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May 2, 2016–January 31, 2017

C O L L E C T E D

Pier 24 Photography Located on San Francisco’s Embarcadero, Pier 24 Photography offers a venue to experience and quietly contemplate photography. In addition to continually producing exhibitions, publications, and public programs, Pier 24 Photography houses the permanent photography collection of the Pilara Foundation.


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01 03

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RESTROOMS

ENTRANCE

Please note that corresponding gallery numbers are located in the center of each gallery floor throughout the exhibition.


01

Daniel Gordon

10

Hiroshi Sugimoto

The Last Supper: Acts of God from the collection of the Pilara Foundation

02

Yasumasa Morimura

11

Erica Deeman from the collection of the Pilara Foundation

03

Nicola Costantino

12–13 William Eggleston

Hiroshi Sugimoto

Los Alamos from the collection of Randi & Bob Fisher

04

Richard Learoyd

14

from the collection of the Pilara Foundation

05

Ralph Eugene Meatyard

from the Bluff Collection

15

from the collection of Dan Holland & Patrick Printy

06–07 Dancing with Myself:

Female Self-Portraits from the 1970s

Robert Frank

Danger, Disaster, and Beauty from the collection of Chara Schreyer

16

Modern Vision from the collection of Susie Tompkins Buell

from the collection of Winn Ellis & David Mahoney

08

Beauty and the Beat from the collection of Nion McEvoy

09

The Shape of Light from the collection of Kaitlyn & Mike Krieger

17–18 The Bay from the collection of the Pilara Foundation

19 Solitude from the collection of Carla Emil


A connoisseur, in the old sense of the term, was less a shopper than a historian. To collect meant to connect yourself to the myriad of civilizations that preceded your own; accumulating objects was a way of placing yourself in a historical continuum, of assuming temporary ownership of something that once belonged to someone else and, after your death, would belong to someone else still. It was an act of humility: It meant educating yourself about a tradition, while also realizing that your education would never be complete. Assuming the mantle of stewardship. Realizing that, despite your best efforts, you would never know enough. Understanding that the object of your passion . . . might never be understood or appreciated by anyone else. (It meant not caring about other people’s opinions.) It meant devotion. It meant obsession. —Gully Wells


C O L L E C T E D Photography has been a central artistic practice in the San Francisco Bay Area for more than 150 years. Countless photographers—from Eadweard Muybridge and Carleton Watkins in the nineteenth century to contemporary practitioners such as Katy Grannan, Richard Misrach, and Henry Wessel—have been drawn to this region and made it their home. Ambitious and innovative, many early California photographers were responsible for cultivating groundbreaking educational programs—a legacy that began with the founding of the nation’s first fine art photography department, led by Ansel Adams at the California School of Fine Arts (now San Francisco Art Institute), and continues today with a number of nationally recognized photography programs at local art schools. Other civic-minded institutions like the San Francisco Museum of Modern Art have also spurred the growth and development of the medium through important exhibitions and helped to establish our understanding of photography’s place within art history. This strong history and tradition of support have undoubtedly contributed to the growth of the committed community of photography collectors residing in the Bay Area today.

Collected—the eighth exhibition at Pier 24 Photography—brings together photographs from the

Pilara Foundation and other Bay Area collections. Nine collectors were invited to select works from their holdings that reflect their interests in the medium. The exhibition thus offers a lens on various collecting approaches, with some collectors focusing on the work of particular artists or on specific art historical movements or themes, and others developing their own criteria, whether deliberately or unconsciously. Spanning the last hundred years of the medium, the selections on view here reflect each collector’s strong understanding of photography while also highlighting the singular sensibilities guiding the deeply personal act of collecting. Yet for all their variety, the assembled photographs also reveal the shared traits that unite all passionate collectors: curiosity and discipline paired with rigorous study and close looking. 5


6


7


Daniel Gordon, Fruits et riche vaisselle sur une table, 1640–2015 (A Table of Desserts, 1640–2015), 2015 8


GALLERY

01

9


In my view, photography and painting really share one history. The influences that work on one, work on the other. —Jack Welpott

10


GALLERY

02

Yasumasa Morimura, Vermeer Study: Looking Back (Mirror), 2008 11


12


GALLERY

03

Left to right: Nicola Costantino, Príncipe Aquiles, según Velázquez (Prince Aquiles, after Velázquez), 2010 Hiroshi Sugimoto, The Music Lesson, 1999 13


