To the joy of some readers and the despair of others, aperture is mid-stream in a program of articles on the subject of experiencing and reading photographs. The pleased readers report that their own horizons have widened because of these various articles and that as their grasp of picture content deepens so does their seeing of the world around them.
In this atomic and atomized age when the transmission and circulation of visual images is next to universal, no photographer can escape the constant impact of influences. TV, newspapers ... is there any need to enumerate the sources? To those for whom personal expression is of stellar importance the question is a constant threat, how does one reach one's own personality.
OBSTACLES TO CREATIVITY and the Teachers' Role in their Reduction
i. n. berlin
In one of the most worthy articles that the editor has encountered in ages, Dr. Berlin offers suggestions for removing obstacles to creativity that have widespread application. He is a many titled man at the Langley Porter Neuropsychiatric Institute in San Francisco and is intimately acquainted with why students in both the arts and sciences who show early promise often fail to develop into mature artists or scientists.
George Eastman House is one of the rare museums in the world in which the visitor can always behold an extensive exhibit of photographs. There is the permanent display of fifty-odd masterworks in various parts of the building and in addition the current changing exhibits number from a hundred to three hundred photographs.
What kind of an art can be expected of a medium that was aptly called in its infancy the "mirror with a memory"? Painting, or drawing, or sculpture was never so characterized, yet in 1859 at the very time that Oliver Wendell Holmes tagged the mirror-nature in the uniqueness of photography, many serious and capable photographers, in the name of high art, looked to the painting of the period for their goal.
APPLICATION OF A FORMAL METHOD FOR READING PICTORIAL PHOTOGRAPHS
James Durrell Jr.
The reader, if he refers to the method for reading pictorial photographs published in volume 5:4 of this quarterly, pages 165-168, may be surprised to find that the order of the steps is not followed precisely by Mr. Durrell in his practical application of the methods.
Mr. Robinson, lawyer and past-president of the long-lived Oregon Camera Club in Portland, offers a solution to the dilemma of the creative photographers who prefer the benefits of working with others of like mind to self imposed isolation.
We ought to be able to understand photographs easily, just as we ought to be able to readily understand paintings and poems. When we seek to find the inner meanings, little or nothing should prevent our coming promptly to either the artist's intentions or to a new experience that comes through the interaction of the work and our own individuality.
I studied photography with the late Sid Grossman of the Photo League; he, at all times, had his students looking at each other's work, thereby trying to achieve some sort of personal statement to the photograph—the photographer spoke last.
A catalogue of the exhibition of photographs shown at the National Gallery of Art in March and April, 1958. These being a representative selection from the "key" set of Stieglitz photographs given to the Gallery in 1949. A very brief foreword by the director is followed by 13 pages of text by Doris Bry.
On 11 May 1858, Minnesota became the thirty-second state to enter the union of the United States of America. That historic event is commemorated by the publication of THE FACE OF MINNESOTA, the preparation of which was made possible by a grant from the Minnesota Statehood Centennial Commission.