Exhibition

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When

5 p.m. Oct. 12, 2003 to 5 p.m. Jan. 2, 2004
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When

5 p.m. Sept. 3, 2010 to 5 p.m. Nov. 27, 2010

From the beginning, abstraction has been intrinsic to photography, and its persistent popularity reveals much about the medium. The Edge of Vision: Abstraction in Contemporary Photography, curator Lyle Rexer defines abstraction as “a departure from or the eliding of an immediately apprehensible subject.” Within this broad definition, a host of approaches explore aspects of the photographic experience, including the chemistry of traditional photography, the mediation of lenses, the direct capture of light without a camera, temporal extensions, digital sampling of found images, radical cropping, and various deliberate destabilizations of photographic reference. Exhibition artists include: Bill Armstrong, Carel Balth, Adam Broomberg, Ellen Carey, Oliver Chanarin, Roland Fischer, Michael Flomen, Manuel Geerinck, Shirine Gill, Barbara Kasten, Seth Lambert, Charles Lindsay, Edward Mapplethorpe, Chris McCaw, Roger Newton, Jack Sal, Penelope Umbrico, Randy West, Silvio Wolf, and Ilan Wolf.

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When

5 p.m. March 26, 2009 to 5 p.m. June 20, 2009

Connor embraces a wide range of subject matter. Connecting the physical and the spritual world, she has worked extensively in India, Indonesia, Turkey, Cambodia, Egypt, Tibet, and the American Southwest. Included in the exhibition are some of her best known images from the past three decades, along with new works that have never been exhibited publicly.

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When

5 p.m. July 9, 2009 to 5 p.m. Oct. 3, 2009
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When

5 p.m. May 18, 2006 to 5 p.m. Aug. 5, 2006

Inspired by the bicentennial celebration of the Lewis and Clark expedition (1804–06), American photographer Robert Adams’s most recent project offers a new and unsparing look at the territory the explorers opened for development. His pictures are also a clear-eyed meditation on hope.

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When

5 p.m. Nov. 21, 2008 to 5 p.m. March 7, 2009

Love—l’amour—is one of art’s enduring themes, inspiring collectors as well as creators. Stéphane Janssen, Belgian by birth and resident in Arizona, discovered a love of art in his teenage years. He went on to assemble an extensive and entirely unique collection including almost every creative medium: painting, ceramics, photography, and more. For this exhibition, Janssen generously shares a group of contemporary photographs that reflect his vision as a patron.

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When

5 p.m. Aug. 17, 2006 to 5 p.m. Sept. 30, 2006

The photographer Milton Rogovin has been likened to the great social documentary photographers of the 19th and 20th centuries, Lewis Hine and Jacob Riis. An exhibition of the 96-year-old photographer’s works will be on view at the Center for Creative Photography. Rogovin’s work speaks of the humanity of working people, the poor, and society’s “forgotten ones.” In the last year, the Center received approximately 340 Rogovin prints; these include gifts and promised gifts of 11 donors and the Rogovin family. These works will form the beginning of the Rogovin Collection at the Center, which will house more holdings of works and archival documents by the photographer than any other institution.

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Aaron Siskind, Happy Valley, Arizona
Aaron Siskind, Happy Valley, Arizona,  1978, © ©1978 Harold Jones,  Gift of the artist
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Tucson, Arizona
Tucson, Arizona,  1992, © ©Kozo Miyoshi,  Gift of the artist, DEP'T CO., LTD., Tokyo, Nippon Polaroid, Tsudani Oil Co. Ltd.
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When

5 p.m. Aug. 17, 2012 to 5 p.m. Nov. 24, 2012

To celebrate the Arizona Centennial, the Center for Creative Photography is presenting a selection of images created in the state during the twentieth century.  Encompassing a range of subjects and genres, the exhibition highlights the diverse photographs produced in Arizona.  Some of these artists spent time in the state because of great Arizona photographic institutions, including higher educational programs, Arizona Highways magazine, and the Center for Creative Photography itself.  In addition to iconic views of iconic sites by photographic masters, this presentation embraces the unexpected, and shows the rich breadth and scope of the Center’s fine print collection.

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Thelonious Monk and Town Hall Band in rehearsal
Thelonious Monk and Town Hall Band in rehearsal,  c. 1957-1964, © © The Heirs of W. Eugene Smith,  W. Eugene Smith Archive, Center for Creative Photography, The University of Arizona
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Zoot Sims
Zoot Sims,  c. 1957-1964, © © The Heirs of W. Eugene Smith,  W. Eugene Smith Archive, Center for Creative Photography, The University of Arizona
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When

5 p.m. Dec. 13, 2012 to 5 p.m. March 9, 2013

The Jazz Loft Project: Photographs and Tapes of W. Eugene Smith from 821 Sixth Avenue, 1957-1965 is an exhibition of photographs and audio recordings of an extraordinary chapter in American jazz history and the climate in which it occurred.

From 1957 to 1965, famed photographer W. Eugene Smith (1918-1978) documented the late-night soirees inside a dilapidated New York City loft where some of the jazz world's greatest legends (Charles Mingus, Zoot Sims, Bill Evans, and Thelonious Monk to name a few) casually performed and mingled with the likes of Norman Mailer, Salvador Dali, Diane Arbus, Robert Frank, Henri Cartier-Bresson, and crowds full of colorful underground characters. Smith exposed 1,447 rolls of film at the loft, making roughly 40,000 pictures, the largest body of work in his career. He photographed the nocturnal jazz scene as well as life on the streets of the flower district, as seen from his fourth-floor window. Smith also wired the building like a surreptitious recording studio and made 1,740 reels (4,000 hours) of stereo and mono audiotapes, capturing more than 300 musicians.

In the late 1990s, while researching W. Eugene Smith’s Pittsburgh project in the archives at the University of Arizona’s Center for Creative Photography, writer Sam Stephenson came across the wealth of Smith’s jazz loft photographs and audiotapes, which were not well-known. They had been deposited at CCP in 1977, when two eighteen-wheel trucks delivered 44,000 pounds of Smith’s work and personal belongings including letters, 25,000 vinyl records, thousands of 3x5 cards filled with notes to himself, and as many as a million negatives and contact sheets.  With the partnership of the Center for Creative Photography at the University of Arizona and Duke University’s Center for Documentary Studies, the Jazz Loft Project began.  The project was complicated from the start—archival materials in Arizona, project based in North Carolina, story about New York—but the Center for Creative Photography generously allowed Stephenson to work through it; CCP became a second home for him with two dozen trips there over thirteen years.

Stephenson spent those years cataloging, archiving, selecting and editing the jazz loft materials for a book and, along with other partners, a radio series, an exhibition, and a website. His work is ongoing. To date, nearly 600 people have been documented in Smith’s photographs and tapes or in oral history interviews conducted by Jazz Loft Project staff of the Center for Documentary Studies at Duke University.

The exhibition, curated by Sam Stephenson and Courtney Reid-Eaton, opened in February 2010, at the Donald and Mary Oenslager Gallery in the New York Public Library for Performing Arts in New York City, New York.  It traveled to the Chicago Cultural Center in Chicago, Illinois, opening in July 2010; the Nasher Museum of Art in Durham, North Carolina, opening in February 2011; and the Museum of Photographic Arts in San Diego, California, opening in May 2012.  The exhibition will close at the Center for Creative Photography at the University of Arizona, showing from December 14, 2012 to March 10, 2013.

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