Richard Learoyd, Octopus 1, 2, and 3, 2010 14


GALLERY

04

15


Left to right: Richard Learoyd, Headless man, 2010 Richard Learoyd, Headless woman, 2010 Richard Learoyd, Horse head, 2012 Richard Learoyd, Nick Cave, 2014 16


GALLERY

04

17


Left to right: Richard Learoyd, Horse head, 2012 Richard Learoyd, Nick Cave, 2014 18


GALLERY

04

19


All works: Richard Learoyd, Fragment, 2009–16 20


GALLERY

04

When an image works, it often feels that an impression of the person has been left on the paper. You can almost feel their breath. —Richard Learoyd 21


Left to right: Richard Learoyd, Flamingo 3, 2012 Richard Learoyd, Large mirror on plinth, 2010 Richard Learoyd, Jasmijn, to the Light, 2008 Richard Learoyd, Jasmijn, away from the Light, 2008 22


GALLERY

04

23


24


GALLERY

04

Richard Learoyd, After Ingres, 2011 25


All works: Ralph Eugene Meatyard, Untitled, 1955–72 26


GALLERY

05

27


Association for several years with the work of Gene Meatyard has become one of my crucial experiences. It has kept me involved—and willing to be involved— in a sort of fundamental disturbance like an earthquake, unsettling, for sure, but at the same time giving evidence that something lively is going on in the world. Looking at his pictures, I am aware that my basic assumptions about reality are being tampered with. I am being nudged, forcibly and a bit gleefully, by the possibility that what we have taken to be reality is a mere social convention, going out of date. I turn from the photographs to my surroundings, feeling that what I see is not all that is there. —Wendell Berry

Opposite, top to bottom: Ralph Eugene Meatyard, Untitled, 1960 Ralph Eugene Meatyard, Untitled, 1969 28


GALLERY

05

29


30


GALLERY

05

All works: Ralph Eugene Meatyard, Untitled, 1955–72 31


Ralph Eugene Meatyard, Untitled, 1966 32


GALLERY

05

Ralph Eugene Meatyard, Untitled, 1960 33


34


GALLERY

06

Left to right: Suda House, Striptease #5, 1976 Bea Nettles, Black Hair Lock, 1972 Bea Nettles, This Winter, 1971 Marcia Resnick, She would demurely sip cherry Kool Aid from a wine glass and puff on bubble gum cigarettes, 1978 Marcia Resnick, She scotch-taped her nose up before dates hoping it would stay that way, 1978 Marcia Resnick, Self-Portrait, 1970s 35


Left to right: Judy Dater, My Hands, Death Valley, 1980 Judy Dater, Self-Portrait in Car, 1982 Judy Dater, Self-Portrait, Arles, France, 1973 36


GALLERY

06

For someone who’s so interested in aging, it’s hard for me to explain about my face-lift . . . I’ve always been fascinated by something about my face, and it’s interesting to see the changes and reverse them but at the same time see that they’re taking place anyway. . . . If I am shown in my face-lift as attempting to stave off the visible aging process, it is also an indication of what an exercise in futility that is. —Anne Noggle

Anne Noggle, Face-lift No. 3, 1975 37


Donna Lee Phillips, Anatomical Insights, 1978 Opposite: Alexis Smith, Gentlemen Prefer Blondes, 1975 38


GALLERY

06

39


Left to right: Melissa Shook, Self-Portrait, 1972–73 Ellen Carey, Untitled, Self-Portrait, 1985 Linda Brooks, Mom at 55, me nearing 30, 1981 Linda Brooks, For the most part, it was a matter of tradition, 1980 Ana Barrado, Self-Portrait, San Francisco, 1976 Jo Ann Callis, Untitled, 1975 Francesca Woodman, From Portrait of a Reputation, 1976–77 Francesca Woodman, Untitled, ca. 1976 40


GALLERY

07

41


42


GALLERY

07

Donna Lee Phillips, Fragments from a Visual Journal, 1977 43


Left to right: Judith Golden, New First Lady, 1976–78 Judith Golden, Mary Hartman, 1976–78 Judith Golden, Star Struck, 1975 Judith Golden, These Thousand Hills, 1971 44


