Fisher Guide Web by Christopher McCall

From the collection of Randi and Bob Fisher

Pier 24 Photography Pier 24 Photography offers a venue for photographers, educators, collectors and curators to present photography and photographic ideas that are shared with the community. Our aim is to provide an environment to experience, study, observe and quietly contemplate photography. In addition to rotating exhibitions, Pier 24 houses the permanent photographic collection of The Pilara Foundation.

Hiroshi Sugimoto Tyrrhenian Sea, Conca, 1994

Edward Weston Nude on Sand, Oceano, 1936

From the collection of Randi and Bob Fisher

Edward Weston From Nude on Sand, Oceano, 1936

The exhibition, From the Collection of Randi and Bob Fisher, examines the work of many canonical twentieth century American photographers. Since the early 1980s, Randi and Bob Fisher have collected artists in depth, resulting in surveys of work by photography masters Robert Adams, Diane Arbus, William Eggelston, Walker Evans, Lee Friedlander, and Garry Winogrand among many others. The exhibition catalogs the photographic medium as it moves from early Modernism, featuring works by Man Ray, Charles Sheeler, Alfred Stieglitz, Paul Strand and Edward Weston,

through the large-scale contemporary color photography of American artist Richard Misrach and German artists Thomas Struth and Ardreas Gursky. From the Collection of Randi and Bob Fisher follows the exhibition Calder to Warhol: Introducing the Fisher Collection at the San Francisco Museum of Modern Art. That exhibition, which was on view during the summer of 2010, presented selections from the collection of Doris and Donald Fisher, co-founders of Gap, and parents of Bob Fisher.

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Restrooms

Gallery Guide

Entrance

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Edward Weston

Man Ray

Robert Adams

Hiroshi Sugimoto

Harry Callahan

Richard Misrach

Bernd & Hilla Bernd Becher

Robert Frank

Andreas Gursky

Walker Evans

Hiroshi Sugimoto Aaron Siskind John Gutmann Helen Levitt

Thomas Struth

Garry Winogrand

Diane Arbus

Paul Strand Alfred Stieglitz Edward Weston Charles Sheeler

William Eggleston

Lee Friedlander

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Restrooms

Entrance

Thomas Struth MusĂŠe du Louvre, 1989

Bernd and Hilla Becher Framework House, 1983 Water Towers, 2009 Winding Towers (South Wales), 1966-1997 Gas Tanks (Deckel), 1971-1997 Coal Tipples, 1974-1978 Blast Furnaces (HO), 1968-1993 Winding Towers, 1983 Blast Furnace Plant, Bethlehem, Pennsylvania, USA, 1986 Wasserturme, 1972 Bertreville/Dieppe, France, 2006 Oeuilly/Reims, France, 2006 Ally-Sur-Somme.Amiens, France, 2000

Bernd and Hilla Becher Framework House, 1983 | Water Towers, 2009

Andreas Gursky Shanghai, 2009 Untitled VI, 1997 Chicago Mercantile Exchange, 1997 Pyongyang I, 2007

Andreas Gursky 99 Cents, 1999

Thomas Struth MusĂŠe dâ&#x20AC;&#x2122;Orsay, Paris, 1989 | Paradise 4, Pilgrim Sands, Daintree, Australia, 1998 Todai-Ji, Daibutsu-den Nara, 1996 | Paradise 1, Pilgrim Sands, Daintree, Australia, 1998

Portrait of Diane Arbus by Allan Arbus, c. 1949

Diane Arbus A House on a Hill, Hollywood, California, 1963 Child with Toy Hand Grenade in Central Park, 1962 A Family One Evening in a Nudist Camp, 1965 Boy at a Pool Hall, N.Y.C., 1959 Triplets in Their Bedroom, N.J., 1963 Portrait of Diane Arbus by Allan Arbus, c. 1949 A Flower Girl at a Wedding, Connecticut, 1964 Jewish Giant at Home with His Parents in the Bronx, N.Y., 1970 A Young Negro Boy, Washington Square Park, N.Y.C., 1965 Albino Sword Swallower at a Carnival, Maryland, 1970 Fire Eater at a Carnival, Palisades Park, N.J., 1956 Identical Twins, Roselle, N.J., 1967 Child Selling Plastic Orchids at Night, N.Y.C., 1963 Untitled #7, 1970-71 Christ in a Lobby, N.Y.C., 1964 Kid in Black-face With Friend, N.Y.C., 1957 Russian Midget Friends in a Living Room on 100th Street, N.Y.C., 1963 Female Impersonator Putting on Lipstick, N.Y.C., 1959

