Peter galassi andreas gursky biography

Peter Galassi

American writer, curator, and art historian working in the field of photography

Peter Johnston Galassi (born April 18, ) is an American writer, curator, and art historian working in the field of photography.[1][2] His principal fields are photography and nineteenth-century French art.[3]

Education

Galassi graduated from Phillips Exeter Academy in [4] Galassi holds a B.A.

in Visual and Environmental Studies from Harvard College () and a Ph.D. in Art History and Archaeology from Columbia University ().[5]

Life and work

Galassi was Chief Curator of Photography at the Museum of Modern Art (MoMA) from to He started his career at MoMA as a Curatorial Intern (–), Associate Curator (–), and Curator (–) working with photography curator John Szarkowski.[6][7]

After first organizing a Henri Cartier-Bresson exhibit in as a photography curator at MoMA, he organized a larger Cartier-Bresson exhibit as chief curator of MoMA in [8] He was replaced as chief curator of photography at MoMA in December by Quentin Bajac, after retiring in [9]

He curated a large Barcelona exhibit of Gyula Halász in , with the British Journal of Photography saying "exhibition could be considered to be Galassi’s biggest curatorial endeavour so far since he retired from MoMA."[10]

With "PROOF" in February , he was guest curator on a collection of works from the collection of Mark Schwartz and Bettina Katz.[11] The exhibit was published in the book PROOF: Photography in the Era of the Contact Sheet from the Collection of Mark Schwartz + Bettina Katz in , written by Galassi.[12]

Exhibitions curated by Galassi

At Museum of Modern Art, New York

  • Picture Puzzles: Photographs by Man Ray, Frederick Sommer, Clarence John Laughlin, and Robert Cumming.
  • Before Photography: Painting and the Invention of Photography.
  • Rosalind Solomon: Ritual.[13]
  • Henri Cartier-Bresson: The Early Work.[14]
  • Nicholas Nixon: Pictures of People.[15]
  • New Photography 4: Patrick Faigenbaum, Reagan Louie, and Michael Schmidt.
  • Walker Evans: American Photographs.[16]
  • Projects: Stuart Klipper, On Antarctica [17]
  • Pleasures and Terrors of Domestic Comfort.[18]
  • More Than One Photography: Works since from the Collection.
  • The Photographs of Lucas Samaras: Selections from a Recent Gift.[19]
  • New Photography 8: Dieter Appelt, Ellen Brooks, Darrel Ellis, Dennis Farber, Robert Flynt, Mary Miss, Gundula Schulze, Toshio Shibata.
  • Recent Acquisitions: Photography.
  • Philip-Lorca diCorcia: Strangers.[20]
  • William Wegman's Cinderella.[21]
  • Gesture and Pose: Twentieth-Century Photographs from the Collection.[22]
  • Lee Friedlander: Letters from the People.[23]
  • Recent Acquisitions: Photography.
  • Helen Chadwick: Bad Blooms.[24]
  • American Photography from The Museum of Modern Art, New York.
  • Michael Schmidt: U-NI-TY. Co-organized with Thomas Weski, Sprengel Museum Hannover, Germany.[25]
  • Roy DeCarava: A Retrospective.[26]
  • In the Light of Italy: Corot and Early Open-Air Painting. Co-organized with Philip Conisbee, Sarah Faunce, and Jeremy Strick.

    National Gallery of Art, Washington.

  • Pictures of the Times: A Century of Photography from The New York Times. Co-organized with Susan Kismaric.[27][28]
  • Recent Acquisitions: American Photography.
  • From the Grace M. Mayer Collection.
  • Cindy Sherman: The Complete Untitled Film Stills[29]
  • Garry Winogrand: Selections from a Major Acquisition.[30]
  • Aleksandr Rodchenko. Co-organized with Magdalena Dabrowski and Leah Dickerman.[31]
  • Graphic-Photographic. Co-organized with Christopher Mount.
  • Ideal Motif: Stieglitz, Weston, Adams, and Callahan.
  • The Rhetoric of Persuasion.

    Co-organized with Wendy Weitman.

