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==== Reception ====
==== Reception ====
Recent commentator Marc-Emmanuel Mélon interprets the image as phallic,<ref name=":11" /> while [[W. S. Di Piero]] calls it "a tough-minded image that fit Steichen’s scheme because it depicted the necessity of collaboration and cooperation: its unambiguous import was that we’re all in this—the world of work—together."<ref name=":12" /> Helen Gee in her autobiography, which his mid-50s pictures of her Limelight Photography Gallery and Coffeehouse in [[Greenwich Village]] illustrate, recalls Lavine's "excitement when he saw his picture...enlarged to a monumental nine feet" (it was shot on large format 5" x 4" film),<ref name=":9" /> and notes that when the image was used on a first edition issue postage stamp, that "even when tiny, it held its own".<ref name=":18">{{Citation | author1=Gee, Helen | title=Limelight : a Greenwich Village photography gallery and coffeehouse in the fifties : a memoir | publication-date=1997 | publisher=University of New Mexico Press | edition= 1st | isbn=978-0-8263-1817-6 }}</ref> W. S. Di Piero admires Lavine's 'innocent eye', and writes that "His sanguine temperament embraces his subjects but doesn’t squeeze the life out of them."<ref name=":12" />
Recent commentator Marc-Emmanuel Mélon interprets the image as phallic,<ref name=":11" /> while [[W. S. Di Piero]] calls it "a tough-minded image that fit Steichen’s scheme because it depicted the necessity of collaboration and cooperation: its unambiguous import was that we’re all in this—the world of work—together."<ref name=":12" /> Helen Gee in her autobiography, which his mid-50s pictures of her Limelight Photography Gallery and Coffeehouse in [[Greenwich Village]] illustrate, recalls Lavine's "excitement when he saw his picture...enlarged to a monumental nine feet" (it was shot on large format 5" x 4" film),<ref name=":9" /> and notes that when the image was used on a first edition issue postage stamp, that "even when tiny, it held its own".<ref name=":18">{{Citation | author1=Gee, Helen | title=Limelight : a Greenwich Village photography gallery and coffeehouse in the fifties : a memoir | publication-date=1997 | publisher=University of New Mexico Press | edition= 1st | isbn=978-0-8263-1817-6 }}</ref> W. S. Di Piero admires Lavine's 'innocent eye', and writes that "His sanguine temperament embraces his subjects but doesn’t squeeze the life out of them."<ref name=":12" /> Tamara Weintraub finds a subtle beauty in Lavine's early work, made before he had developed a recognisable style, in his New Caledonia imagery and sees "poignant connections these images draw from past to present, and between two seemingly different cultures. For me, this is what separates Lavine's work from the "souvenir" snapshots or official army photographs taken by other American soldiers at the time."<ref>Ahrens, Prudence M., Kreely, Cathy and Cayrol-Baudrillart, Françoise (2008). ''Arthur Lavine, photographe. Arthur Lavine's pacific inspiration: early photographs in New Caledonia''. Nouméa, New Caledonia: Le Musée de Nouvelle-Calédonie; Le Musée de Bourail.</ref>


==== Legacy ====
==== Legacy ====

Revision as of 08:46, 16 July 2019

Arthur Lavine (December 20, 1922 - June 27, 2016) was an American mid-century photojournalist and magazine photographer who, among other achievements, produced significant documentation of New Caledonia during World War 2.

Early life

Arthur Eli ('Art') Lavine was born December 20, 1922, in Trenton, N.J., the son of Barney and Helen Lavine,[1] and brother of younger sister Audrey, an artist, who died in 1982.