William Eggleston From William Egglestonâ&#x20AC;&#x2122;s Guide, 1970-1974

Man Ray Self Portrait in the Studio, New York, 1925

Walker Evans Negro Barbershop Interior, Atlanta, 1936 Robert Frank Barbershop Through A Screen Door, McClellanville, South Carolina, 1955

Robert Frank Coney Island, 4th of July 1958, 1958 | From The Americans, 1955-1957 | Slideshow Photo Display, 1958

Harry Callahan Chicago, 1955 | Women Lost in Thought, 1950 | Eleanor, 1947-1954

Walker Evans Shadow Self-portrait, Juan-les-Pins, France, 1927 Self-Portrait, 5 Rue de la SantĂŠ, Paris, 1926 Self-portrait, 5 Rue de la SantĂŠ, Paris, 1926 Brooklyn Bridge, 1929 Pine Street, New York, 1928-1929 Wall Street Windows, 1928-1930 Elevated Train Stairway, Wall Street, New York City, 1928-1930 Excavation for Lincoln Building, East 42nd Street and Park Avenue, 1929 S.S. President Roosevelt, New York City, 1929-1930 Traffic, New York City, 1928-1930 Cobblestone Street, Brooklyn, 1928-1929 Factory Street in Amsterdam, New York, 1930 Main Street, Saratoga Springs, New York, 1931 Outdoor Advertising, Florida, 1934 Truck and Sign, 1930 Couple at Coney Island, New York, 1928 A Bench in the Bronx on Sunday, 1933 New York Milk Counter, 1936 Parked Car, Small Town Main Street, 1932 42nd Street, 1929 Posed Portraits, New York, 1931 Cinema, Havana, 1933 Produce Trucks at Market, Havana, 1933 Pushcart, Havana, 1933 Balcony Spectators, Havana, 1933 Starving Cuban Family, 1933 Citizen in Downtown Havana, 1933

Walker Evans Penny Picture Display, Savannah, 1936 Sign, Baton Rouge, Louisiana, 1935 Street Scene, New Orleans, 1935 Grocery Store, Selma, Alabama, 1936 Butcher Sign, Mississippi, 1935-1936 Houses and Billboards in Atlanta, 1936 Main Street of County Seat, Alabama, 1936 Street Scene, Vicksburg, Mississippi, 1936 Mississippi Town Negro Quarter, 1936 Street Scene, Vicksburg, Mississippi, 1936 Street Scene, Vicksburg, Mississippi, 1936 Men and Coca Cola Advertisements, Near New Orleans, 1935 Alabama Tenant Farmer, 1936 Alabama Tenant Farmerâ&#x20AC;&#x2122;s Wife, 1936 Alabama Tenant Farm, Kitchen Wall, 1936 Bedroom, Burroughs Family Cabin, Hale County, Alabama, 1936 Kitchen, Burroughs Family Cabin, Hale County, Alabama, 1936 Alabama Tenant Farmer, 1936 Main Street Block, Selma, Alabama, 1936 County Store and Gas Station, Selma, Alabama, 1936 Crossroads Store, Sprott, Alabama, 1936 Storefront, Vicksburg, Mississippi, 1936 Office Buildings, Near Tuscaloosa, Alabama, 1936