  • Seeing Double.
  • Walker Evans & Company.
  • Andreas Gursky.[32]
  • Life of the City. Co-organized with the curatorial staff of the Department of Photography and the organizers of Here is New York.
  • Friedlander.[33]
  • Landscape: Recent Acquisitions. Co-organized with the curatorial staff of the Department of Photography.
  • Barry Frydlender: Place and Time.[34]
  • Jeff Wall.[35]
  • Bernd and Hilla Becher: Landscape/Typology.
  • Henri Cartier-Bresson: The Modern Century.[36]

At other institutions

  • Robert Frank in America,Iris & B.

    Gerald Cantor Center for Visual Arts, Stanford, CA.[37]

  • In The Studio: Photographs,Gagosian Gallery, New York City.[38]
  • Land Meets Water: European and American Photography from to the Present, Artipelag, Gustavsberg, Sweden.[39]
  • Brassaï,Fundación MAPFRE Casa Garriga Nogués, Barcelona, Spain.[40]

Publications

Books and exhibition catalogues

  • Before Photography: Painting and the Invention of Photography. New York: The Museum of Modern Art, ISBN&#;
    • Italian edition: Prima della fotografia: La pittura e l'invenzione della fotografia. Turin: Bollati Boringhieri Editori,
  • Henri Cartier-Bresson: The Early Work. New York: The Museum of Modern Art, ISBN&#;
    • French edition: Henri Cartier-Bresson: Premières photos.

      De l'objectif hasardeux au hasard objectif. Paris: Arthaud, Trans. Pierre Leyris.

    • German edition: Henri Cartier-Bresson: Die frühen Photographien. Munich: Schirmer/Mosel, Trans. Rudolf Hermstein and Martina Tichy.
  • Nicholas Nixon: Pictures of People. New York: The Museum of Modern Art, ISBN&#;
  • Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition. New Haven and London: Yale University Press, ISBN&#;
    • French edition: Corot en Italie: La peinture de plein air et la tradition classique. Paris: Éditions Gallimard, Trans.

      Jeanne Bouniort.

    • German edition: Corot in Italien: Freilichtmalerei und klassische Landschaftstradition. Munich: Hirmer Verlag, Trans. Annemarie Seling.
    • Italian edition: Corot in Italia: La pittura di plein air e la tradizione del paesaggio classico. Turin: Bollati Boringhieri Editori, Trans. Anna Bertolino.
  • Pleasures and Terrors of Domestic Comfort. New York: The Museum of Modern Art, ISBN&#;
  • American Photography from The Museum of Modern Art. New York: The Museum of Modern Art, ISBN&#;
    • German edition: Amerikanische Photographie aus der Sammlung desMuseum of Modern Art, New York. Munich: Schirmer/Mosel, Trans.

      Jörg Trobitius.

    • French edition: Photographie américaine de à à travers la collection du Museum of Modern Art, New York. Paris: Centre Georges Pompidou, Trans. Jeanne Bouniort.
    • Spanish edition: Fotografia americana en The Museum of Modern Art, New York. Valencia: IVAM Centre Julio González,
  • Philip-Lorca diCorcia (Contemporaries: A Photography Series). New York: The Museum of Modern Art, ISBN&#;
  • Roy DeCarava: A Retrospective. New York: Museum of Modern Art, ISBN&#;
  • Pictures of the Times: A Century of Photography from The New York Times. New York: The Museum of Modern Art, Edited by Peter Galassi and Susan Kismaric.

    ISBN&#;

  • Aleksandr Rodchenko. New York: The Museum of Modern Art, By Magdalena Dabrowski, Leah Dickerman, and Peter Galassi. ISBN&#;
  • Making Choices: , , , I. New York: The Museum of Modern Art, ISBN&#; By Peter Galassi, Robert Storr, and Anne Umland.
  • Walker Evans & Company. New York: The Museum of Modern Art, ISBN&#;
  • Andreas Gursky. New York: The Museum of Modern Art, ASIN&#;BNE8L7M.

    • German edition: Andreas Gursky.