Lavine’s first ambition was to become a cinematographer. He had started photographing wth a box camera when he was eleven years old, and given a movie camera at age thirteen, he "used it to make home movies with titles like, ‘War’ and ’Murder'"[2] and in 1939 travelled daily from his home by train to film the World’s Fair in Flushing Meadows, which he edited into an hour-long film. He was president of the movie club in high school.[2] However since no undergraduate courses were available in movie-making, he instead studied drama at the University of North Carolina in Chapel Hill.[3]

WW2 and New Caledonia

With the advent of America's involvement in World War II Lavine, then 21 and in his second year of college, was drafted into the Army Signal Corps and was sent to Astoria, N.Y., to become a darkroom technician, eventually becoming an official U.S. Army photographer. He served in the rank of Corporal[4] with the U.S. Army Signal Corps in the Pacific as a non-combatant photographer, then darkroom supervisor in Noumea, New Caledonia.[5] Lavine documented the lives of New Caledonians, including the Kanak community, focussing mainly on family groups and children, all pictured during casual encounters in village environments.[6] His imagery, and that of his amateur colleague Corporal Elmer Williams, was a record of this tumultuous and difficult period of change in the archipelago that also brought the PX, Cuban cigars, ice-cream, refrigerators, sophisticated medical care, liquor, Jeeps, and jazz. Williams' work had been exhibited in late 2006 at the Tjibaou Cultural Centre curated from the Archives of New Caledonia by Dr Prue Ahrens of the University of Queensland. The pictures toured Australia, and then the United States, starting in San Diego, California, where Arthur Lavine learned of the event through a friend and went to the lecture with his photographs which have since attracted scholarly interest.[7][8][5][4]

After the War he studied with Clarence White Jr. in Maine,[9] during which time he made his his best-known photograph, Working Hands, Bath, Maine, 1947.[10]

New York

On his return in 1948 Lavine moved into his first apartment at Third Avenue and 53rd Street, NYC. Keen to get work, he advanced on his wartime training by joining the workshops and classes of Lisette Model, Alexey Brodovitch, and Berenice Abbott, heeding Model's instruction “to go out in the street and photograph people, getting close and not being afraid.”[11] His first success was a story on the Philadelphia Zoo that he sold for a Sunday feature.[12] By the 1950s he had "met many magazine editors and quickly started to get assignments,”[13] then joined the Black Star agency to free-lance[12][14] for more than thirty magazines including Collier's,[15] Esquire, The New York Times Magazine, Glamour, Newsweek, Fortune, Look, Life,[16][1] and Redbook, shooting much of his work in colour.[17] In 1951 he became member and then officer of the American Society of Magazine Photographers and was a member of the ASMP San Diego Chapter.[18]

Style and reception

Style

Working in the humanist genre, Lavine had a talent for visually conveying the essentials of each story he illustrated,[12][19] sometimes to humorous, and always to sympathetic, effect.[20] In the 1940s he personally initiated stories on Trenton, Maine and subway passengers in New York.

Recognition

His pictures were included in three exhibitions at the Museum of Modern Art including Working Hands, Bath, Maine, 1947, of the hands and arms of two workers, sunlit and muscular, grasping the stout wooden lever to drill into a pipeline. Cropped into a tight vertical, it was selected for Edward Steichen’s The Family of Man at the Museum which then toured the world and was seen by 9 million visitors.[21][22][23]

Reception

Recent commentator Marc-Emmanuel Mélon interprets the image as phallic,[11] while W. S. Di Piero calls it "a tough-minded image that fit Steichen’s scheme because it depicted the necessity of collaboration and cooperation: its unambiguous import was that we’re all in this—the world of work—together."[24] Helen Gee in her autobiography, which his mid-50s pictures of her Limelight Photography Gallery and Coffeehouse in Greenwich Village illustrate, recalls Lavine's "excitement when he saw his picture...enlarged to a monumental nine feet" (it was shot on large format 5" x 4" film),[2] and notes that when the image was used on a first edition issue postage stamp, that "even when tiny, it held its own".[25] W. S. Di Piero admires Lavine's 'innocent eye', and writes that "His sanguine temperament embraces his subjects but doesn’t squeeze the life out of them."[24] Tamara Weintraub finds a subtle beauty in Lavine's early work, made before he had developed a recognisable style, in his New Caledonia imagery and sees "poignant connections these images draw from past to present, and between two seemingly different cultures. For me, this is what separates Lavine's work from the "souvenir" snapshots or official army photographs taken by other American soldiers at the time."[26]