Walker Evans All images from Let Us Now Praise Famous Men

Walker Evans Church Organ and Pews, 1936 Room in Louisiana Plantation House, 1935 Corner of Felicity and Orange Streets, New Orleans, 1936 View of Easton, Pennsylvania, 1935 Part of Philipsburg, New Jersey, 1935 Mississippi River Steamboat at Vicksburg, Mississippi, 1936 From Many Are Called, Subway Passenger, New York, 1938-1941 Corner of State and Randolph Streets, Chicago, 1946 Corner of State and Randolph Streets, Chicago, 1946 Corner of State and Randolph Streets, Chicago, 1946 Corner of State and Randolph Streets, Chicago, 1946 South Side House with Grocery, Chicago, 1946 South 3rd Street, Paducah, Kentucky, 1947 Crate Opener, 1955 Warning Sign Detail, 1973-1974 Fire Hydrant, 1973-1974 House Window, 1973-1974 Traffic Arrow, 1973-1974 Boarded-Up House, Stonington, Connecticut, 1974 Theater Detail, Near Old Saybrook, Connecticut, 1973-1974 Sign Detail, Marthaâ&#x20AC;&#x2122;s Vineyard, Massachusetts, 1974 Sign Detail, 1973-1974 Railroad Warning Sign Detail, 1974 Traffic Arrow, 1974 Sign Detail, St. Martin, French West Indies, 1974 Warning Sign, 1973-1974 Sign Detail, Marthaâ&#x20AC;&#x2122;s Vineyard, Massachusetts, 1974 Park Street, New Haven, 1974 Portrait of Walker Evans by David Kent,1974

Charles Sheeler Doylestown House – The Stove, Horizontal, c. 1917 Side of White Barn, Bucks County, c. 1918 Ford Works (Crisscrossed Conveyors), 1927 Stairway, Williamsburg, 1935

Paul Strand Wheel Organization, 1917 Geometric Backyards, 1917 People, Streets of New York, 83rd and West End Avenue, 1916 Bowls and Apples, Twin Lakes, Connecticut, 1916

Alfred Stieglitz Georgia O’Keeffe, 1919

Edward Weston

From the Back Window, 291-N.Y., Winter, 1915

Form Follows Function, 1930

Georgia O’Keeffe, 1919

Clouds, Santa Monica, 1936

Equivalent, 1933 291, Braque-Picasso Exhibition, 1915 Georgia O’Keeffe, 1933

Chard, 1927 Dunes, Oceano, 1936 Nautilus Shell, 1927

Lee Friedlander Self-Portraits, 1965-1966 Self-Portraits, 1994-1997 Maria, Southwestern, United States, 1969 Route 9W, New York, 1969 Hillcrest, New York, 1970 Princeton, 1969 Wisconsin, 1974 Haverstraw, 1966 From America by Car, 1999-2002 Sticks and Stones, 2000-2003 Street Scenes, 1963-1976 Lake Louise, 2000 Aspen, 2004 Tetons, 1999 Tetons, 1995 California, 1996 N.Y.C., 2006

Lee Friedlander N.Y.C., 2006

Richard Misrach Untitled 19-2003, 2003

Andreas Gursky Salerno, 1990

Richard Misrach Untitled (Cardon Cactus), 1976 | Untitled 943-03, 2003 | Untitled (Boojum Tree #3), 1976

Robert Adams Fort Collins, Colorado, 1976 Newly Completed Tract House, Colorado Springs, Colorado, 1968 New Housing, Colorado Springs, Colorado, 1971 Denver, Colorado, 1973 Wood-Paneled Wall with Window, 1973-1974 Golden, Colorado, c. 1970 North Denver, Colorado, 1973 Outdoor Theater and Cheyenne Mountain, Colorado Springs, Colorado, 1968

South of Rocky Flats, Jefferson County, Colorado, 1978 Looking Past Citrus Groves into the San Bernardino Valley, Northeast of Riverside, 1983 Missouri River, Clay County, South Dakota, 1977 Sally, Weld County, Colorado, 1984

Colorado Springs, Colorado, 1968

South on Clatsop Spit, Late Afternoon (Diptych), 1992

Colorado Springs, Colorado, 1979

Southwest From the South Jetty, Clatsop County, Oregon (Series of 5), 1991

Untitled View of Suburban Home, Streetlight at Night, c. 1981 The South Platte River, Looking Toward Denver, Colorado, 1979 Above Boulder, Colorado, 1981 Longmont, Colorado, c. 1980 Longmont, Colorado, 1982

On Signal Hill, Overlooking Long Beach, California, 1983 Clatsop County, Oregon, 1999-2003 South of Burns, Oregon, 1999 Alders, Pacific County, Washington (Series of 6), 2005 Pine Valley, Oregon, 2003

