49 Photographic prints (Silver gelatin on paper, 16 x 20)
Type:
Collection descriptions
Archival materials
Photographic prints
Portfolios (groups of works)
Photographs
Place:
Massachusetts
Marblehead (Mass.)
Date:
2000
Summary:
These photographs depict various scenes in Marblehead, Massachusetts, as photographed in the year 1999, including views of the town and its environs, commerce, and activities of people, especially families. The photographs are part of a self-assigned project, through which Stuart Cohen intended to survey the state of the town as it prepared to greet the new millennium.
Scope and Contents:
Photographs depict various aspects of activities in Marblehead, Massachusetts, in the year 2000, including views of the town and its structure, architecture, and environs, as well as activities of people, especially families. There is also emphasis on the commerce of the town. Subjects include high school cheerleaders, children sledding, an amusement park, an arts festival, firemen with a hand pumper, a costume parade, Santa Claus and Christmas rituals, a fitness center, an outdoor wedding, school classrooms, a frame house under construction, sailmaking, a farmers' market, stores, restaurants, a bar, fishing, a library, etc. Prints captioned and signed, with additional information on verso.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Stuart Cohen initiated this project to document Marblehead, Massachusetts, at the turn of the new millennium.
Provenance:
Collection donated by Stuart Cohen.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Reproduction restricted due to copyright. Contact photographer for reproduction.
1 Item (Ink on paper, unmounted., image approx. 2.5" x 5.5" on 8.5" x 11" paper.)
Container:
Box 1
Type:
Archival materials
Photographs
Stereographs
Portfolios (groups of works)
Place:
Brooklyn Bridge (New York, N.Y.)
Brooklyn (New York, N.Y.)
Date:
1990
Local Numbers:
AC1201-0000003.tif (AC Scan No.)
Exhibitions Note:
Displayed in Archives Center exhibition, "Gift of the Artist: Photographers as Donors," November 11, 2011-Feb. 29, 2012. David Haberstich, curator.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
1 Item (Ink on paper, unmounted., image approx. 2.25" x 5.5" on 8.5" x 11" paper.)
Container:
Box 1
Type:
Archival materials
Portfolios (groups of works)
Stereographs
Photographs
Place:
New York (N.Y.) -- 20th century
Date:
1999
Local Numbers:
AC1201-0000004.tif (AC Scan No.)
Exhibitions Note:
Displayed in Archives Center exhibition, "Gift of the Artist: Photographers as Donors," November 11, 2011-Feb. 29, 2012. David Haberstich, curator.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Genre/Form:
Portfolios (groups of works) -- 1990-2000
Stereographs
Photographs -- 1990-2000 -- Color photoprints -- Digital
Collection Citation:
Robert Covington Stereograph Portfolio, 1989-2008, Archives Center, National Museum of American History. Gift of the artist.
The collection is a set of twenty-four black-and-white silver gelatin prints entitled "Potomac: East and West," by Jan Faul, 1991. They include agricultural landscapes, cemeteries, industrial buildings commercial buildings in rural areas, etc., in the Potomac River region of Washington, D.C., Maryland, Virginia, and West Virginia. Each image contains a small area hand-colored by the photographer, providing a subtly mysterious, often whimsical or humorous effect.
Scope and Contents:
The collection is a set of twenty-four black-and-white silver gelatin prints entitled "Potomac: East and West," and is number six in an edition of forty five. The photographs all were taken in 1991 and the prints were made shortly thereafter. The photographs are basically somewhat romantic documentary images of locales in Washington, D.C., Virginia, Maryland, and West Virginia, including landscapes and industrial settings, interiors and exteriors, some of which are apparently abandoned. Human figures are seen only incidentally in several images. Each print has a small area hand colored by the artist, usually adding subtle humor and/or a hint of mystery. The titles are brief and geographical, and the set is numbered I to XII and XIV to XXV; there is no number XIII, the artist was careful to point out.
Arrangement:
The collection is arranged into one series. Sequence arranged by artist: numbered I-XII, XIV-XXV (no number XIII).
Biographical / Historical:
Jan Faul was born in Port Chester, New York in 1945. His family moved frequently, living in Washington, D.C., New York, Boston, Denver, Toronto, Strasbourg, and Bern, Switzerland. In Bern he received his first camera as a gift for his fourteenth birthday. He returned to the United States and completed high school in Washington.