Legacy

Lavine's records of Limelight provide a valuable historic record of a vital era in which photography was becoming collectible as an art form in America.[27] As well as the emerging coffee houses,[24] in that decade Lavine's street photography and photojournalism also covered the working class districts of New York, the demolition of the elevated railway, sharecroppers in Virginia for the Newport News, and farm workers in Kansas, Dakota and Nebraska. His 1960s subjects are diverse and include the anti-Vietnam marches and construction of the World Trade Center. [28]

Lavine attended the opening on March 5 of his 2008 solo show Arthur Lavine photographe at the Musée de Nouvelle-Calédonie for which two specialists, Kathy Creely of the University of California, and Prudence Ahrens, an art historian from the University of Queensland, produced a catalogue of the exhibition, the first publication of the museum to be devoted to photography.[29]

Corporate photography

Lavine reduced his freelancing in the late '50s to become a corporate staff photographer traveling widely across America[24] to produce in-house publications, annual reports, press releases and displays, first for four years from 1956 at Western Electric Company, and then from 1960 to 1983 he directed the Chase Manhattan Bank,[30] photography department, which entailed much traveling in the USA and abroad, and where he documented the beginnings of business computing.[31] Lavine contributed to financial publications after retiring from Chase, and continued with personal photographic projects.

Later life

in 1992 Lavine settled in San Diego with his wife Rhoda and continued to produce and exhibit reportage,[19] mood pieces and abstract works. Of such images shown in 2007 in Arthur Lavine: peripatetic wanderings and meditations at the Museum of Photographic Arts, Di Piero remarked; "He has always chased the stirrings of light on matter, and so in a way it’s appropriate that since moving to San Diego he has made many abstract pictures about the actions of the local light."[24]

Lavine died aged 93 on June 27, 2016 at his Rancho Bernardo home after suffering Alzheimer’s disease. He was survived by his wife, two sons and three grandchildren.[20]

An archive of his documents and imagery is held at the Museum of Modern Art, New York.

Publications

  • Cohn, D. L., Scroggs, R., & Lavine, A. (1941). Chapel Hill. Chapel Hill, N.C.: Dialectic and Philanthropic Literary Societies of the University of North Carolina.
  • U.S. Camera Annuals ’46, ’47, ’51, ’55, ’59
  • Photography Annuals ’52, ’53, ’54, ’70, ’71[32]
  • Steichen, Edward; Sandburg, Carl; Norman, Dorothy; Lionni, Leo; Mason, Jerry; Stoller, Ezra; Museum of Modern Art (New York) (1955). The family of man: The photographic exhibition. Published for the Museum of Modern Art by Simon and Schuster in collaboration with the Maco Magazine Corporation.
  • Rothstein, Arthur (1956), Photojournalism : pictures for magazines and newspaper[s] (1st ed.), American Photographic Book Publishing
  • National Committee for Children and Youth; Buck, Pearl S. (Pearl Sydenstricker), 1892-1973; White House Conference on Children and Youth, 1960 (1964), The joy of children : based on the photographic exhibit prepared for the 1960 White House conference on children and youth, Day{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  • Gee, H. (1991). 'Limelight: Remembering Gene Smith'. American Art, 5(4), 10-19.
  • Photographs in Gee, Helen (1997), Limelight : a Greenwich Village photography gallery and coffeehouse in the fifties : a memoir (1st ed.), University of New Mexico Press, ISBN 978-0-8263-1817-6
  • Lavine, Arthur; Neaoutine, Marie-Solange, (director of publication.); Cayrol-Baudrillart, Françoise; Musée de Nouvelle-Calédonie (issuing body.) (2008), Arthur Lavine photographe, Nouvelle-Calédonie, première source d'Inspiration = Arthur Lavine's pacific inspiration early photographs in New Caledonia, Nouméa Musée de la Nouvelle-Calédonie, ISBN 978-2-918071-00-6{{citation}}: CS1 maint: multiple names: authors list (link)[7]
  • Ahrens, Prue; Creely, Kathryn (2008-01-01), Arthur Lavine and American modernism in the Pacific, Musée de Nouvelle-Calédonie
  • Bera, S., Lavine, A., Indie Photobook Library/Larissa Leclair Collection (Beinecke Rare Book and Manuscript Library), & Blurb (Firm),. (2011). California cell.