GALLERY

07

45


Every song has a memory; every song has the ability to make or break your heart, shut down the heart, and open the eyes. —Andy Warhol 46


GALLERY

08

47


48


49


GALLERY

05 01

03

14

15

16

20

17 06

02

13

04

07

09

08

10

18

11

19

22

12

02 Takuma Nakahira, Untitled, from the series Circulation: Date, Place, Events, 1971

35

31 23

25

28 32

01 Christian Marclay, Incognita, 1990

21

24

08

33

36

37

38

26 29 27

30

34

39

40

41

26 André Kertéz, Pierre Mac Orlan, Paris, 1927 27 David Bailey, Lennon and McCartney, 1965

28 Olivia Locher, I Fought the Law (Utah), 2013

03 Ann Rhoney, Carnegie Hall, n.d.

29 Jim Lambie, She’s A Rainbow, 2013

04 André Kertész, Untitled, 1984

30 Herb Ritts, Tina Turner, Los Angeles, 1993

05 Mickalene Thomas, Afro Goddess Ex Lover’s Friend, 2006

31 Natalie Czech, A poem by repetition by Aram Saroyan 2, 2014

06 Harry Callahan, Untitled, ca. 1950s

32 Andy Warhol, Debbie Harry, 1980

07 Michael Jang, Chris in Record Store, 1973

33 Ralph Eugene Meatyard, Untitled, ca. 1955–57

08 Luigi Ghirri, Corregio, Villa Pirondini, 1990

34 Weegee (Arthur Fellig), Untitled [Woman listening to jazz concert, Stuyvesant Casino, New York], ca. 1945

09–12 Richard Avedon, The Beatles Portfolio: John Lennon, Paul McCartney, George Harrison, and Ringo Starr, musicians, London, August 11, 1967, 1967 13–16 Mark Ruwedel, LP Quartet, 2011

35 Anne Collier, Happy Sad, 2007

36 Richard Avedon, Paul Simon and Art Garfunkel, singers, New York, March 1, 1967, 1967

17 Christian Marclay, Minneapolis, 2002

37 Lee Friedlander, Ray Charles, 1958

18 Brian Graham, Tom Waits Recording Rain Dogs, New York, 1984

38 Thomas Ruff, Interieur 6D, 1982

19 Isa Genzken, Instruments, 1979

39 Irving Penn, Leontyne Price, New York, 1961

20–22 Dennis Morris, Marianne Faithfull-Broken English (triptych), 1979

40 Florent Mazzoleni, Tourne-disques rouge (Mali), 2010

23 Christian Marclay, Postcards, 2003

41 Lee Friedlander, Sarah Vaughan, 1956

24 John Baldessari, Person with Guitar (Red), 2005

25 Irving Penn, Rock Groups (Big Brother and the Holding Company and the Grateful Dead), San Francisco, 1967

50


GALLERY

08

Olivia Locher, I Fought the Law (Utah), 2013 51


52


GALLERY

08

03

02 01

08 07 05

13

06

04

12

14

11 09

10

15

16

17

01 Christian Marclay, Mashup (Diptych with Two Cassettes), 2008

02 Jim Marshall, Keith Richards, Exile on Main Street Recording Session, Los Angeles, CA, 1972

03 Lee Friedlander, Miles Davis, 1969 04 Eric Poitevin, Sans Titre, 1984 05 Godlis, Patti Smith, Bowery, 1976 06 Linder, Pretty Girls, 1977/2007 07 Diane Arbus, James Brown backstage at the Apollo Theater, N.Y.C., 1966 08 Christian Marclay, London, 2007 09 Lucas Michael, Adele 1, 2013 10 Lucas Michael, Adele 2, 2013 11 Moyra Davey, Blue, 2010 12 Jim Marshall, Janis Joplin Backstage, Winterland, San Francisco, 1968 13 Lee Friedlander, Esther Phillips, 1966 14 Idris Khan, Three Songs, 2011 15 Christian Marclay, Untitled, 2004 16 Burk Uzzle, Ercolines with Butterfly, Woodstock, 1969 17 Jason Simon, Record Room, 2015 53