In his late teens Faul met Roy Stryker, legendary director of the Farm Security Administration documentary photography project, who suggested that he spend time looking at photographs in the Library of Congress which he did, concentrating on the F.S.A. files. Influenced by his artist parents, Faul studied art history and graphics in college, hoping to become a printmaker, but had begun to support himself with photography by the time he graduated from The George Washington University in 1969.
The "immediacy" of photography and other aesthetic considerations in addition to the financial ones finally led to Faul's abandonment of printmaking and commitment to photography. Since 1970 he has been a self employed photographer, working in landscape, still life, and portraiture. He documented the lives of poor people in the U.S. from July 1970 to March 1971 for the Office of Economic Opportunity. In summer 1971 he photographed scenes of rural poverty for the Appalachian Regional Commission. A grant from the Upjohn Institute for American Labor Studies in 1974 supported his photographic documentation of American workers and changing work habits. In the summer of 1975 he worked for the Smithsonian, portraying the locksmen and pilots of the St. Lawrence Seaway. Further grants and contracts for documentary photography followed, including the 1976 Smithsonian Festival of American Folklife.
Faul moved to Copenhagen, Denmark, in 1979, and there worked on commercial accounts for Esso, Polaroid, and others, while continuing to pursue a variety of personal photographic projects. He returned to the Washington, D.C., area a decade later.
The photographer's career has included commercial work and contractual documentary projects, as well as the sale of photographic prints as art to private collectors and sales and donations to institutions. Fourteen photographs were donated to the Division of Photographic History of this Museum in 1970, and his work is in the collections of the Royal Museum of Art in Denmark, The Library of Congress, the San Francisco Museum of Modern Art, George Eastman House, the Toledo Museum of Art, the Corcoran Gallery of Art, the Oakland Museum, and others. He has received a number of awards, and has been included in a number of group and solo exhibitions. He has received an artist's residency at Yaddo for 1992 1993.
Additional biographical information, including a bibliography, is on file in the Archives Center.
Provenance:
Collection donated by Jan Faul, November 13, 1991.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Use and copyright restrictions: all rights retained by the artist. The Museum may exhibit and reproduce photographs in its publications, but cannot make copies or authorize reproduction by others. Contact artist for reproduction arrangements.
Photographs taken under a grant from the Graham Foundation to document disappearing family farms in Waukesha County, Wisconsin. This project shows the urbanization of this mostly rural county in central Wisconsin located between Chicago, Milwaukee, and Madison. Welsh men and women came to Waukesha County in the 1840s and became part of America's dairy history. After five or six generations, many of these farms are still family owned. Today's farms are threatened by developers due to rising land prices.
Scope and Contents:
32 photographs made in Waukesha County, Wisconsin, May 1994, under a grant from the Graham Foundation to document disappearing family farms in Waukesha County, Wisconsin. They include images of farms, dairy barns, silos, cemetery, and roads.
Welsh men and women came to the County in the 1840s to launch another part of America's dairy history; after five or six generations, many farms are still family owned. Today's farms are threatened by developers due to rising land prices (up to $50,000/acre perked) and their central location between Milwaukee (east), Madison (west), and Chicago (south).
Arrangement:
Arranged into two series. Sequence arranged by artist.
Biographical / Historical:
Artist b. Port Chester, New York, 1945; childhood in several American cities and Switzerland; studied printmaking at George Washington University, Washington, D.C., graduated 1969; gave up printmaking for photography due to influence of Farm Security Administration photographs he had seen at the Library of Congress as a teenager. Self-employed photographer since 1970, working on grants and contracts to document workers, and rural poverty.; also landscape, still life, and portraiture. To Denmark 1979: commercial photography for about ten years before returning to the U.S. Work in many museum and private collections. Artist's residency, Yaddo, 1992-1993.
Artist's comment about the portfolio subjects: Welsh men and women came to Waukesha County in the 1840s to launch another part of America's dairy history; after five or six generations, many farms are still family owned. Today's farms are threatened by developers due to rising land prices (up to $50,000/acre perked) and their central location between Milwaukee (east), Madison (west), and Chicago (south).
Provenance:
Collection donated by Barbara Scheide and Jan Faul, December 30, 1994.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Use and copyright restrictions: rights retained by the artist. The Museum may exhibit and reproduce photographs in its publications, but cannot make copies or authorize reproduction by others.,Contact artist for reproduction arrangements.
Jan Faul "Farming the Welsh Hills" Portfolio, 1994, Archives Center, National Museum of American History. Gift of the artist [or Barbara Scheide: consult finding aid for credits for specific photographs].
