer to President Gerald Ford, for over fifty years. His photographs bring us closer to the world leaders who made the news, and to those impacted by their actions.

The pop-up exhibition will complement an exhibition of 25 of his fine art prints on display in the University of Arizona's Old Main, including a tender view of Arizonan Linda Ronstadt, profound pictures of Vietnam soldiers, an early color portrait of Supreme Court Justice Sandra Day O’Connor, and Kennerly’s prize-winning frame of the Mohammad Ali-Joe Frazier fight.

The Center for Creative Photography is excited to be integrated into the activities of this popular fall event.  It is a powerful opportunity for Kennerly's work to be introduced to the campus community for students, parents, staff, faculty, and visitors to experience and enjoy.

Learn more about the David Hume Kennerly Archive.

Presented by Bank of America, Marshall Foundation, Arizona Arts, and Center for Creative Photography

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Sandra Day O'Connor and Ruth Bader Ginsburg, First and Second Women to serve as Justices on the U.S. Supreme Court, Statuary Hall in the U.S. Capitol Building, Washington, D.C.
Sandra Day O'Connor and Ruth Bader Ginsburg, First and Second Women to serve as Justices on the U.S. Supreme Court, Statuary Hall in the U.S. Capitol Building, Washington, D.C.,  ​ ​ © © Center for Creative Photography, Arizona Board of Regents,  Center for Creative Photography, The University of Arizona: David Hume Kennerly Archive
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When

5 p.m. Oct. 10, 2019 to 5 p.m. March 10, 2020

David Hume Kennerly’s photographs of extraordinary and historic situations, offer us the same front-row perspective that he had when he made the images. Kennerly, who won a Pulitzer Prize at the age of 25, and became President Gerald Ford's official photographer two years later, has documented momentous events for newspaper and magazine publications for over fifty years. His photographs bring us closer to the world leaders who made the news, and to those impacted by their actions. His pictures depict war and dislocation, politics and government, celebrity and entertainment, as well as sports and everyday life.

Twenty-five of his most memorable images, selected to show the breadth and diversity of his vision, will be on display in the University of Arizona's Old Main. We see a tender view of Arizonan Linda Ronstadt and intense pictures of Vietnam soldiers. The august and commanding portrait of five presidents in the Oval Office contrasts with the arrested action of Kennerly’s prize-winning frame of the Mohammad Ali-Joe Frazier fight. His images of the government include President Trump taking office and portraits of Supreme Court Justices Sandra Day O’Connor and Ruth Bader Ginsburg. Kennerly provides access to scenes most of us can only imagine. These photographs capture telling moments of the late twentieth and early twenty first century, and are critical visual documents for students, scholars, and historians.

As a component of the University of Arizona's Family Weekend celebration, an additional 63 images will be presented in an outdoor, pop-up exhibition along the UA Mall. The display will run Friday, October 11 through Sunday, October 13 only. Integrated into the activities of this popular fall event, Kennerly's work will be introduced to the campus community for students, parents, staff, faculty, and visitors to experience and enjoy.

Since the late 1960s, David Hume Kennerly has traveled the world to bear witness to pivotal events that shaped our lives. Through his work he reveals us to ourselves, sharing the world through his lens, and producing a lasting record.

Learn more about the David Hume Kennerly Archive.

 

Presented by Bank of America, Marshall Foundation, Arizona Arts, and Center for Creative Photography

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Untitled (Letter from Barbara Crane to Ansel and Virginia Adams)
Untitled (Letter from Barbara Crane to Ansel and Virginia Adams),  1984, © © Barbara Crane,  Center for Creative Photography, University of Arizona, Ansel Adams Archive
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When

5 p.m. June 26, 2020 to 5 p.m. Nov. 6, 2020

Photographs as Letters explores the exchange of photographic materials sent through postal mail among twentieth-century American photographic communities. Drawn primarily from the Center for Creative Photography Archive the exhibition presents a range of photographic correspondence that lends insight into the working processes and networks of some of the United States’ most significant photographers. From finished fine prints to intentionally altered working materials, from postcards to print scraps and other darkroom castoffs, Photographs as Letters will afford visitors an opportunity to see the ways that members of American photographic communities have communicated and collaborated through postal mail.