Collections

  • The International Center of Photography, New York City[33]
  • Art Institute of Chicago[34]
  • Museum of Fine Arts, Houston[35]
  • Bibliothèque nationale de France[36]

Exhibitions

Solo

  • 1969: Eye on Wall Street, One Chase Manhattan Plaza.[37]
  • 1970: Image Photographic Laboratory Gallery, NYC[28]
  • 1997: Photo Factory Gallery, San Diego, CA[28]
  • 1998: Continuing Education Center at Rancho Bernardo, San Diego[28]
  • 1999: Images of Israel and New York ('99) Photo Factory Gallery, San Diego, CA[28]
  • 2001: Photo Factory Gallery, San Diego[28]
  • 2003: Arthur Lavine fotografien: 1940 - 1970, Photogalerie 94, Switzerland, May 31– Jun 29[38][39][2]
  • 2003: The Inclusive Eye, Boehm Gallery, San Marcos, July 18 –Aug. 29[2]
  • 2007: Arthur Lavine: peripatetic wanderings and meditations, Museum of Photographic Arts, 12 May – 2 Sep[40][41][24]
  • 2007: Arthur Lavine: nimble witness, 4 Walls Gallery, San Diego, CA, May 12–Sep 2.[41][9]
  • 2008: Arthur Lavine photographe, Musée de Nouvelle-Calédonie, Nouméa, Mar 4–June 12[29][42]
  • 2009: Eye on Wall Street, Seaport District Cultural Association, October 1 – October 30[37]
  • 2012/13: solo show, Vista Library, 700 Eucalyptus Ave, San Diego, November 4–January 6[42]

Group

  • 1951: Abstraction in Photography, The Museum of Modern Art, May 1–July 4[43]
  • 1951/2: Christmas Photographs, November 29, 1951 – January 6, 1952, The Museum of Modern Art
  • 1954: Village Camera Club, New York - group show with Arthur Leipzig, Sol Libsohn and David Linton[44]
  • 1955: The Family of Man, Museum of Modern Art, 24 Jan – 8 May and touring worldwide.[21][22][23]
  • 1955: Fourteen Photographers, Limelight gallery, Greenwich Village, New York, July 28–September 2[25][28]
  • 1950s: American Society of Magazine Photographers (ASMP) exhibits, including one at the New York Coliseum[28]
  • 1960: These Are Our Children, White House Conference on Children and Youth, Washington, D.C.[28]
  • 1960s: (7 exhibitions held throughout) Chase Manhattan Bank, NYC.[28]
  • 1969: The World of Color, Union Carbide, NYC.[28]
  • 1973: Bergen Community Museum, Paramus, NJ.[28]
  • 1976: Nikon House Gallery, NYC - Chase Manhattan Photography[28]
  • 1976: Images of Industry, Kodak Gallery, NYC and Eastman House, Rochester, New York[45]
  • 1977: Helen Gee and the Limelight: A Pioneering Photography Gallery of the Fifties, Carlton Gallery, February 12-March 8[46]
  • 1981: Portrait of a Building, Chase Manhattan Bank, New York[28][47]
  • 1991: National Gallery of Canada, Ottawa - Limelight photo in traveling Lisette Model retrospective, international tour Feb 18, 1991–Apr. 20, 1992, Canada tour; Aug 10, 1991–Oct 14, 1992.[48]
  • 1997-98: Mercy Hospital, San Diego, CA - three group shows, two shows curated by Lavine[28]
  • 1998: Take the A Train, Howard Greenberg Gallery, NYC.[28][49]
  • 1998: ASMP Showcase '98, Framemaker Gallery, San Diego, CA (group show dedicated to Lavine)[28]
  • 1999-2001: Museum of Photographic Arts, San Diego - five different exhibits from the museum's 2001 permanent collection[28]
  • 2001: Helen Gee and the Limelight: The Birth of the Photography Gallery, 1954-1961 Stephen Daiter Gallery, Chicago.[28]
  • 2006: New York City - 2 Photographers, 5 Decades: Jill Freedman, Arthur Lavine, with photographs from the 1940’s and 50’s by Arthur Lavine, and the 1960’s to 1980’s by Jill Freedman, Photographic Gallery, Jun 10–Aug 27[50]
  • 2008: The Art of Photography Show 2008, San Diego Art Institute, San Diego, California.[51]
  • 2009: The Art of Photography Show 2009, San Diego Art Institute, San Diego, California.[52]
  • 2010: Point of View, group exhibition with Janine Free, Dana Levine, Lev Tsimring, John Valois, and Phyllis Weiss, Gallery 21, Spanish Village Art Center, San Diego, July 7–July 19[53]
  • 2013: Lavine/Levine: Relative Viewpoints, Gotthelf Art Gallery, September 11 - November 27[54]
  • 2014: Experiments in Abstraction, Keith de Lellis Gallery, 17 Sep – 31 Oct[55][56]
  • 2015: Architectural Abstractions: Vintage Photographs of New York, Keith de Lellis Gallery, 17 Sep – 31 Oct[57]
  • 2017: Street Photography around the World, Gallery 21, Spanish Village Art Center, San Diego, March 22–April 3[58]
  • 2017: The Photograph as Witness: The American Cultural Landscape, Museum Photographic Arts, 1 Sep – 31 Oct[59]