Jason Simon, Record Room, 2015 54


GALLERY

08

Lee Friedlander, Miles Davis, 1969 55


56


57


GALLERY

01

02

05 09

06 10

14

11

03

07 12

04

17

26

19

27 37

18

08 13

21

20

22

16 15

08

28

25

31

32

30

24 23

29

33

34

38 35

39

40

42

43

36 41

24 Christian Marclay, Tampa, 2007 01–04 Richard Avedon, The Beatles Portfolio: John Lennon, Paul McCartney, George Harrison, and Ringo Starr, musicians, London, 25 Daniel Kramer, Bob Dylan and Joan Baez in Crossed Lights, New August 11, 1967, 1967 Haven, CT, 1965, 1965 05 Esther Bubley, Charlie Parker, Norman Granz, Jam Session, LA, 26 Michael Dweck, Tropicana 3 (Club Tropicana dancers still 1952 bringing the house down), Habana, 2010 06 Lee Friedlander, Young Tuxedo Brass Band, New Orleans, 27 Christian Patterson, Motown Drums, February 2006 Louisiana, 1959, 1959 28 Josh Gosfield, Je Suis Perdue, 2009 07 Patti Smith, Drop Cloth, NYC, 2008 29 Irving Browning, Untitled, ca. 1928 08 Robert Mapplethorpe, Patti Smith, 1974 30 Alec Soth, Lil Jay & the Spiritual Boys, Rochester, New York, 2008 09 Ilse Bing, Beethoven Autograph, Ode to Joy, 1933 31 Bob Seidemann, Janis Joplin, 1967 10 David Bailey, Uncharted—The Rolling Stones, 1964 32 Christian Marclay, Untitled, 2004 11 Prince Rama, Motel Memory, 2012–15 33 Imogen Cunningham, The Hands of Gérald Warburg, Cellist, 1929 12 Richard Avedon, Bob Dylan, Singer, 132nd Street and FDR Drive, 34 Bruce Conner, Empty Bottles, Unused Equipment, November 19, November 4, 1963, 1963 1979, 1979 13 Lisette Model, Sammy’s New York (Tillie Singing), ca. 1940–44 35 William Eggleston, Untitled, Memphis, Tennessee, from William 14 John Baldessari, Person with Guitar (Yellow), 2005 Eggleston’s Graceland portfolio, 1983 15 Chad Gerth, A Day in the Life, 5 Minutes 3 Seconds, The Beatles, 36 Lee Friedlander, Aretha Franklin, 1968 1967, 1999 37 Thomas Demand, Collection, 2002 16 Farrah Karapetian, In Time, 2014 38 Joseph Saclier, Jazz, ca. 1930 17 Jim Marshall, Jimi Hendrix on Drums, Monterey Pop Festival, 1967 39 Michael Friedel, Richard Avedon, 1968 18 David Salle, Untitled, 1985 40 Richard Avedon, Bob Dylan, singer, New York, February 10, 19 Mickalene Thomas, Remember Me, 2006 1965, 1965 20 Ilse Bing, Orchestra Pit, Theatre des Champs-Elysées, Paris, 1933 41 Lee Friedlander, Count Basie and Pee Wee Marquette, 1957

21 Florent Mazzoleni, Bamako, 2008

42 Henry Horenstein, Dolly Parton, Symphony Hall, Boston, MA, 1972

22 Daniel Kramer, Dylan at Piano with Group, Bringing It All Back Home Recording Session, 1965

43 Robert Doisneau, Maurice Barquet a Chamonix, 1957

23 Tammy Rae Carland, One Love Leads to Another, 2008 58


GALLERY

08

Top to bottom: Daniel Kramer, Bob Dylan and Joan Baez in Crossed Lights, New Haven, CT, 1965 John Baldessari, Person with Guitar (Yellow), 2005 59


Left to right: Erin Shirreff, A.P. (no. 16), 2014 Chris Duncan, BLUE. 6 month exposure. fall 2014–spring 2015, 2015 Elizabeth McAlpine, Sleeping Hollow 4, 2014 Sara VanDerBeek, Synthetic Geometry, 2014 Wolfgang Tillmans, paper drop (fan), 2006 Lisa Oppenheim, Killed Negatives, after Walker Evans (Untitled), 2007 Lisa Oppenheim, Killed Negatives, after Walker Evans (Church), 2007 Lisa Oppenheim, Killed Negatives, after Walker Evans (Erosion), 2007 60