John Gutmann Walking on Air, 1938

Aaron Siskind Helen Levitt New York, c. 1940-1942

Hiroshi Sugimoto Colors of Shadow C1025, 2006

From Pleasures and Terrors of Levitation, 1956-1962

Garry Winogrand From Arrivals and Departures, 1964-1977 | From Stock Photographs, 1975

From Openings, 1969-1971 | Street Scenes, 1950-1970

Garry Winogrand Street Scenes, 1950-1970

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Entrance Entrance

Hiroshi Sugimoto Hiroshi Sugimoto

Bernd & Hilla Bernd

Bernd & Hilla Bernd Becher Becher

Andreas Gursky

Andreas Gursky 05

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Edward Weston

Thomas Struth

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Man Ray

Harry HarryCallahan Callahan

Man Ray

Robert Frank

Diane Arbus William Eggleston

Edward Weston Charles Sheeler Lee Friedlander

William Eggleston

Walker Evans

Diane Arbus

Walker Evans

Paul Strand Alfred Stieglitz Paul Strand Edward Weston Charles Sheeler Alfred Stieglitz

Thomas Struth

Hiroshi Sugimoto, born in 1948 in Japan, currently lives and works in New York and Tokyo. The artist’s career spans over three decades and has often focused on conceptual issues relating to time and memory. Sugimoto is known for innovation in his work, using the camera in various ways to achieve a myriad of images.

Lee Friedlander

Each vintage gelatin silver print in Nude On Sand was produced from negatives made on a single day in 1936 at Oceano Sand Dunes in California.

The content of Sugimoto’s images are as varied as his photographic approach. His repertoire includes Dioramas, Theaters, Seascapes, and Portraits from Madame Tussauds’ wax figures, as well as Architecture, Colors of Shadows and Conceptual Forms.

Bernd and Hilla Becher

Andreas Gursky

Bernd Becher (1931-2007) and Hilla Becher (1934-) first collaborated on photographing the disappearance of German industrial architecture in 1959. Through their collaborative lifetime, they developed the direct, non-emotive ‘dead pan’ photographic aesthetic.

Born in 1955 in Düsseldorf, Germany Andreas Gursky trained at the Folkwangschule in Essen, considered West Germany’s premier training center for professional photographers. While at the Düsseldorf Academy in the 1980s, Gursky studied under Bernd and Hilla Becher.

The Bechers photographed these structures from a single perspective and always with a straightforward, objective point of view. The images are presented side by side, inviting viewers to compare form and function.

Gursky was one of the first pioneers of large-format color photography and digital manipulation. Carefully altering his images digitally, the artist creates spaces that appear much larger than the actual documented subject.

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Born in Highland Park, Illinois, Edward Weston (1886 – 1958) moved to California at the age of 21 to pursue a career in photography. Later, as a major advocate of straight photography, he became a champion of hyper-real articulation in image making. Alongside Willard Van Dyke and Ansel Adams, Weston was a founding member of the influential group of the San Francisco-based photographers, f/64.

Restrooms

Hiroshi Sugimoto 02

Restrooms 02

Edward Weston 01

Robert Adams

Richard Misrach Richard

Misrach

Hiroshi Sugimoto AaronHiroshi Siskind Sugimoto Aaron Siskind John Gutmann Helen Levitt John Gutmann

Garry Winogrand

As teachers at the Düsseldorf Art Academy, the Bechers’ approach was extremely influential on the subsequent generation of German photographers, which include Andreas Gursky, Thomas Ruff, and Thomas Struth.

Robert Adams

Helen Levitt 17

Garry Winogrand

Thomas Struth

Diane Arbus

Born in Geldern, Germany, Thomas Struth was a student of the Düsseldorf Academy from 1973 to 1980, where he trained under Bernd Becher. He studied alongside photographers Andreas Gursky, Thomas Ruff and Candida Hofer, who together comprise a group commonly known as the Düsseldorf School of Photography. The Bechers’ formal approach, using strict visual procedures, had a formative influence on the young photographer’s methodology, which is evident in his current practice.

Diane Arbus (1923-1971) began her career in the 1950s as a commercial fashion photographer, working with her husband Allan Arbus. In 1956, she began working independently. Arbus gained recognition as a fine art photographer in the 1960s, often documenting individuals marginalized by society. Her early success was marked by two major achievements: Esquire published one of her photographs in 1960 and in 1967, John Szarkowski included her work in the highly influential New Documents exhibition at MoMA.