      Edward burtynsky Like his landscapes and interiors, he approaches the stove from a high vantage point in a way that is slightly unusual for the viewer. Today, his works are housed in many public art collections, including the collections of institutions like the Centre Pompidou in Paris, Tate Modern in London, the National Galleries of Scotland, and the Stedelijk Museum. These are antagonistic photographs, pulling a tug of war between realism and digital manipulation,. Gursky's mature work deals with globalism and capitalism in contemporary society, but this image was conceived from individual experience while cooking when "after a while I saw it as an image.

      Ostfildern-Ruit: Hatje Cantz Verlag, Trans. Hinrich von Haaren.

    • Spanish edition of text: Madrid: Museo Nacional Centro De Arte Reina Sofia, Trans. María Luisa Balseiro.
  • Henri Cartier-Bresson: The Man, the Image and the World. London: Thames & Hudson Ltd, ASIN&#;B01K0TJN8K.
  • Friedlander. New York: Museum of Modern Art, ISBN&#; With an essay by Richard Benson.
  • Barry Frydlender: Place and Time. New York: The Museum of Modern Art, ISBN&#;
  • Jeff Wall. New York: Museum of Modern Art; San Francisco: San Francisco Museum of Modern Art ISBN&#; With an interview with Jeff Wall by James Rondeau.
  • Henri Cartier-Bresson: The Modern Century. New York: The Museum of Modern Art, ISBN&#;
    • French edititon: Henri Cartier-Bresson: un siècle modern. Paris: Éditions Hazan, Trans.

      Jean-François Allain.

    • German edition: Henri Cartier-Bresson: sein Munich: Schirmer/Mosel, Trans. Ursula Wulfekamp and Matthias Wolf.
    • Italian edition: Henri Cartier-Bresson: il secolo modern. Rome:Contrasto, Trans. Maria Baiocchi.
    • Portuguese (Brazilian) edition: Henri Cartier-Bresson:o século moderno. São Paolo: Cosac Naify, Trans.

      Cid Knipel.

    • Spanish edition: Henri Cartier-Bresson: el siglo modern. Madrid: La Fabrica Editorial, Trans. Miguel Marqués,Tamara Gil Somoza, and Elena Sanjosé Román.
  • Richard Benson: North South East West. New York: The Museum of Modern Art, ISBN&#;
  • Ansel Adams in Yosemite Valley: Celebrating the Park at New York: Little, Brown and Company, ISBN&#;
  • Robert Frank in America. Göttingen: Steidl, Palo Alto: Cantor Arts Center at Stanford University, ISBN&#;
    • French edition: Robert Frank en amérique. Göttingen: Steidl, Trans.

      Juliette Lê.

    • Spanish edition: Robert Frank en américa. Madrid: La Fábrica,
  • In the Studio: Photographs. New York: Phaidon, New York: Gagosian Gallery, ISBN&#;
  • Brassaï. Madrid: Fundación MAPFRE, ISBN&#; With contributions by Stuart Alexander and Atonio Muñoz Molina.

Books with contributions by Galassi

  • "Caillebotte's Method." In Gustave Caillebotte: A Retrospective Exhibition. Houston: The Museum of Fine Arts, , pp.&#;– ASIN&#;BXTX2AI
    • Reprinted with revisions in Gustave Caillebotte, by Kirk Varnedoe.

      Peter galassi andreas gursky biography International Center of Photography. Wikidata item. Content compiled and written by Hope Guzzo. He writes from what he remembers and his different impressions.

      New Haven and London: Yale University Press, , pp.&#;27–

    • French edition: Gustave Caillebotte. Paris: Editions Adam Biro, , pp.&#;27–
  • "Mark Klett: Present and Past in the American West." In Mark Klett, Traces of Eden: Travels in the Desert Southwest. Boston: David R. Godine, , n.p. ASIN&#;B01FJIA
  • "A Note on the Fiftieth-Anniversary Edition." In Walker Evans, American Photographs. Fiftieth-Anniversary Edition.

    New York: The Museum of Modern Art, , pp.&#;– ISBN&#;

  • "La Photographie et l'inertie de la théorie artistique." In Les Multiples inventions de la photographie, by Pierre Bonhomme. Paris: Mission du Patrimonie photographique, , pp.&#;– ASIN&#;BJ
  • "The Nineteenth Century: Valenciennes to Corot." In Claude to Corot: The Development of Landscape Painting in France, by Alan Wintermute.