 

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Moon and Half Dome, Yosemite National Park, California
Moon and Half Dome, Yosemite National Park, California,  1960, © © The Ansel Adams Publishing Rights Trust,  Center for Creative Photography, University of Arizona, Ansel Adams Archive
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Moon and Half Dome, Yosemite National Park, California
Moon and Half Dome, Yosemite National Park, California,  1960, © © The Ansel Adams Publishing Rights Trust,  Center for Creative Photography, University of Arizona, Ansel Adams Archive
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When

5 p.m. Jan. 10, 2020 to 5 p.m. May 9, 2020

Twentieth-century American photographer Ansel Adams famously said that the photographic negative is like a composer’s score, and the print a performance.  Drawn from the Ansel Adams Archive, at the Center for Creative Photography, housed in Tucson at the University of Arizona, this exhibition illustrates Adams’s meaning.  Throughout the exhibition of sixty photographs, sets of prints—grouped in twos and threes—show how on different occasions Adams created varying interpretations from his own negatives. These groups demonstrate how, using the same score, Adams was constantly revising the way it was performed.

 

Comparing and contrasting more than one print from the same negative demonstrates Adams’s choices about cropping, dodging and burning, and overall contrast and brightness. The wealth of material from the Adams Archive also reveals how, over time, his approach to certain negatives changed as his perspective evolved, the field transformed, and the available materials shifted. Above all, these comparisons show that Adams invested time and care in each hand-made print, producing interpretive artworks that come as much from his imagination as from the landscapes before which he stood. All of the exhibition’s prints, spanning the master’s six-decade career, highlight Adams’s particular talent and sensitivity as a photographic printer.

 

Many of the artworks are accompanied by quotations from Adams’s published writings, in which he discussed his process for an image. The photographer was known for his role as an educator and promoter of the photographic medium as an expressive artform, and he enthusiastically shared his techniques through workshops, journal articles, and publications. This presentation invites you to explore, through Adams’s body of work, the practice of black-and-white printmaking, and the range of expression a skilled photographer can create with this most fundamental of photographic processes. 

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El Capitan—Yosemite Valley, postcard, undated
El Capitan—Yosemite Valley, postcard, undated,  ​ ​ © © The Ansel Adams Publishing Rights Trust,  collection of Rebecca Senf
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When

5 p.m. Feb. 28, 2020 to 5 p.m. June 26, 2020

Ansel Adams’s long photographic career saw a significant shift in style between his early work, made between 1916 and 1941, and his most recognizable production, from 1941 through the end of his life in 1984. The catalyst for this change was a commission from the federal government: in 1941 Adams was hired by the Department of the Interior to make photographs of the national parks as part of a mural project to adorn the new Interior building in Washington D.C. He was honored to be hired for a project of such importance and personal significance. With the broad American public in mind as his audience, he set out on a trip through the Western United States to picture the country’s dramatic protected lands. 

 

Although the large-scale murals were not completed in Adams’s lifetime, the project had a huge impact on the photographer: the style he adopted for the national parks commission became his signature, characterizing much of his artwork for the rest of his life. He was so invested in taking pictures of America’s national parks that in the late 1940s he applied for, and received, a Guggenheim fellowship to continue documenting spectacular wilderness places after the funding for the initial commission ran out.

 

This exhibition presents twenty-two photographs, illustrating three elements in his body of work: his signature style, the shift in style in 1941, and his commercial work. His signature style will be shown through later works and national parks pictures made either for the mural project or on his Guggenheim fellowship which exhibit characteristic elements. Pairs and groupings of works that contrast early and later works will track the shift in his style. And finally examples of his commercial photography, a little known but important component of his career, illustrate the development of his artistic language.

 

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