References

  1. ^ a b 'Life goes to Minna Wetzlar's Surprise Party'. In LIFE, 12 Apr 1954, pps.170–175, Vol. 36, No. 15, ISSN 0024-3019, Time Inc
  2. ^ a b c d e "'The Inclusive Eye': RB photographer's exhibit looks back on six decades of eclectic work". San Diego Union-Tribune. 2003-07-17. Retrieved 2019-07-14.
  3. ^ Cohn, D. L., Scroggs, R., & Lavine, A. (1941). Chapel Hill. Chapel Hill, N.C.: Dialectic and Philanthropic Literary Societies of the University of North Carolina.
  4. ^ a b Ahrens, Prue. "War Photography, Tourism and the Mobilization of Aesthetics.Cultures of Violence and Conflict Conference 20 – 23 July 2009, The Second Conference of the International Society for Cultural History, Hosted by the Cultural History Project Faculty of Arts, The University of Queensland" (PDF). Retrieved July 16, 2019. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  5. ^ a b Ahrens, Prue; Creely, Kathryn (2008-01-01), Arthur Lavine and American modernism in the Pacific, Musée de Nouvelle-Calédonie
  6. ^ Prue Ahrens (2015) Editorial, History of Photography, 39:3, 209-212, DOI: 10.1080/03087298.2015.1065136
  7. ^ a b Hawkes, K., & Quanchi, M. (2013). From the Archives: Photography Collections of the Archives of New Caledonia. The Journal of Pacific History, 48(4), 484-493.
  8. ^ Moore, C., & Sandgren, H. (2011). Pacific Studies at the University of Queensland 1990-2011.
  9. ^ a b "Planner::Day Schedule". www.sdvisualarts.net. Retrieved 2019-07-14.
  10. ^ "Working Hands, Bath, Maine | The Museum of Fine Arts, Houston". www.mfah.org. Retrieved 2019-07-16.
  11. ^ a b Mélon, Marc-Emmanuel. ""La famille du mâle: L'idéologie domestique dans The Family of Man" Centre de recherche sur les Arts du Spectacle, le cinéma et les arts visuels Université de Liège" (PDF). Retrieved July 16, 2019. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  12. ^ a b c Jacobs, Lou, Jr. 'The Facts of Freelancing'. In Popular Photography, Dec 1956, pages 118-9, 160-163, Vol. 39, No. 6, Ziff-Davis Publishing
  13. ^ Post, Scott Baradell. "Arthur Lavine's First Solo Exhibit Shows Off Seven-Decade Career | Black Star Rising". Retrieved 2019-06-25. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  14. ^ Jacobs, Lou (1965), Free-lance magazine photography : a guide to the working photojournalist, Chilton Books, p. 4,67, 71
  15. ^ 'Nature is full of surprises; the wonders in our museums'. Photographs by Arthur Lavine. In Collier's, Volume 135, p.62, Crowell-Collier Publishing Company, 1955
  16. ^ LIFE, 20 Apr 1962, p.112, Vol. 52, No. 16, ISSN 0024-3019, Time Inc.
  17. ^ PSA Journal, Volume 18, page 463, 1959, Photographic Society of America
  18. ^ 'ASMP Members'. In ASMP Picture Annual 1957, page 192, American Society of Magazine Photographers, Simon and Schuster, 1957
