Yenra : Photography : Camera Clubs : History of California Pictorialism - an exhibit that displays the pictorial photography tradition

Camera Clubs - Vase - 1925

The Boston University Art Gallery (BUAG) is excited to announce California Dreaming: Camera Clubs and the Pictorial Photography Tradition opening at the gallery on Thursday, January 29th. California Dreaming examines the very active, yet relatively under examined tradition of pictorial photography practiced in the context of camera clubs in California during the first half of the twentieth century. Representing the work of forty seven photographers, California Dreaming focuses on well-known artists, including Ansel Adams, Anne Brigman, William E. Dassonville, John Paul Edwards, Arnold Genthe, Karl Struss, Margrethe Mather and Edward Weston; while exposing lesser-known artists including Fred R. Archer, Will Connell, Arthur F. Kales, Louis Fleckenstein, Louis Goetz, Florence B. Kemmler, Hiromu Kira, Toyo Miyatake, William Mortensen, Kaye Shimojima, and others.

California Dreaming sets out to defy tired stereotypes that minimize twentieth-century Pictorialist practice. Pictorialism after about 1910 has typically been ignored or trivialized in histories of photography, as photographers and critics in the 1920s began to embrace a more modernist approach to photographic practice. As such, Pictorialism came to be seen as outdated. Whereas modernist photographers were celebrated for their appreciation of urban, industrial and technological subjects, and their use of pure photographic vision through control of perspective and hard focus; Pictorialist photographers were chastised for their embrace of idealized, picturesque subjects, their use of expressive printmaking techniques and hand manipulation, and their preference for soft focus. Although this dichotomy between Pictorialism and modernism continues to be perpetuated in exhibitions and scholarship, this was not the case in the camera clubs themselves. California Dreaming demonstrates that photographers working in camera clubs under the rubric of Pictorialism created work that either incorporated elements from both modes or encompassed more modernist modes altogether.

The broad selection of images presented in California Dreaming, many of which have never been exhibited or reproduced before, will attest to the visual power, complexity, and breadth of photography created in the camera clubs. Camera clubs were thriving centers of photographic activity at this time, with a particularly strong following in California. Within these clubs, a range of amateur and professional photographers interacted socially and intellectually in order to exchange ideas about photography and art. Scholars and curators on the West Coast are writing about the history of California Pictorialism and camera clubs, yet this history still remains virtually unknown on the East Coast. Most photographers in this exhibition, even those crucial to the development of photography out west, will be entirely new to New England viewers.

California Dreaming: Camera Clubs and the Pictorial Photography Tradition showcases over ninety photographs from a group of forty-seven individual artists. Lenders to the exhibition include: The J. Paul Getty Museum, The Los Angeles County Museum of Art, The Oakland Museum of California, Michael G. Wilson and the Wilson Centre for Photography, the Stephen White Collection (II), Dennis Reed, and other private lenders. A full-color, 125-page exhibition catalogue - with an essay by exhibition Curator and Boston University Art Gallery Director, Stacey McCarroll, and an introduction by Boston University Professor of Art History and Photography Historian, Kim Sichel - accompanies the exhibition.