Anne Hammond
Biographic Data
| ID | 7119027 |
|---|---|
| NAME | Anne Hammond |
| GIVEN NAMES | Anne |
| FAMILY NAME | Hammond |
| SIGNATURE | HAMMOND A |
| AFFILIATIONS | Santa Clara University |
| VERIFIED | No |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 18 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1991 |
| LATEST PUBLICATION YEAR | 2008 |
| H-INDEX | 0 |
Ansel Adams and Georgia O'Keeffe
Ansel Adams and Georgia O’Keeffe, although committed realist artists using straightforward photographic technique and a disarmingly objective style of painting, transfigured the natural scene artistically, to express a profoundly metaphysical response to nature. Both Adams and O’Keeffe were aware of manifold currents of mystical thought in the 1930s through personal contact with the theosophical teachers A.R. Orage and Jean Toomer. Treating lands…
Ansel Adams and George Waters
Ansel Adams's photographic career was paralleled by his desire to achieve the finest quality of photomechanical reproduction of his images for his many fine printed books. For thirty years, he relied upon letterpress halftone to recreate the aesthetic effect of his 'f/64' style. In the 1960s, as letterpress for photographic reproduction was phased out by most commercial printers, George Waters introduced Adams to the new technology of offset lith…
Ansel Adams at Manzanar War Relocation Center, 1943–1944
Following the Declaration of War upon Japan on 7 December 1941, the United States government relocated Japanese Americans from the western coastal states to internment camps inland. During 1943–1944, Ansel Adams photographed life at the Manzanar resettlement camp. His photographs provide a vibrant visual record of this historical event and illustrate the venture into social documentary photography by this noted landscape photographer
Ansel Adams and Hawaiian landscape
When Ansel Adams first travelled to Hawai'i in 1948, it was to photograph the natural scene for his project on the national parks and monuments. With his 1946 Guggenheim Fellowship renewed, he sailed on the S.S. Matsonia on the 9 April for Honolulu. He saw the exploitative potential of tourism already overwhelming postwar Waikīkī, but also recognized that, out of that artificial environment, ‘the mountains are beautiful, and sea even more so’.1
Ansel Adams and Mary Austin
In the spring of 1927, Ansel Adams drove with Albert Bender, the art collector and philanthropist, from San Francisco to Santa Fe. From their introduction a year earlier, Bender had been introducing his protégé to libraries, museums, fine printers, artists, and poets such as Ina Coolbrith, John O'Shea and Robinson Jeffers. Since the fall of 1926, Bender had been corresponding with the writer Mary Austin, and by the following spring he decided to …
Ansel Adams and the high mountain experience
When Ansel Adams began accompanying the LeConte family on their summer trips in the high country above Yosemite in the mid-1920s, Joseph Nisbet LeConte was already a High Sierra mountaineer of some forty years experience, and a mountain photographer himsel1 Adams had first met LeConte in Yosemite Valley in 1916, and in 1923 he was invited to join the family on their visit to Litde Yosemite Valley, presenting them later with an album of his photog…
Pictorial Photography
Ansel Adams and objectivism
The gallery for photography established in Oakland by Ansel Adams's friends Willard Van Dyke and Mary Jeanette Edwards in 1932 was conceived in emulation of Stieglitz's gallery ‘291’ as a meeting place for artists and, like ‘291’, was known as ‘683 Brockhurst’. In the fall of that year, Van Dyke and another member of the group, Preston Holder, discussed with colleagues the idea of adopting a collective name in order to bring to public awareness t…
Fear of Fat and the Dream Process
Dream characteristics of 27 women from a graduate counseling program were correlated with the Goldfarb Fear of Fat Scale. Significant positive correlations were obtained for scores with recurrent nightmares (.38) and dreaming one is dreaming (.40). An inverse relationship was noted between sexual content of dreams and scores for fear of fat (-.41). Results were discussed in terms of associations among dissociation, body image, and the dream proce…
Lumière autochromes
Contemporary photography in Hawai'i university gallery, memphis
Lawrence Jasud's words, sounds and power