  19. ^ a b De Maré, Eric Samuel (1975), Photography (6th ed.), Penguin, p. 114, ISBN 978-0-14-046031-5
  20. ^ a b "Renowned photographer captured humanity". San Diego Union-Tribune. 2016-07-16. Retrieved 2019-06-25.
  21. ^ a b Steichen, Edward; Sandburg, Carl; Norman, Dorothy; Lionni, Leo; Mason, Jerry; Stoller, Ezra; Museum of Modern Art (New York) (1955). The family of man: The photographic exhibition. Published for the Museum of Modern Art by Simon and Schuster in collaboration with the Maco Magazine Corporation.
  22. ^ a b Hurm, Gerd, 1958-, (editor.); Reitz, Anke, (editor.); Zamir, Shamoon, (editor.) (2018), The family of man revisited : photography in a global age, London I.B.Tauris, ISBN 978-1-78672-297-3 {{citation}}: |author1= has generic name (help)CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  23. ^ a b Sandeen, Eric J (1995), Picturing an exhibition : the family of man and 1950s America (1st ed.), University of New Mexico Press, ISBN 978-0-8263-1558-8
  24. ^ a b c d e f ""He became a gypsy image-maker, traveling constantly on assignment." San Diego Reader, June 21, 2007, p.84-5" (PDF). San Diego Reader (PDF). {{cite web}}: Check |archive-url= value (help); Cite has empty unknown parameter: |dead-url= (help)
  25. ^ a b Gee, Helen (1997), Limelight : a Greenwich Village photography gallery and coffeehouse in the fifties : a memoir (1st ed.), University of New Mexico Press, ISBN 978-0-8263-1817-6
  26. ^ Ahrens, Prudence M., Kreely, Cathy and Cayrol-Baudrillart, Françoise (2008). Arthur Lavine, photographe. Arthur Lavine's pacific inspiration: early photographs in New Caledonia. Nouméa, New Caledonia: Le Musée de Nouvelle-Calédonie; Le Musée de Bourail.
  27. ^ Gee, H. (1991). 'Limelight: Remembering Gene Smith'. In American Art, 5(4), 10-19.
  28. ^ a b c d e f g h i j k l m n o p q r s "ARTHUR LAVINE EXHIBITS/PUBLICATION LIST". www.photoarts.com. Retrieved 2019-07-16.
  29. ^ a b ""Arthur Lavine photographe" | Service du Musée de la Nouvelle-Calédonie". museenouvellecaledonie.nc. Retrieved 2019-07-14.
  30. ^ Corner, George W. (George Washington) (1965), A history of the Rockefeller Institute, 1901-1953 : origins and growth, Rockefeller Institute Press, p. 536
  31. ^ "The Computer Museum of America Presents: The computer photography of Arthur Lavine". www.computer-museum.org. Retrieved 2019-06-25.
  32. ^ Popular Photography, page 73, Volume 68, 1971, CBS Magazines
  33. ^ "Museum of the City of New York - Search Result". collections.mcny.org. Retrieved 2019-07-14.
  34. ^ "Discover Art & Artists". The Art Institute of Chicago. Retrieved 2019-07-14.
  35. ^ "Search | The Museum of Fine Arts, Houston". www.mfah.org. Retrieved 2019-07-14.
  36. ^ Lavine, A. (n.d.). [Recueil. Photographies originales. Oeuvre de Arthur Lavine]. Bibliothèque nationale de France S.l.: s.n..
  37. ^ a b "art-agenda". www.art-agenda.com. Retrieved 2019-07-14.