    New York: Colnaghi, Seattle: University of Washington Press, , pp.&#;– ISBN&#;

  • "Postmodernism and Photography." In Photography Today Report. Tokyo: Tokyo Metropolitan Culture Foundation, , pp.&#;65– Text in English and Japanese.
  • "A Tribute to J.A. Gere." In In the Light of Italy: Corot and Early Open-Air Painting. Washington, D.C.: National Gallery of Art, New Haven: Yale University Press, , pp.&#;23– ISBN&#;
  • "Before Corot." In, Corot, un artiste et son temps.

    Actes des colloques organisés au musée du Louvre par le Service culturel les 1er et 2 mars à Paris et par l’Académie deFrance à Rome, villa Médicis, le 9 mars à Rome. by Chiara Stefani, Vincent Pomarède, and Gérard de Wallens. Paris: Klincksieck, , pp.&#;– ISBN&#;

  • "Conserving Photography and Preserving the Vitality of our Culture." In Miguel Angel Corzo, Mortality Immortality?: The Legacy of 20th-Century Art. Los Angeles: The Getty Conservation Institute, , pp.&#;81–ISBN&#;
  • Untitled afterword.

    Thomas ruff: Modern Art - Defined. Below, we will delve into the history of Andreas Gursky by examining some of the key moments in his life and career. October Below, you will find the top three book recommendations for learning more about Andreas Gursky and key moments in his photographic career.

    In Nicholas Nixon, The Brown Sisters. New York: The Museum of Modern Art, , n.p. ISBN&#;

  • "Natura Pictrix: Un entretien de Vik Muniz avec Peter Galassi." In Vik Muniz. Paris: Centre national de la Photographie, , pp.&#;7– ISBN&#;
  • Untitled introduction. In Lee Friedlander, Staglieno. Portland, Oregon: Nazraeli Press, ISBN&#;
  • "And Everything in Between." In Philippe Arbaïzar, Henri Cartier-Bresson: The Man, the Image and the World: A Retrospective. London: Thames & Hudson, ISBN&#;
  • "Rude and Crude: Cartier-Bresson at Julien Levy Gallery." In Documentary & Anti-Graphic Photographs by Cartier-Bresson, Walker Evans & Alvarez Bravo, by Agnès Sire.

    Paris: Fondation Henri Cartier-Bresson, Göttingen: Steidl, , pp.&#;– ISBN&#;

    • Bilingual edition; French: Rustre et Frustre: Cartier-Bresson à la Galerie Julien Levy, pp.&#;97–
  • "Foreword and Acknowledgments." In Alexander N. Lavrentiev, Experiments for the Future: Diaries, Essays, Letters, and Other Writings. New York: The Museum of Modern Art, , pp.&#;8–9.

    ISBN&#;

  • "Introduction." In Mount St. Helens: Photographs by Frank Gohlke. New York: The Museum of Modern Art, , pp.&#;8–9 ISBN&#;
  • "A Tribute to Italo Zannier." In Fotologie: Scritti in onore di Italo Zannier, by Nico : il Poligrafo, , pp.&#;29– ISBN&#;
  • Untitled afterword. In Nicholas Nixon, The Brown Sisters: Thirty-Three Years. New York: The Museum of Modern Art, , n.p.

    ISBN&#;

    • Spanish edition: Nicholas Nixon, Las hermanas Brown Trans. Mercedes Rivas. Madrid: Fundación MAPFRE in association with The Museum of Modern Art, New York, n.p.
  • "Preface." In Jeff Wall, Selected Essays and Interviews. New York: The Museum of Modern Art, p.&#;6. ISBN&#;
  • "Introduction." In Mark Steinmetz, South Central. Portland, Oregon: Nazraeli Press, , p.&#;5.

    ISBN&#;

  • "Walker Evans und die Kunst des Faktischen." In Ortrud Westheider and Michael Philipp, New York Photography Von Stieglitz bis Man Ray, by . München: Hirmer Verlag, Hamburg: Bucerius Kunst Forum, , pp.&#;42– ISBN&#;
  • "Like an actor on a screen, watching himself: An email conversation between Thomas Demand and Peter Galassi".