Lawrence Jasud's book, Words, Sounds and Power, is a startling transcription of the verbal meditations of a group of Rastafarian brethren. In this ‘evocation of the heart and mind of Rastafari’ the art of the finely-printed book and the politics of Rastafarian theology coincide in the form of a sacred text. The primary object of Rastafarian worship is the image of Haile Selassie as Christ returned. Haile Selassie I, Emperor of Ethiopia (1892–1975…
William Eggleston
John Szarkowski once wrote that he heard William Eggleston say that the nominal subjects of his pictures were no more than a pretext for the making of colour photographs, but added wisely ‘I did not believe him, although I can believe that it might be an advantage to him to think so, or to pretend to think so’.1 Is Eggleston a photographer of the South, of America, or of the world? Does his subject matter matter? A permanent display of one of his…
Notes & Queries
Frederick H. Evans and country life
In November 1905, Frederick Evans wrote to Alfred Stieglitz at the Little Galleries of the Photo-Secession ('291') proudly offering to send him sixty photographs of his latest work, interiors of English country churches. This work, involving nineteen parish churches over a period of three years, came about as a result of a 'roving commission' which Evans received that year from the publisher of the magazine Country Life. It has been taken for gra…
Ansel Adams and Fiat Lux
In 1963, Clark Kerr, then President of the University of California, approached Ansel Adams and Nancy Newhall to participate in the centennial celebrations (in 1968) of the founding of the University. Adams's photographic work on the nme campuses in the years following resulted in the production of six thousand negatives, from which six hundred and five were produced as fine prints (placed in the University Archives at the Bancroft Library at Ber…
Notes & Queries
Impressionist theory and the autochrome
The theory behind the Autochrome rested on three fundamental principles. First, that it was possible to break down the white light of the sun into its component 'primary' coloured rays: in 1666 Isaac Newton had used a prism to refract sunlight into its constituent wavelengths, which he identified as the colours red, orange, yellow, green, blue, indigo, and violet. Second, that all colour effects were produced optically by the eye's sensitivity to…
No prominent works on this page.
Notes & Queries
Impressionist theory and the autochrome
The theory behind the Autochrome rested on three fundamental principles. First, that it was possible to break down the white light of the sun into its component 'primary' coloured rays: in 1666 Isaac Newton had used a prism to refract sunlight into its constituent wavelengths, which he identified as the colours red, orange, yellow, green, blue, indigo, and violet. Second, that all colour effects were produced optically by the eye's sensitivity to…
Notes & Queries
Frederick H. Evans and country life
In November 1905, Frederick Evans wrote to Alfred Stieglitz at the Little Galleries of the Photo-Secession ('291') proudly offering to send him sixty photographs of his latest work, interiors of English country churches. This work, involving nineteen parish churches over a period of three years, came about as a result of a 'roving commission' which Evans received that year from the publisher of the magazine Country Life. It has been taken for gra…
Ansel Adams and Fiat Lux
In 1963, Clark Kerr, then President of the University of California, approached Ansel Adams and Nancy Newhall to participate in the centennial celebrations (in 1968) of the founding of the University. Adams's photographic work on the nme campuses in the years following resulted in the production of six thousand negatives, from which six hundred and five were produced as fine prints (placed in the University Archives at the Bancroft Library at Ber…
Lawrence Jasud's words, sounds and power
Lawrence Jasud's book, Words, Sounds and Power, is a startling transcription of the verbal meditations of a group of Rastafarian brethren. In this ‘evocation of the heart and mind of Rastafari’ the art of the finely-printed book and the politics of Rastafarian theology coincide in the form of a sacred text. The primary object of Rastafarian worship is the image of Haile Selassie as Christ returned. Haile Selassie I, Emperor of Ethiopia (1892–1975…
William Eggleston