GALLERY

09

61


This is work that speaks softly, eloquently, and persuasively. It is not bombastic or overbearing. It calls to be read and contemplated, like a poem. —Jennifer Blessing 62


GALLERY

09

Wolfgang Tillmans, paper drop (fan), 2006 63


Left to right: Jose Dรกvila, History of Light, 2014 B. Ingrid Olson, a marker of space between arms and hands was hands, 2015 Anne Collier, Open Book (Lightning), 2016 64


GALLERY

09

65


Left to right: Florian Maier-Aichen, Untitled, 2013 Christian Marclay, Untitled (Luciano Pavarotti), 2009 Opposite: Hiroshi Sugimoto, Lightning Field 119, 2009 66


GALLERY

09

67


Hiroshi Sugimoto, The Last Supper: Acts of God, 1999/2012 68


69


GALLERY

10

I chose to interpret this as the invisible hand of God coming down to bring my monumental, but unfinished Last Supper to completion. Leonardo completed his Last Supper over five hundred years ago, and it has deteriorated beautifully. I can only be grateful to the storm for putting my work through a half-millennium’s worth of stresses in so short a time. —Hiroshi Sugimoto 70


GALLERY

10

71


Left to right: Erica Deeman, Untitled 04, 2013 Erica Deeman, Untitled 29, 2014 Erica Deeman, Untitled 14, 2014 Erica Deeman, Untitled 09, 2014 Erica Deeman, Untitled 25, 2014 Erica Deeman, Untitled 08, 2013 72


GALLERY

11

Left to right: Erica Deeman, Untitled 18, 2013 Erica Deeman, Untitled 10, 2013 Erica Deeman, Untitled 15, 2014 Erica Deeman, Untitled 17, 2014 73


The silhouette was a cultural metaphor of its time. It has, in essence, been replaced by the photograph. Yet with both, we still ask the question of how much visual information is needed to form an individual’s identity. —Erica Deeman

74


GALLERY

11

Erica Deeman, Untitled 01, 2013 75


76


GALLERY

12–13

All works: William Eggleston, Untitled, from the portfolio Los Alamos, 1965–74 77


78


GALLERY

12–13

79


As one of the few original photographers, William Eggleston has written the story Los Alamos in his own language, and hence the images are an expression of his vision. In an adventurous balancing act between disturbing content and seductive beauty, the author shows us the fragility of our existence. Under his guidance we reach safe ground, we close the book—but he made us peek in the abyss, and we will never forget. —Thomas Weski

80


GALLERY

12–13

81


82


GALLERY

12–13

All works: William Eggleston, Untitled, from the portfolio Los Alamos, 1965–74 83


Frank has consistently embraced the narrative potential of carefully composed photographic sequences. His search for “a more sustained form of expression� than the single, static image has resulted in compelling visual stories that actively engage viewers with their deliberately designed progression, compression of time, and layered meanings. —Peter MacGill 84


GALLERY

14

Left to right: Robert Frank, City fathers—Hoboken, New Jersey, 1955–56 Robert Frank, Political rally—Chicago, 1955–56 Robert Frank, Funeral—St. Helena, South Carolina, 1955–56 85


Top to bottom: Robert Frank, Parade / Valencia, #1 from Black, White and Things, 1952 Robert Frank, Bankers / London, #3 from Black, White and Things, 1951 86


GALLERY

14

Left to right: Robert Frank, Woman / Paris, #6 from Black, White and Things, 1952 Robert Frank, Ticker Tape / New York, #7 from Black, White and Things, 1951 87


Left to right: Robert Frank, Landscape / Peru, #12 from Black, White and Things, 1948 Robert Frank, My Family / New York, #13 from Black, White and Things, 1951 Robert Frank, Street Line / New York, #20 from Black, White and Things, 1951 Robert Frank, Tulip / Paris, #21 from Black, White and Things, 1951 Robert Frank, Medals / New York, #23 from Black, White and Things, 1951 Robert Frank, Men of Air / New York, #25 from Black, White and Things, 1948 Robert Frank, Horse and Cart / Paris, #20 from Black, White and Things, 1949 Robert Frank, Horse and Children / Paris, #33 from Black, White and Things, 1952 88