  38. ^ "fotoCH". www.foto-ch.ch. Retrieved 2019-07-14.
  39. ^ "=== photogalerie 94 === augensache ===". www.actually.ch. Retrieved 2019-07-14.
  40. ^ Lavine, A., Museum of Photographic Arts (San Diego, Calif.), & 4 Walls Gallery (San Diego, Calif.). (2007). An inquiring eye: Seven decades of Arthur Lavine's seeing. San Diego, CA: Arthur Lavine.
  41. ^ a b "Lavine has seen, and photographed, it all". Pomerado News. 2007-05-16. Retrieved 2019-07-14.
  42. ^ a b "County of San Diego". www.sdcl.org. 2007-09-30. Retrieved 2019-07-14.
  43. ^ "Museum of Modern Art Press Release: Press Preview: Tuesday, May 1-5 p.m. for Wednesday release. "Abstract photography of many types to be shown at museum"" (PDF). {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  44. ^ "Four-Man Show of Photographic Reportage". The New York Times. 1954-02-14. ISSN 0362-4331. Retrieved 2019-07-14.
  45. ^ New York Magazine Art listings: Photography, Mar 29, 1976, Page 26, Vol. 9, No. 13. New York Media, LLC. 1976-03-29.{{cite book}}: CS1 maint: date and year (link)
  46. ^ Carlton Gallery; Gee, Helen; Limelight Gallery (1977), Helen Gee and the Limelight : a pioneering photography gallery of the fifties, Carlton Gallery
  47. ^ "Exhibition Records - contents · SOVA". sova.si.edu. Retrieved 2019-07-16.
  48. ^ "Lisette Model". www.gallery.ca. Retrieved 2019-07-14.
  49. ^ Smith, Roberta (July 31, 1998). "ART IN REVIEW: 'Take the A Train', Howard Greenberg Gallery, 120 Wooster Street, near Prince Street SoHo Through Aug. 14. New York Times July 31, 1998" (PDF). Retrieved July 16, 2019. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  50. ^ Times, The New York (2006-08-18). "Spare Times". The New York Times. ISSN 0362-4331. Retrieved 2019-07-14.
  51. ^ "Art of Photography Show". www.artofphotographyshow.com. Retrieved 2019-07-14.
  52. ^ "Art of Photography Show". www.artofphotographyshow.com. Retrieved 2019-07-14.
  53. ^ "Arthur Lavine, Renowned Photographer, to Exhibit in Balboa Park - Gallery 21, Spanish Village - absolutearts.com". www.absolutearts.com. Retrieved 2019-07-14.
  54. ^ "Season 2013-2014". www.sdcjc.org. Retrieved 2019-06-26.
  55. ^ "Keith de Lellis Gallery". www.keithdelellisgallery.com. Retrieved 2019-07-14.
  56. ^ Meyers, William (2014-10-17). "Photography Review: Marisa Scheinfeld, Denis Brihat and 'Experiments in Abstraction'". Wall Street Journal. ISSN 0099-9660. Retrieved 2019-07-14.
  57. ^ "Keith de Lellis Gallery". www.keithdelellisgallery.com. Retrieved 2019-07-14.
  58. ^ "Exhibition at Spanish Village Pays Tribute to Photographer Arthur Lavine (2017-03-26)". sdjewishjournal.com. Retrieved 2019-06-25.
  59. ^ "The Photograph as Witness: The American Cultural Landscape". Museum of Photographic Arts (MOPA). Retrieved 2019-07-14.
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