Arbus died in 1971. The following year, her retrospective at MoMA would become the most widely attended solo exhibition of an artist in the museum’s history.

William Eggleston

Man Ray

Alfred Stieglitz

Charles Sheeler

William Eggleston was born in 1939 in Memphis, Tennessee. He developed an interest in photography in the early 1960s, learning about the medium through books by Robert Frank, Henri Cartier-Bresson and Walker Evans rather than in a traditional classroom setting. Eggleston began by making blackand-white prints, though he quickly transitioned to experimentation in color technology. This established him as one of the few non-commercial photographers working in color. In 1976, the MoMA mounted Color Photographs, a now celebrated exhibition of works portraying quotidian aspects of everyday life.

Man Ray (1890-1976) was an American artist who played a pivotal role in launching the Dada and Surrealism movements. He worked in several media including sculpture, film and painting.

Alfred Stieglitz (1864-1946) was an influential editor, publisher, patron and dealer in the field of modern photography. His personal artworks, published Camera Work journal and seminal 291 Gallery in New York City all helped to advance the early stages of photography.

Perhaps best known as a painter and founding member of American modernism, Charles Sheeler (1883 – 1965) was also a celebrated photographer. Though he studied in Paris at the height of European modernism, he believed he could not survive making these kinds of paintings in the United States. As a result, Sheeler turned to commercial photography upon his return to the U.S. around 1912, initially photographing buildings for Philadelphia architects. He would continue to focus on architectural subjects in both his paintings and photography, employing a highly focused and detailed aesthetic he labeled Precisionism.

Harry Callahan

Robert Frank

Lee Friedlander

Robert Adams

Detroit-born Harry Callahan (1912-1999), a self-taught photographer, credits a talk given by Ansel Adams in 1941 as pivotal in his decision to become a serious photographer. His works tend to explore everyday subjects such as nature, architecture, city streets and his family. In addition to working as a photographer, he taught at institutions throughout the United States. His wife Eleanor Knapp was a frequent subject of his work; Callahan represented her diversely, mirroring his own experimentation with the medium of photography.

Born in Zurich in 1924, Robert Frank works in both photography and film. He immigrated to New York in 1947, where he worked as an editorial photographer for Harper’s Bazaar. After receiving his first Guggenheim Fellowship in 1955, he traveled around the United States for two years, documenting the American social landscape. Both Frank’s choice of subject matter and aesthetic were considered controversial in the mid-1950s. The resulting monograph, The Americans, included eighty-three images from this series in its initial publication in 1958. This series was recently exhibited throughout the United States in celebration of the fiftieth anniversary of the book’s publication.

Lee Friedlander was born in 1934 in Aberdeen, Washington. He studied photography in Los Angeles in the early to mid-1950s. Soon after, he moved to New York in where he supported himself working for record labels such as Atlantic, shooting the album covers of various jazz musicians. No single subject or genre defines Friedlander’s practice. The display in this space juxtaposes works examining similar subject matters – such as self-portraits, the automobile and the urban landscape – from both his early career, when he worked with a 35mm camera, and later when he began to favor the use of medium format cameras. In 2005, the MoMA presented a major retrospective of Friedlander’s career, including nearly 400 photographs from the 1950s to the present, which traveled to the San Francisco Museum of Modern Art in 2008.

Robert Adams was born in 1937 and is most notably associated with New Topographics, a photographic movement centered on capturing man-altered landscapes. Adams was included in an exhibition of the same name, along with Bernd and Hilla Becher, which was recently reproduced in a traveling exhibition and catalog.

Walker Evans

Paul Strand

Richard Misrach

Aaron Siskind

While on a trip to Europe in the late 1920s, American photographer Walker Evans (1903-1975) began to pursue photography through spontaneous snapshots. In 1935, the Farm Security Administration employed him to photograph workers and buildings in the Southeast. He is best known for documentary-style images from the Great Depression. In 1936, Evans worked with writer James Agee on an article for Fortune magazine about several tenant farm families. The book Let Us Now Praise Famous Men resulted from this collaboration. He worked as a staff photographer and photo editor for Fortune until 1965, when he left the magazine to become a professor of photography and graphic design at Yale University. He continued teaching until a year before his death.