GALLERY

14

Robert Frank, film stills from Pull My Daisy, 1959; 28 minutes 89


Left to right: Robert Frank, Mabou, Nova Scotia, 1977 Robert Frank, Look Out for Hope, Mabou—New York City, 1979 Robert Frank, Sick of Goodby’s, 1978 Robert Frank, Mabou Winter Footage, 1977 Robert Frank, Blind, Love, Faith, 1991 Robert Frank, Halifax Infirmary, 1978 Robert Frank, Self-Portrait in Mabou, Nova Scotia, 1979 Robert Frank, Monday Morning in Mabou (Old Snapper), 1998 Robert Frank, Yellow Flower—Like a Dog, 1992 Robert Frank, The War is Over, 1998 Robert Frank, New York City, 7 Bleecker Street, 1993 90


GALLERY

14

91


92


GALLERY

15

93


94


GALLERY

15

Gerhard Richter, Acht Lernschwestern (Eight Student Nurses), 1971/1987 95


Top, left to right: Garry Winogrand, Los Angeles, 1964 Richard Prince, Untitled (Girlfriend), 1993 Elena Dorfman, Rebecca 2, 2001 Larry Sultan, Tasha’s Third Film, 1998 Unknown Photographer, untitled [Mugshot #124850, San Francisco], January 9, 1954 Unknown Photographer, untitled [Mugshot #123217, San Francisco], September 30, 1953 Diane Arbus, Topless Dancer in her Dressing Room, San Francisco, Cal., 1968 96


GALLERY

15

Bottom, left to right: Robert Frank, Cleveland, 1955 Todd Hido, Untitled #2256-A, 1999 Henri Cartier-Bresson, Coney Island, New York, 1946 Andy Warhol, Car Crash, 1978 Cindy Sherman, Untitled Film Still #27, 1979 97


Ultimate beauty requires that edge of sweet decay, just as our casually possessed lives are made more precious by a whiff of the abyss. —Sally Mann

98


GALLERY

15

Elena Dorfman, Rebecca 2, 2001 99


Left to right: Lee Friedlander, Galax, Virginia, 1962 Louise Lawler, Untitled (Gold Jackie), 1993 Garry Winogrand, Portland, Oregon, 1964 Joel Sternfeld, Aisle 2, Row 3, Seat 5, Texas Theatre, 231 West Jefferson Boulevard, Dallas, Texas, 1993 Bill Owens, I don’t feel that Richie playing with guns will have a negative impact on his personality, 1970–72 100


GALLERY

15

Louise Lawler, Untitled (Gold Jackie), 1993 101


Left to right: Consuelo Kanaga, Sunflower, 1942
 Consuelo Kanaga, Annie Mae Merriweather, 1935
 Consuelo Kanaga, Annie Mae Merriweather, ca. 1935 Consuelo Kanaga, Portrait of Kenneth Spencer, 1933
 Consuelo Kanaga, Hands, 1930
 Consuelo Kanaga, She is the Tree of Life to Them, Florida, 1950
 Consuelo Kanaga, Mother and Son (The Question, Florida), ca. 1950
 Consuelo Kanaga, School Girl, St. Croix, 1963
 Consuelo Kanaga, Camellia in Water, ca. 1927 Consuelo Kanaga, Untitled [Young Girl in Profile], 1948
 102


GALLERY

16

103


Consuelo Kanaga, Annie Mae Merriweather, 1935
 104


GALLERY

16

Alma Lavenson, Portrait of Consuelo Kanaga, 1931
 105


Left to right: Alma Lavenson, Auratum Lily, 1932
 Alma Lavenson, Self-Portrait, 1932 Alma Lavenson, Water Lilies, 1932 Alma Lavenson, Glass Circles, 1931
 Alma Lavenson, Portrait of Consuelo Kanaga, 1931
 Alma Lavenson, Easter Lily, 1932
 106