    In Susan van Wyk, Thomas Demand. Melbourne: National Gallery of Victoria International, , pp.&#;72– ISBN&#;

  • Untitled essay. In Nicholas Nixon, Close Far. Göttingen: Steidl, , n.p. ISBN&#;, Barral, , n.p.
  • "William Wegman Discovers Photography." In Eurkea: William Wegman Photographs New York: Craig F.

    Starr Gallery, ISBN&#;

  • "I libri di Gianni Berengo Gardin." In Gianni Berengo Gardin, Il libro dei libri, by Bruno Carbone. Rome: Contrasto, , pp.&#;7– ISBN&#;
  • "A Fixed Point / En fast punkt." In Irving Penn: Timeless Moments. Stockholm: Åmells, , pp.&#;7–9 (English) and 11–13 (Swedish). ISBN&#;
  • "I Marziani di Mantegazza / Mantegazza's Martians." In Jacoppo Moggi Cecchi and Roscoe Stanyon, Il Museo di Storia Naturale dell’Università degli Studi di Firenze, vol.

    V, Le Collezioni antropologiche ed etnologiche. Firenze: University Press, , pp.&#;– Italian and English. ISBN&#;

  • "Les Anonymes de Pierre de Fenoÿl, un nouveau regard." In Virginie Chardin, Pierre de Fenoÿl: une géographie imaginaire. Paris: Éditions Xavier Barral, , pp.&#;– ISBN&#;
  • "Surrendering to the Picture." In Lee Friedlander & Pierre Bonnard: Photographs & Drawings, Göttingen: Steidl, New York: Pace/MacGill Gallery, Cologne: Galerie Thomas Zander, , pp.&#;6– ISBN&#;
  • "La rupture esthétique d’Eugène Atget." In Les Silences d’Atget: Une anthologie de texts, by Luce Lebart.

  • Andreas gursky famous photos
  • Andreas gursky photos
  • Andreas gursky interesting facts
  • Andreas gursky photography style

    • Paris: Éditions Textuel, , pp.&#;– ISBN&#;

  • "Faire collection: une enquête." In Clément Chéroux and Karolina Ziebinska-Lewandowska, The Pencil of Culture: 10 ans d’acquisitions de photographies au Centre Pompidou. Paris: Centre Pompidou and Filigranes Éditions, , pp.&#;– ISBN&#;
  • "Afterword." In Tina Barney. New York: Rizzoli, , pp.&#;– ISBN&#;
  • "Afterword." In Lee Friedlander.

    The American Monument. New York: Eakins Press Foundation, , n.p. ISBN&#;

  • Untitled essay. In Sheron Rupp, Taken from Memory. Berlin: Kehrer Heidelberg, , p.&#; ISBN&#;

Awards

References

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  2. ^"NEW DIRECTOR OF PHOTOGRAPHY AT MOMA".

    Christian Science Monitor.

    Peter galassi andreas gursky biography wikipedia He writes from what he remembers and his different impressions. Images such as Stockholder Meeting also demonstrated his development by working with technology and editing software, which was created entirely on the digital spectrum. In , he synthesized his images with music by inviting acclaimed DJ, producer, and friend Richie Hawtin aka Platikman to create a soundscape to accompany his exhibition Not Abstract II. The Independent.

    October 21,

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  9. ^Quentin Bajac replaces Peter Galassi, The Eye of Photography, December 25, , retrieved June 27,
  10. ^Peces, Juan (February 12, ), The definitive Brassaï show, curated by ex-MoMA star Peter Galassi, British Journal of Photography, retrieved June 27,
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    "Review/Photography; Gestures as a Vocabulary for Reading Personality". The New York Times.

  23. ^Hagen, Charles (August 5, ). "PHOTOGRAPHY REVIEW; A Master of the Frame: Intricate Compositions From Lee Friedlander". The New York Times.
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    The New York Times.

  27. ^Goldberger, Paul, "Exhibitions Celebrate a Times Centennial", The New York Times, March 18,
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    "Film Starlet Cliches, Genuine and Artificial at the Same Time". The New York Times.

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    39. "Jeff Wall's Unique Photographic Vision". Wall Street Journal.

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