Upper Level Stanton Macdonald-Wright The Haiga Portfolio Main Level (You are here) From Wendt to Thiebaud Recent Gifts for the Permanent Collection Museum Store Lower Level THE GOLDEN DECADE PHOTOGRAPHY AT THE CALIFORNIA SCHOOL OF FINE ARTS 1945-55 ili Restrooms THE GOLDEN DECADE PHOTOGRAPHY AT THE CALIFORNIA SCHOOL OF FINE ARTS 1945-55 This exhibition and the recently published book of the same title celebrate an extraordinary program in fine art photography founded by Ansel Adams at the California School of Fine Arts (later renamed the San Francisco Art Institute). It includes work by both faculty and students, many of whom went on to distinguished photographic careers themselves. The first art school west of the Mississippi, the CSFA had a reputation for innovation from the time of its foundation in 1871. During the years following World War II, director Douglas MacAgy hired a faculty that included Clyfford Still, Hassel Smith, Richard Diebenkorn, Elmer Bischoff, and David Park, and the school became the center of avant-garde art on the West Coast. Ad Reinhardt, Mark Rothko, and other notable visiting artists taught summer classes. Enrollment increased significantly, in part because of the affordability of tuition for American servicemen under the G.I. Bill. parks Ansel Adams began teaching at the CSFA in 1945. He was originally trained as a classical pianist and envisioned an art photography curriculum similar to a music conservatory, with more personal contact between students and instructors, mandatory attendance at exhibitions, demonstrations, and a program of required reading. Adams's professional career and his work on a Guggenheim Fellowship documenting American and national monuments reduced the time he could spend teaching, and in 1946 he invited Minor White to join the faculty and take over as the photography program chair. Seve I nationally and internationally renowned including Edward Weston, Imogen Cunningham, Dorothea Lange, and Lisette Model, also joined the faculty as part-time instructors. During Minor White's tenure, students were involved in group documentary projects focusing on farm workers, rural areas such as Mendocino County, and events such as the Chinese New Year celebrations. He developed his approach to "reading photographs," which evolved into the philosophy of "visual literacy." In 1952, with the encouragement of CSFA faculty and students, he founded Aperture magazine. In 1950 Douglas MacAgy resigned as director of the school and was replaced by Ernest Mundt, an instructor. Enrollment was in decline because fewer students were eligible for funding under the G.1. Bill, and Mundt's solution was to adopt a Bauhaus-style vocational emphasis, preparing students for careers in advertising and industry. He began by dismantling many of the experimental and innovative programs instituted by MacAgy. In 1953 he dismissed Minor White. who left San Francisco to work at George Eastman House in Rochester, New York, and the remarkable "Golden Decade" of the CSFA photography department drew to a close. For their dedicated efforts in support of the exhibition, thanks are due to John Upton, Ken Ball and Victoria Whyte Ball, Stefan Kirkeby, and Dan Solomon Ss From Wendt to Thiebaud Recent Gifts for the Permanent Collection Like most museums, Laguna Art Museum grows and strengthens its permanent collection largely thanks to donations, and over the past five years it has reaped the benefit of extraordinary generosity on the part of the artists, collectors, and foundations among its supporters. This special exhibition throughout the museum's main floor offers a selection from about 250 works of art gifted since 2012, including paintings, sculptures, drawings, photographs, and original prints from all periods of the history of California art. Also on show are a number of works whose owners have pledged them as "promised gifts," along with a handful of recent purchases. Many are displayed in the museum for the first time. The exhibition is a celebration of the museum's progress as it approaches its centennial year of 2018 and an expression of gratitude toward the donors who, through their gifts, have contributed so richly to Laguna Beach's artistic legacy Generous support for From Wendt to Thiebaud: Recent Gifts for the Permanent Collection was provided by Plan Art LLC. Best known as a founder of the early twentieth-century art movement known as Synchromy, Stanton Macdonald-Wright was an important figure of the American avant-garde who moved from New York to Los Angeles in 1918. During the 1920s he developed a passion for the art, languages, and literature of Asia. On his first visit to Japan in 1937 he had the opportunity to study masterpieces of haiku poetry in the original manuscripts and afterwards made the reading of haiku part of his daily life. Dissatisfied with most previous haiku illustrations (or haiga), he created a series of twenty paintings inspired by some of the greatest of the haiku poets, from Basho in the seventeenth century to Shiki in the nineteenth. He decided to use his compositions as the basis of a portfolio of prints in the traditional Japanese color woodblock technique, for which he enlisted the help of the master printmaker Clifton Karhu. Macdonald-Wright and Karhu worked together in Kyoto for over a year in 1966-67 and the Haiga Portfolio, printed on handmade mulberry paper in an edition of fifty, was the result. ell 0.0 ele fele 本 0 そこに PASE NAN
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