GALLERY

16

107


Left to right: Dorothea Lange, Son of an illiterate sharecropper near Earl, Arkansas. He wants a high school education, 1935
 Dorothea Lange, Unemployment benefits aid begins, 1938
 Dorothea Lange, Negro Child on the Mississippi Delta, 1936
 Dorothea Lange, Undernourished Cotton Picker’s Child, Kern County, California, 1938
 Dorothea Lange, Migrant Mother, Nipomo, California, 1936
 Dorothea Lange, Enforcement of Executive Order 9066. Pledge of Allegiance a Few Weeks Before Evacuation, at Raphael Weil Elementary School, San Francisco, California, 1942
 Dorothea Lange, Mended Stockings, Stenographer, San Francisco, 1934
 Dorothea Lange, Hoe Culture (Cutter), Alabama Farmer Near Anniston, 
Alabama, 
1939 Dorothea Lange, Hand of a Young Daughter—Tenant Farmers, 1939
 Dorothea Lange, Ex-Slave with a Long Memory, Alabama, 1938
 Dorothea Lange, Oklahoma Sharecropper and Family Entering California Stalled on the Desert Near Indio, California, 
1937
 Dorothea Lange, Man and Woman Barefoot, Elm Grove, Oklahoma, 1936
 Dorothea Lange, White Angel Breadline, 1933 108


GALLERY

16

Seeing is more than a physiological phenomenon . . . We see not only with our eyes but with all that we are and all that our culture is. The artist is a professional see-er. —Dorothea Lange 109


Dorothea Lange, White Angel Breadline, 1933 110


GALLERY

16

Tina Modotti, Telephone Wires, Mexico, 1925 111


Left to right: Tina Modotti, Workers Parade, 1926 Tina Modotti, Woman with Olla, 1926
 Tina Modotti, Roses, Mexico, 1924 Tina Modotti, A washer-woman’s hands, 1927
 Tina Modotti, Portrait of Edward Weston and Camera, ca. 1924
 Tina Modotti, Telephone Wires, Mexico, 1925 112


GALLERY

16

113


Veronika Kellndorfer, Like a Bridge, 2015 114


GALLERY

17–18

115


Left to right: Ansel Adams, View of the Bay Bridge from San Francisco, ca. 1937 Unknown Photographer, untitled [Bay Bridge rooftop view], 1947 Max Yavno, San Francisco–Oakland Bay Bridge at Night, 1947 116


GALLERY

17–18

Left to right: Michael Kenna, Bay Bridge and Pier 26, San Francisco, California, USA, 1985 Umbo, Golden Gate Bridge, San Francisco, 1952 Unknown Photographer, untitled [Bay Bridge tunnel], 1950 Binh Danh, Hi Dive, San Francisco, CA, 2014 117


Coming home from other cities and other parts, one crosses the Bay to reach San Francisco and sees first the gray silhouette of her hills, shingled with roofs and roofs and roofs; the royal fringe of masts and spars along her waterfronts; the gray fog circling and fuming softly over it all, and the gulls flying and crying. The little boats, plying to and fro, sound their hoarse, sweet notes of warning, and perhaps the noon whistles and the Angelus bells take up the sound in a long chord that to some hearts says, “Welcome home!” —Kathleen Norris 118


GALLERY

17–18

Chris McCaw, Sunburned GSP #455 (San Francisco), 2010 119


Top row, from left: Unknown Photographer, untitled [Bay Bridge from ferry], ca. 1940 Unknown Photographer, untitled [Construction of the Golden Gate Bridge], ca. 1935 Unknown Photographer, untitled [Bay Bridge from dock], ca. 1960 Unknown Photographer, untitled [Pier 24], 1958 Bottom row, from left: Philip Knight, Tugboat and Golden Gate Bridge, ca. 1945 Mayo Photo, San Francisco / Oakland Bay Bridge, 1937 Unknown Photographer, untitled [Construction of Bay Bridge, view from boat], ca. 1934 120


GALLERY

17–18

Todd Hido, Untitled #10240, 2011 121


Richard Learoyd, Bridge and Pier, 2015 122


GALLERY

17–18

123


Left to right: Diane Arbus, Woman at a Counter Smoking, N.Y.C., 1962 Garry Winogrand, New York, 1950 Rineke Dijkstra, Coney Island, N.Y., USA, June 20, 1993, 1993 William Eggleston, Sumner, Mississippi, ca. 1969–70 Richard Barnes, Unabomber Exhibit A, 1999 124


GALLERY

19

Left to right: Irving Penn, Georgia O’Keeffe (A), New York, 1948 Walker Evans, Untitled [Subway Passenger, New York], 1938 Louise Lawler, War is Terror, 2001 / 2003 Helen Levitt, Bronx, New York (Woman with hose), 1942 Roni Horn, Untitled (Weather), 2010–11 125


