Peter C. Bunnell Collection of Exhibition Posters

ICP houses hundreds of ephemera related to famous photographers and art institutions, including exhibition posters. These posters, used to promote artist shows and museum and gallery exhibitions, span decades and countries. Many of these posters are beautiful works of art in their own right. Here are a few:

2011_68_9Fondation Nationale de la Photographie, [Exhibition poster for Les Lumière et la Couleur, Fondation Nationale de la Photographie, Lyon], 1978 (2011.68.9)

2011_68_255Middle Tennessee State University, [Exhibition poster for From Coloma to Covert, Etc.: Photographs by Barbara Crane, Middle Tennessee State University Photo Gallery, Murfreesboro], 1992 (2011.68.255)

2011_68_8William Klein, [Exhibition poster for William Klein, Fondation Nationale de la Photographie, Lyon], 1979 (2011.68.8)

2011_68_220The Museum of Fine Arts New Mexico, [Exhibition poster for Lowriders, The Museum of Fine Arts New Mexico], 1980 (2011.68.220)

2011_68_155Staley-Wise, [Exhibition poster for Deborah Turbeville, Staley-Wise, New York], 1992 (2011.68.155)

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Pamela Fong: Breaking the Cycle of Abuse

In 1987, photographer Pamela Fong sat on a plane next to a pediatrician who worked for a child-abuse prevention center. The horrific stories of molestation the doctor shared resonated with Fong. Because of that one chance meeting, Fong began a photography project centered around the survivors of abuse and their families.

The 1991 ICP exhibition Breaking the Cycle: Survivors of Child Abuse and Neglect, presented sixteen of Fong’s photographs. At first glance, the images look like ordinary portraits of individuals and families. But underneath the facade of normalcy is a dark and painful history. Fong’s seemingly innocent portraits reveal how abuse is often kept hidden or deemed a private family matter not to be discussed in public. In many cases, you would never know that these are survivors of abuse simply by looking at their lives from the outside.

The subjects of Fong’s work span different ages, races, and socioeconomic backgrounds, but all of them have been touched by the affects of abuse. The process of recovery is ongoing, and the survivors’ body language often hints at lingering pain. By bringing their stories into the light, Fong’s work calls us to stop the cycle of abuse in American culture. If you or someone you know is the victim of abuse, get help by calling the National Child Abuse Hotline at 1-800-4-A-CHILD or the National Domestic Violence Hotline at 1-800-799-SAFE.

fong_pamela_200_1991Pamela Fong, Little Mother, 1988 (200.1991)

fong_pamela_205_1991Pamela Fong, Wolf Women, 1989 (205.1991)

fong_pamela_196_1991Pamela Fong, Fencepost, 1989 (196.1991)

fong_pamela_209_1991Pamela Fong, Incredibly Good, 1989 (209.1991)

fong_pamela_207_1991Pamela Fong, Digital Watch, 1988 (207.1991)

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Staying Cool

In the heat of the summer people find lots of ways to stay cool…

mili_gjon_7_1998Gjon Mili, [Fashion advertisement for Saks Fifth Avenue], ca. 1946 (7.1998)

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Lou Bernstein, N.Y. City, 1977 (27.1992)

munkacsi_martin_2007_110__0425Martin Munkacsi, [Women on swings], 1928 (2007.110.425)

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Beauty of the Boneyards

Folklore, movies, music, and literature often simplify cemeteries as creepy and sinister “boneyards;” places the living should avoid. A visit to one can certainly invoke an ominous feeling but cemeteries can embody so much more. Many of these sacred places are rich with history, skilled artistry, and nature. They can also be the setting for beautiful photographs.

riboud_marc_61_1975Marc Riboud, Cemetery, Fez, Morocco, 1971 (61.1975)

takagi_madoka_2011_71_57Madoka Takagi, 153rd St. BW RSD/B’way, Trinity Cemetery, 1990 (2011.71.57)

iturbide_graciela_119_1995Graciela Iturbide, The Cemetery, 1988 (119.1995)

figueroa_jose_2011_37_19José A. Figueroa, Diana y Navarro, Boda En el cementerio, La Habana (Diana Navarro, Wedding Cemetery, Havana),  1968 (printed 2011), (2011.37.19)

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Peace from Nagasaki

nagasaki_2012_62_1e

Atom-Bombed Nagasaki, 1945-ca. 1949 (recto)

nagasaki_2012_62_1f

Atom-Bombed Nagasaki, 1945-ca. 1949 (verso)

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The Beach Awaits

August is here, which means there is only a month left of summer. Time to get to the beach!

erwitt_elliott_20_1983Elliott Erwitt, Waves, Brighton, 1956 (20.1983)

erwitt_elliott_332_1981Elliott Erwitt, Beach Group, Sylt, West Germany, 1968 (332.1981)

erwitt_elliott_650_1986Elliott Erwitt, Amagansett, New York, 1969 (650.1986)

erwitt_elliott_2007_4_1_cropElliott Erwitt, Long Island, New York, 1962 (2007.4.1)

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Girl Ascending

Photographer Melissa Ann Pinney (b. 1953) has been exploring the construction of female identity for almost thirty years.  Initially, her photographs focused mainly on adult women.  But after the birth of her daughter Emma, girlhood became the central theme of her work.

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Melissa Ann Pinney, Real Live Barbies at Target, 1998 (2012.77.5)

In her book Regarding Emma: Photographs of American Women & Girls (2003), Pinney captures what it means to be a girl and how girls are trained to become women. Ideas about femininity are communicated through popular culture and through mothers, grandmothers, sisters, and aunts. Indeed, much of Pinney’s work is concerned with the relationships between girls and the older generations of women who guide them.

pinney_melissa_ann_2012_77_6.jpgMelissa Ann Pinney, Flowergirl with her Mother and Grandmother, 1991 (2012.77.6)

pinney_TL_2011_76.jpgMelissa Ann Pinney, Emma and her Godmother, Karen, 2006 (T.L.2011.76)

A continuation of Regarding Emma, Pinney’s book Girl Ascending (2011) features young women aged nine to sixteen as they navigate adolescence, form friendships, and struggle to fit in. An undercurrent of spirituality runs through through the photographs. Shaped by her Catholic upbringing and the imagery of the Virgin Mary, Pinney’s work reflects an interest in moments of wonder, epiphany, and self-reflection.

pinney_TL_2011_79.jpgMelissa Ann Pinney, Lake Michigan, August, 2009 (T.L.2011.79)

An avid reader, Pinney has also been influenced by the stories of women in Lives of the Saints and the novel Little Women. In an interview for the Chicago Tribune she said, “I certainly see the tomboy high spirits of Jo March in these pictures.” The tension between real and ideal, energy and etiquette is an important underlying theme in her work.

pinney_TL_2011_74.jpgMelissa Ann Pinney, Emma at Ten, 2005 (T.L.2011.74)

Intimate and enchanting, Pinney’s photographs reveal the nuanced complexity of female identity.

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