In the 1910s and 1920s, Paul Strand (1890-1976), Alfred Stieglitz and Edward Weston helped define photography in the context of early American modernism. He also worked in film, collaborating with Charles Sheeler on the short film Manhatta in 1920. Strand embraced photography for its inherent strengths and revolutionized the acceptance of straight photography. The final edition of Stieglitz’s Camera Work magazine in 1917 focused exclusively on Strand’s work, signaling a new age in modern photography.

Richard Misrach was born in Los Angeles in 1949, and currently lives and works in the Bay Area. During the 1970s he contributed to the emergence of color and large-scale display within contemporary fine art photography. For the majority of his career, Misrach has addressed the interaction of contemporary society and nature, within a particular interest in the American West. Often times, this work subtly challenges the impact of modern society and nature.

Aaron Siskind (1903-1991) is primarily known for connecting photography to ideas of Abstract Expressionism. His abstract and metaphoric work from the early 1940s reflects his close interaction with prominent Abstract Expressionist painters including Franz Klein, Barnett Newman and Mark Rothko. He played a significant role in shaping the education of emerging photographers, working at Black Mountain College, the Institute of Design in Chicago and the Rhode Island School of Design, often at the invitation of or in collaboration with Harry Callahan.

All of the photographs in this room were made in Paris, and illustrate his diverse approach to photography. In 1922, he began creating “rayographs,” his variation on the photogram. In the late 1920s, he began experimenting with the Sabattier process, a technique where a partially developed print is reexposed to light during processing. Glass Tears (1933), one of his most recognized photographs, exemplifies Man Ray’s early experimentation with staged photography. Interestingly, two of the photographs included in this space can be seen in Self Portrait in the Studio (1925).

Stieglitz’s gallery showcased early twentieth-century avantgarde artists, particularly from Europe, and promoted pictorial photography, an approach indebted to the principles of fine art. He also represented Georgia O’Keeffe, an emerging American painter at the time, who he married in 1924. O’Keeffe became a key inspiration and a recurrent subject in how work. Stieglitz produced hundreds of photographs of his wife over a twenty-year period including the three exhibited here.

Adams’ work is centered on issues of landscape including the documentation of human influence on the American West and the moments of transition within this region. His work is inspired both by his admiration for the intrinsic beauty of nature and his frustration with its degradation.

The works shown here are from the series The Pleasures and Terrors of Levitation, a body of work completed from the mid1950s to early 1960s of divers arrested in mid-leap. Siskind made these photographs with a hand-held twin-lens reflex camera along the perimeter of Lake Michigan in Chicago. The juxtaposition of balance and instability in these images is highlighted by the series’ evocative title.

John Gutmann

Helen Levitt

German-born, American artist John Gutmann (1905-1998) initially trained as a painter under the tutelage of the German expressionist Otto Mueller. He began to pursue photography in 1933, shortly before fleeing Germany and settling in the San Francisco Bay Area. Gutmann largely photographed American popular culture, creating images that reflected his experience of his new home. He spent the final years of his life teaching modern art and art history at San Francisco State University.

Helen Levitt (1913 –2009) was born in Brooklyn, New York. In 1931, she began working for a commercial photographer in the Bronx. She is best known for her images of children, which she captured meandering through the streets of Spanish Harlem. Her emblematic image of trick-or-treaters exhibited here was included in the inaugural exhibition of the MoMA’s photography department in 1940.

Garry Winogrand 17

Garry Winogrand (1928 – 1984) was primarily a street photographer known for his documentation of America in the mid twentieth century. Born in New York, he studied photography at Columbia University and photojournalism at the New School for Social Research with Alexey Brodovitch. Winogrand photographed constantly, approaching subject matter such as city streets, people, rodeos, airports and animals in zoos in innovative ways. At the time of his death, Winogrand left behind nearly 300,000 unedited images and more than 2,500 undeveloped rolls of film. In 1967, John Szarkowski curated the exhibition New Documents, which helped launch the careers of Winogrand, Diane Arbus and Lee Friedlander. That single exhibition signaled a change in documentary photography, which until that time was primarily used as a tool for social change.

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