We are all sentenced to solitary confinement inside our own skins, for life. —Tennessee Williams

126


GALLERY

19

Irving Penn, Georgia O’Keeffe (A), New York, 1948 127


Pier 24 Photography would like to acknowledge the following individuals and lenders for their assistance in making this exhibition possible. Susie Tompkins Buell Erica Deeman Winn Ellis & David Mahoney Carla Emil Randi & Bob Fisher Fraenkel Gallery Yashar Hedayat Todd Hido Dan Holland & Patrick Printy Kelly Huang Gary Hutton Kaitlyn & Mike Krieger Owen Kydd Richard Learoyd Peter MacGill Nion McEvoy Ian Mullen Abner Nolan Ruth | Catone Chara Schreyer Kelly Sultan Lizanne Suter Gentle Wagner Zlot Buell + Associates This publication would not have been possible without the generous contributions of the Pier 24 Photography volunteer and intern team. Director: Christopher McCall Creative Director: Allie Haeusslein Editor: Ry Allred Editorial Associate: Mari Iki Copy Editor: Amanda Glesmann Design: Bob Aufuldish, Aufuldish & Warinner Installation Photography: Charles Villyard Print Management: Sprinkel Media ISBN: 978-0-9839917-8-6 Printed in the United States © 2016 Pier 24 Photography. All rights reserved. No part of this book may be reproduced in any manner whatsoever without the prior written permission of the publisher and copyright holders. Cover Image: Todd Hido, Untitled #10240, 2011

Pier 24, The Embarcadero San Francisco, CA 94105 p. 415.512.7424 e. info@pier24.org www.pier24.org

Photography Credits: John Baldessari: © John Baldessari, courtesy the artist / Erica Deeman: © Erica Deeman, courtesy the artist / Elena Dorfman: © Elena Dorfman, courtesy the artist and Modernism, San Francisco / William Eggleston: © William Eggleston Artistic Trust, courtesy ROSEGALLERY, Santa Monica / Robert Frank: © Robert Frank, courtesy Pace/MacGill Gallery, New York / Lee Friedlander: © Lee Friedlander, courtesy Fraenkel Gallery, San Francisco / Daniel Gordon: © Daniel Gordon, courtesy the artist / Todd Hido: © Todd Hido, courtesy the artist and Casemore Kirkeby, San Francisco / Consuelo Kanaga: © Estate of Consuelo Kanaga / Daniel Kramer: © Daniel Kramer, courtesy the artist / Dorothea Lange: © The Dorothea Lange Collection, the Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor / Alma Lavenson: © Estate of Alma Lavenson / Louise Lawler: © Louise Lawler, courtesy the artist and Metro Pictures, New York / Richard Learoyd: © Richard Learoyd, courtesy Fraenkel Gallery, San Francisco / Olivia Locher: © Olivia Locher, courtesy the artist / Ralph Eugene Meatyard: © The Estate of Ralph Eugene Meatyard, courtesy Fraenkel Gallery, San Francisco / Chris McCaw: © Chris McCaw, courtesy the artist / Yasumasa Morimura: © Yasumasa Morimura, courtesy the artist and Luhring Augustine, New York / Anne Noggle: © Anne Noggle, courtesy The New Mexico Museum of Art. Photo by Blair Clark. Photography Collection, Harry Ransom Center, The University of Texas at Austin / Irving Penn: © The Irving Penn Foundation, courtesy the Irving Penn Foundation / Gerhard Richter: © Gerhard Richter, courtesy the artist / Jason Simon: © Jason Simon, courtesy the artist and Callicoon Fine Arts, New York / Alexis Smith: © Alexis Smith, courtesy Honor Fraser Gallery, Los Angeles / Hiroshi Sugimoto: © Hiroshi Sugimoto, courtesy Fraenkel Gallery, San Francisco / Wolfgang Tillmans: © Wolfgang Tillmans, courtesy Galerie Buchholz, Berlin/Cologne


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Collected Exhibition Guide  

"Collected"—the eighth exhibition at Pier 24 Photography—brings together photographs from the Pilara Foundation and other Bay Area collectio...