John Szarkowski once wrote that he heard William Eggleston say that the nominal subjects of his pictures were no more than a pretext for the making of colour photographs, but added wisely ‘I did not believe him, although I can believe that it might be an advantage to him to think so, or to pretend to think so’.1 Is Eggleston a photographer of the South, of America, or of the world? Does his subject matter matter? A permanent display of one of his…
Contemporary photography in Hawai'i university gallery, memphis
Lumière autochromes
Pictorial Photography
Ansel Adams and objectivism
The gallery for photography established in Oakland by Ansel Adams's friends Willard Van Dyke and Mary Jeanette Edwards in 1932 was conceived in emulation of Stieglitz's gallery ‘291’ as a meeting place for artists and, like ‘291’, was known as ‘683 Brockhurst’. In the fall of that year, Van Dyke and another member of the group, Preston Holder, discussed with colleagues the idea of adopting a collective name in order to bring to public awareness t…
Fear of Fat and the Dream Process
Dream characteristics of 27 women from a graduate counseling program were correlated with the Goldfarb Fear of Fat Scale. Significant positive correlations were obtained for scores with recurrent nightmares (.38) and dreaming one is dreaming (.40). An inverse relationship was noted between sexual content of dreams and scores for fear of fat (-.41). Results were discussed in terms of associations among dissociation, body image, and the dream proce…
Ansel Adams and Mary Austin
In the spring of 1927, Ansel Adams drove with Albert Bender, the art collector and philanthropist, from San Francisco to Santa Fe. From their introduction a year earlier, Bender had been introducing his protégé to libraries, museums, fine printers, artists, and poets such as Ina Coolbrith, John O'Shea and Robinson Jeffers. Since the fall of 1926, Bender had been corresponding with the writer Mary Austin, and by the following spring he decided to …
Ansel Adams and the high mountain experience
When Ansel Adams began accompanying the LeConte family on their summer trips in the high country above Yosemite in the mid-1920s, Joseph Nisbet LeConte was already a High Sierra mountaineer of some forty years experience, and a mountain photographer himsel1 Adams had first met LeConte in Yosemite Valley in 1916, and in 1923 he was invited to join the family on their visit to Litde Yosemite Valley, presenting them later with an album of his photog…
Ansel Adams and Hawaiian landscape
When Ansel Adams first travelled to Hawai'i in 1948, it was to photograph the natural scene for his project on the national parks and monuments. With his 1946 Guggenheim Fellowship renewed, he sailed on the S.S. Matsonia on the 9 April for Honolulu. He saw the exploitative potential of tourism already overwhelming postwar Waikīkī, but also recognized that, out of that artificial environment, ‘the mountains are beautiful, and sea even more so’.1
Ansel Adams at Manzanar War Relocation Center, 1943–1944
Following the Declaration of War upon Japan on 7 December 1941, the United States government relocated Japanese Americans from the western coastal states to internment camps inland. During 1943–1944, Ansel Adams photographed life at the Manzanar resettlement camp. His photographs provide a vibrant visual record of this historical event and illustrate the venture into social documentary photography by this noted landscape photographer
Ansel Adams and Georgia O'Keeffe
Ansel Adams and Georgia O’Keeffe, although committed realist artists using straightforward photographic technique and a disarmingly objective style of painting, transfigured the natural scene artistically, to express a profoundly metaphysical response to nature. Both Adams and O’Keeffe were aware of manifold currents of mystical thought in the 1930s through personal contact with the theosophical teachers A.R. Orage and Jean Toomer. Treating lands…
Ansel Adams and George Waters
Ansel Adams's photographic career was paralleled by his desire to achieve the finest quality of photomechanical reproduction of his images for his many fine printed books. For thirty years, he relied upon letterpress halftone to recreate the aesthetic effect of his 'f/64' style. In the 1960s, as letterpress for photographic reproduction was phased out by most commercial printers, George Waters introduced Adams to the new technology of offset lith…
Art (17 works) · Visual arts (15 works) · Art history (11 works) · History (7 works) · Photography and Visual Culture (7 works) · Archaeology (6 works) · Photography (6 works) · Computer Science (5 works) · Aesthetics (4 works) · Law (4 works)